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What are children’s responses to storybook characters portrayed as socioeconomically disadvantaged? Do these responses vary by gender, race, socioeconomic status, and setting? Sixty-two 8-year-old-children individually listened and responded to a story about a soup kitchen using two different communication systems: drawings and words. Categories generated from the data were analyzed using chi-square analyses, yielding statistically significant findings for each of the variables of interest. Results offer a unique, detailed picture of the conceptual schemas of 8-year-old children about poverty.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

In this chapter, the author explores the ethical challenge of preserving participant anonymity when using visual methods in ethnographic research. Referring to her own ethnographic study in post-conflict Northern Ireland, the author explores how social, cultural, and political contexts may accentuate the need to preserve anonymity. The author discusses her rationale for opting not to use photographs in this context and puts forward the case for using participant-produced drawings as an alternative to photographs. Drawings accomplish similar rich benefits as photographs but may ameliorate the ethical challenges inherent in photographic work of maintaining participant anonymity.