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This paper aims to offer a novel participatory visual research method, the mapping of identity (MOI) protocol that embraces the complex nature of contemporary consumers’ lived reality.

The MOI protocol is a two-phase methodology. The first phase includes collage creation, based on a taxonomy of attachments, followed by an elicitation interview structured around the participant’s collage. In phase two, the categories elicited in phase one are synthesised into key themes in collaboration between the researcher and the participant.

MOI methodology provides an effective platform for participants to bring together disjointed memories, fragments and thoughts. Two individual cases are presented that seem similar on the surface; however, when deconstructing these narratives, their lived experiences and the effect that these narratives have on the construction of the self are very different. Treating participants as co-researchers and letting the choices they make in their collage creation lead the interview empowers the participant and enables the researcher to better understand their complex identity articulations.

This study contributes a visual methodology capable of exploring and celebrating the complexities of self-identity.

MOI is a useful tool for facilitating self-exploration in liquid markets. Marketing experts should provide materials that are not too confining and facilitate consumers in expressing multiple voices.

The participatory nature of MOI methodology allows for the emergence of stories from those that might otherwise go unheard, helping to understand unfamiliar and sometimes unrecognised identities.

Marketing literature recognises the complex nature of contemporary lived reality; however, some of the intricate aspects of this reality have not been dealt with in all their complexity. A reason for this gap is the paucity of suitable research methods. The MOI protocol presented in this paper addresses this, providing an effective visual tool to explore the complex web of contemporary consumer life.

This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

This chapter explores the symbolic connections between coming of age liminality and identity-oriented consumption practices in postmodern American culture, specifically among adolescent girls.

Forty-two female participants (ages 20–23) participants were asked to answer the general question of “Who am I?” through creating identity collages and writing accompanying narrative summaries for each of three discrete life stages: early adolescence (past-self), late adolescence (present-self), and adulthood (future-self). Data were analyzed using a hermeneutical approach.

Coming of age in postmodern American consumer culture involves negotiating paradoxical identity tensions through consumption-oriented benchmarks, termed “market-mediated milestones.” Market-mediated milestones represent achievable criteria by which adolescents solidify their uncertain liminal self-concepts.

In contrast to the traditional Van Gennepian conceptualization of rites of passage, market-mediated milestones do not necessarily mark a major transition from one social status to another, nor do they follow clearly defined stages. Market-mediated milestones help adolescents navigate liminality through an organic, nonlinear, and incremental coming of age process.

Rather than traditional cultural institutions (e.g., church, family), the marketplace is becoming the central cultural institution around which adolescent coming of age identity is constructed. As such, organizations have the power to create market-mediated milestones for young people. In doing so, organizations should be mindful of adolescent well-being.

This research marks a turning point in understanding traditional rites of passage in light of postmodern degradation of cultural institutions. The institutions upon which traditional rites of passage are based have changed; therefore, our conceptions of what rites of passage are today should change as well.

The purpose of this paper is to recognise communication as a central challenge between autistic and non-autistic individuals as the autistic voice is not silent, but lacks involvement at any level other than that of the observed participant (Milton and Bracher, 2013; NAS and Ask Autism, 2014; Parsons et al., 2009). The main research question, therefore, explores data to understand how some autistic individuals conceptualise their experiences.

The research design, informed by autistic people, used a flexible methodology to accommodate their communication preferences. Methods contextualised autistic narratives regarding support requirements and service provision and located power within these, acknowledging autistic individuals as the expert “insider”. This is critical in tackling access to services and social barriers to inclusion impacting negatively on well-being. Visual and written data were gathered using collage and narrative diary methods, and presented and analysed as three individual case studies (anonymised as Michael, Sophie and Peter) and as a meta-analysis providing a broad picture of themes.

Findings showed similarities and differences in a number of key areas, so highlighting the importance of the smaller narratives within the broad picture of autism.

This study’s key contribution to autism research is that it blends IPA, narrative analysis and discourse analysis with distinct sites of analysis (narrative process, images of autism, audiencing, turning points and discourse). Furthermore, the flexible methodology employed facilitates inclusion of autistic voices by embracing their diverse communication preferences.

The purpose of this paper is to focus on a designed research methodology to distil existing research findings from an esrc/ahrc funded japan/uk network on location-based virtual reality experiences for children in order to generate new knowledge.

The structured co-production methodology was undertaken in three stages. These were: (1) a collaborative workshop which produced a series of collage narratives, (2) collaborating with a non-human entity in the form of a digital coded tool to reconfigure the workshop responses and mediate the hierarchy of roles, (3) the co-production of a zine as a collaborative reflection method, which shared via postal service enabled a dialogue and exchange of round Robin interventions by the network members.

The analysis of the data collected in this study highlighted five themes that could be used by other researchers on a wide range of projects. These were: (1) knowing through making, (2) the importance of process, (3) beyond linear representations, (4) agency of physical materials and (5) agency of digital code.

The context of the study being undertaken during the first phase of the global pandemic, revealed insight into a method of co-production that was undertaken under emergency remote working conditions. The knowledge generated from this can be applied to other research contexts such as working with researchers or participants across global borders without the need to travel.

The research provides an innovative rethinking of co-production methods in order to generate new knowledge from multidisciplinary and multimodal research.

Qualitative researchers working with young people consistently face challenges in trying to ethically gain insight into their inner thoughts and worlds. The purpose of this paper is to examine how the use of generative tools in conjunction with qualitative interviewing with young people can enhance creativity and reflexivity, while mitigating adult-child power dynamics.

This paper draws upon ethnographic research conducted by the author examining the interplay between emotion, communication, and schooling at a public high school. Participant observation, use of generative tools to make collages representing each student’s experience, and in-depth interviews guided by the student-created visuals were triangulated to more fully understand the students’ experiences.

Generative tools foster reflexivity in both researcher and participants, lesson adult-child power dynamic concerns, and foster creativity without the requirement of drawing ability. Integrating the collaging process into in-depth interviews enabled students to privilege their primary thoughts, experiences, and concerns related to the issues being studied, mitigating concerns over adults overpowering and controlling the focus of the interview.

Generative tools can complement and enhance time-honored qualitative methods to alleviate ongoing concerns about ethical and accurate research with young people. Researchers are encouraged to embrace creative methods to engage young people in ethical and thoughtful reflection on and sharing of their experiences. Creative methods are also useful in empowering young people to imagine their world otherwise creating new possibilities for the future.

Recent scholarship has called for researchers to recognize the urgency of place-based education as a critical component of social studies pedagogy. This study seeks to understand better the relationship between place-based education, sacrificial listening and difficult history.

In this qualitative, arts-based research study, collaging is used to investigate how students use the theory of sacrificial listening while trying to make sense of difficult histories during a place-based history education experience. Students enrolled in a PBE experience received instruction about the theory of sacrificial listening at the beginning of a two-week course on the lasting impact of the civil rights movement. Students created a collage and responded to a reflection prompt about the course after engaging in course experiences, including travel to Oklahoma, Arkansas, Tennessee and Alabama.

Findings in the study demonstrate how sacrificial listening appeared, both explicitly and implicitly, in the ways students processed difficult history during a place-based education experience. Ultimately, the study found, though students organized their thoughts in distinct ways, they all leaned on the theory of sacrificial listening to make sense of what they learned.

Few studies have applied the theory of sacrificial listening as a pedagogical framework. Future research should build on this work, further investigating the theory as a pedagogical framework in conjunction with both place-based history education as well as other instructional settings.

The purpose of this paper is to consider three types of stories: media, personal accounts and fiction, and look for plots depicting situations of fundamental shift in the framing and basic definitions of reality. The authors examine them from the point of view of their usefulness for developing creative responses to systemic change.

The authors conducted a narrative study in three stages, aimed at identifying strong plots pertaining to systemic change. The analyzed material came from three different sources of narratives (fiction, media and creative stories) and was approached by the use of two different narrative methods: symbolic interpretation and narrative collage.

Currently many voices are being raised that the authors are living in times of interregnum, a period in between working systems. There is also a mounting critique of the business school as an institution perpetuating dysfunctional ideologies, rather than enhancing critical and creative thinking. The authors propose that the humanities, and, in particular, learning from fiction (and science fiction) can offer a language to talk about major (systemic) change help and support learning about alternative organizational realities.

The study pertains to discourse and narratives, not to material aspects of culture construction.

Today, there is a mounting critique of business schools and their role in society. Following Martin Parker’s call to transform them into schools of organizing, helping to develop and discuss different alternatives instead of reproducing the dominant model, the authors suggest that education should be based, to much larger extent than until now, on the humanities. The authors propose educational programmes including the study of fiction and film.

The authors propose that the humanities (and the study of fiction) can equip society with a suitable language to discuss and problematize systemic change.

This paper adds to narrative social studies through providing an analysis of strong plots showing ways of coping with systemic collapse, and through an examination of these plots’ significance for organizational education, learning, and planning. The authors present an argument for the broader use of fiction as a sensemaking, teaching, and learning tool for managing organizations in volatile environments.

This chapter reflects on the process of conducting qualitative research as an indigenous researcher, drawing from two studies based in south Wales (the United Kingdom). The chapter not only explores the advantages of similarity in relation to trust, access, gender and understandings of locality, but it also complicates this position by examining the problem of familiarity.

The studies, one doctoral research and one an undergraduate dissertation project, both took a qualitative approach and introduced visual methods of data production including collages, maps, photographs and timelines. These activities were followed by individual elicitation interviews.

The chapter argues that the insider outsider binary is unable capture the complexity of research relationships; however, these distinctions remain central in challenging the researcher’s preconceptions and the propensity for their research to be clouded by their subjective assumptions of class, gender, locality and community.

The chapter presents strategies to fight familiarity in fieldwork and considers the ethical issues that arise when research is conducted from the competing perspectives of both insider and academic. The authors focus on uncertainties and reservations in the fieldwork process and move beyond notions of fighting familiarity to consider the unforeseen circumstances of acquaintance and novel positionings within established social networks.

This paper enfolds and builds upon an earlier text (Giardina, 2003) which sought to bring personal understanding to the events of 9/11/2001. Comprised of separate yet interrelated and intersecting “writing-stories” (Richardson, 2000), the narrative collages that follow are caught up in the curve of time – a future nostalgia of bemused irony – that reflect the events of the last year against my own history and lived textuality as a white, liberal, middle-class graduate student at the University of Illinois. My goal is to uncover “new” versions of “truth,” new fictional (re)tellings of our experience(s) that adhere to a (post)-performative moral ethic of interpretation, care, and social change.