Search results1 – 10 of over 1000
This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s…
This chapter serves as an introduction to the key themes found within the volume Ethics and Integrity in Visual Research Methods, and provides a rationale for the volume’s focus on photography and film media. Drawing from other literature, the author discusses the significance of indexicality and visual language when working with photography and film in research contexts, and describes how these considerations set photography and film apart from other forms of visual data. The chapter concludes by outlining the format of the volume, which divides the nine chapters into three key areas of exploration: Voice and Agency, Power and Inequality, and Context and Representation.
Although fewer than 150 years have passed since Jacques Daguerre perfected the first photographic image in 1839, the flood of evolving equipment and applications has already generated a broad and richly varied field. Simultaneously one of the youngest arts and one of the newest technologies, photography is now used in medical research, space exploration, criminal investigations, agricultural production, design of industrial machinery, ad infinitum. At one extreme, it records family life and supplies the surest method of identification on drivers' licenses. At the other end of the spectrum, photography (once denounced in haute couture) has within the past five years not only become an “acceptable” art form, but has assumed centerstage in museums and exhibits throughout the United States and Europe.
In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people…
In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.1 There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.
We examine how the organizational identity of established firms affects their strategic outcomes during the emergence phase of a new market. Drawing on cognitive theories…
We examine how the organizational identity of established firms affects their strategic outcomes during the emergence phase of a new market. Drawing on cognitive theories of analogical learning, we build theory about how the established identities of producers influence the fluency with which consumers make sense of novel products, and hence affect valuations. We illustrate this theory through an empirical study of consumer evaluations of de alio entrants during the emergence of the digital camera industry.
This chapter introduces the approaches and methods employed in a four-country research project that resulted in the 2017 report The People in the Pictures: Vital…
This chapter introduces the approaches and methods employed in a four-country research project that resulted in the 2017 report The People in the Pictures: Vital perspectives on Save the Children’s image making. It presents and explores the ethical issues that emerged throughout the process of the research, particularly in relation to photo elicitation – the use of images (still and moving) within both interviews and focus groups. Interviews and focus groups took place in the UK, Jordan, Bangladesh, and Niger with a total of 202 research participants. The research involved sharing Save the Children content (fundraising materials, published reports, online news features, TV adverts, and short films) with research participants. Research participants included those featured in some of these visual communication materials (referred to as contributors), and other individuals within their communities (referred to as non-contributors). The following principles and decisions informed the research design: safe and ethical practice; inclusive, engaging and accessible approaches; the participation of children; prioritising first-hand accounts; no photography or filming; and the preparation of location- and language-specific resources for each interview and focus group. The main ethical issues to emerge during the design of the research related to predicting (and responding) to any potential negative impacts of the research on participants, particularly contributors, but also children. The researchers also experienced some unexpected ethical encounters, including visual materials causing some concern or distress. Additionally, assuring research participants’ anonymity led to the necessity of extra care when publishing the report and the use of images within that.
The essay studies the introduction and use of audio-visual media in contemporary Swedish courtroom praxis and how this affects social interaction and the constitution of…
The essay studies the introduction and use of audio-visual media in contemporary Swedish courtroom praxis and how this affects social interaction and the constitution of judicial space. The background to the study is the increasing use of video technology in law courts during the last decennium, and in particular the reformed trial code regulating court proceedings introduced in Sweden in 2008. The reform is called A Modern Trial (En modernare rättegång, Proposition 2004/05:131). An important innovation is that testimonies in lower level court proceedings now are video recorded and, in case of an appeal trial, then are screened in the appellate court. The study of social interaction and the constitution of judicial space in the essay is based in part on an ethnographic study of the Stockholm appellate court (Svea hovrätt) conducted in the fall 2010; in part on a study of the preparatory works to the legal reform; and in part on research on how media technology affects social interaction and the constitution of space and place.
The purpose of this paper is to analyze the corona discharge films (CDFs) taken from the fingertips of human subjects who had contact for a long period of time with two…
The purpose of this paper is to analyze the corona discharge films (CDFs) taken from the fingertips of human subjects who had contact for a long period of time with two sets of clothes, in order to establish in what way a long period of contact with textiles influences life's parameters: the heart beat (HB), the blood pressure (BP), and the volunteers' level of comfort.
Three volunteers took part in the experiments. They were placing a fingertip in the area of a strong electrical field of high voltage (10 kV) and high frequency (1,024 Hz) to register a CDF. A digital camera placed within the area of corona discharges records this phenomenon.
The paper finds that there is no statistical difference between the parameters of a CDF taken from the fingertips of volunteers after 5 h of wearing two sets of clothes. There is a connection between the level of comfort of the volunteers and their CDF.
The CDF shows the consequence of the different factors, impact on human subjects. The authors are moderate in their opinion about the influence of extreme textiles‐related feelings.