WEBVTT

1
00:00:00.001 --> 00:00:00.120
Yes, okay, great.

2
00:00:00.650 --> 00:00:20.309
So I first would like to greet everyone for this Last session of our C. 57, which is a book series, launch, and I will read an acknowledgment, acknowledgment of country on behalf of everyone, gathered a pay respect to this period of country. Here in Norm, where we are meeting.

3
00:00:20.310 --> 00:00:37.629
acknowledged the past and present cooling nation, Mulonduri. We were wrong as the sovereign people here the cultural knowledge holders who maintain and promote the norm aboriginal law, customs and custodianship responsibilities for country and the people. That country continues to sustain generation after generation

4
00:00:37.630 --> 00:00:53.939
into the future. For all of us I recognize the important contribution that first nations. Thinkers have made to sociology, including challenges to our dominant ways of thinking. We thank all first nations, delegates in the room today for their contributions to knowledge in the discipline.

5
00:00:54.460 --> 00:01:04.779
So thank you for gathering. Today, we have this book series, launch and Gary, Bradford is also online participating.

6
00:01:04.820 --> 00:01:25.310
And just briefly, I will. introduce. what we're going to talk about! I'm sure some of you came here because you have concrete proposals and concrete questions how to deal with, perhaps your future. book endeavors, and some of you have published.

7
00:01:25.310 --> 00:01:52.679
and still you have questions. So we have Jessica today from Palgrave Macmillan to answer some of your questions, and to actually introduce she will. She will be our next speaker who will briefly introduce Paul Graham, Macmillan, and all the workings related to publishing. Then I will say a few words about the scope of the Social Visuality series, which is quite new actually, but we already have quite a lot of work

8
00:01:52.680 --> 00:02:14.400
going on Some books have been published already. and so Gary Bradford, Outgoing President for C. 57. He will introduce some of these items, and then we have 2 speakers we have Veronica Gregorio, and Kay Mcquenan. They have very concrete proposals

9
00:02:14.400 --> 00:02:32.099
mit Ctl, and so we can. listen to them. we'll listen to them, and then we can have feedback and as co-editors and members of the Advisory Board or publishers. We can also give some feedback. So please, Jessica, the word the floor is yours. Thank you. 250.

10
00:02:37.020 --> 00:03:00.319
So I'm not used to presenting, so please bear with me so good evening, and thank you for your attendance. It is my pleasure to open the launch of our New Power Grade Book Series. Social Visualities. Edited by Dennis Zwev. From the University of St. Joseph Macau and Gary Bridgeford, from the University of Central Lancashire, United kingdom tonight.

11
00:03:00.450 --> 00:03:18.019
My name is Jessica sociology editor for paragraph Mcmillan, and I'm based in Sydney for over 175 years. Paul Grave Mcmillan has published critical and cutting edge research in the humanities and social sciences. And we are looking forward to continue that tradition with with our new series, social visualities.

12
00:03:18.130 --> 00:03:33.240
Yeah, the idea for the book series and the editor's first Visual Sociology pivot, was born at the Isaiah in Toronto in 2,018, where my colleague, Charlotte Plant, who is based in the Uk. And can't be here with us tonight, met Dennis and Gary for the first time.

13
00:03:33.270 --> 00:03:40.550
So it's great to be able to come full circle and to launch the series at the same conference. 5 years later, in Nam Melbourne.

14
00:03:40.680 --> 00:03:58.060
I would like to extend my gratitude on behalf of Pogrith Macmillan, not just to the editors, but also to the R. C. 57. Visual Sociology Research Group. We're incredibly grateful for their collaboration, and are looking forward to signing up more exciting books in this series. As a result of this year's conference

15
00:03:58.280 --> 00:04:18.780
tonight you are here to present us. I'm Veronica Gregorio from the National University of Singapore and Gay Maguena from the Human Sciences Research Council in South Africa. We are proud to announce that we recently signed for Veronica Gregorio's edited volume, Visual Sociology in the Philippines. So please watch this space. And yeah, we're excited.

16
00:04:18.820 --> 00:04:25.569
Dennis and Gary are going to tell you more about the series in detail in a few minutes. So I'd like to tell you more about power, grief, and brief.

17
00:04:25.750 --> 00:04:42.960
Margaret Macmillan's Social Sciences program includes sociology, psychology, anthropology, gender studies, language and linguistics, human geography, science, and Technology, criminology and education, with passionate editors based in the U. S. The Uk. And Australia.

18
00:04:43.270 --> 00:04:48.599
We publish original research in monographs, pivots our shorter monograph format.

19
00:04:49.830 --> 00:05:12.789
editor, volumes, handbooks, major reference works, and textbooks. We welcome proposals for monographs as well as edited volumes in the Social Visualities Series. All proposals undergo a rigorous single blind peer review process by a minimum of 2 independent experts based on this feedback and an internal editorial board discussion. We consider proposals for publication. So please go ahead.

20
00:05:12.980 --> 00:05:38.839
As a global publisher. We provide speedy production processes, including copy editing and guarantee our authors a wide dissemination of their work, and over 10,000 institutions worldwide. We also take pride in our publications, and make sure that your work does not only get a designated website, but that it is included in relevant marketing campaigns as well. If you are interested in submitting your work to social visualities. Please get in touch with us. Or the Book series. Editors

21
00:05:38.940 --> 00:06:01.809
having published the edited volume facilitating Visual Socialities, Processes, Complications and Ethical Practices, by Casey Burke, holder, Joshua Schwab, Cartes, and Funke, Allah Djambi! So far we are looking forward to showcasing even more volumes at the next Isa in Guangzhou. Career in 2027. So thank you very much for your attention, and please give a round of applause to Dennis and Gary.

22
00:06:09.030 --> 00:06:16.860
A short word, and Gary will also have a word later on.

23
00:06:17.070 --> 00:06:39.850
 so I'll just give up a few words on the scope of social visualities as a book series. Also different formats that we're inviting. And it's it's a new book series. It speaks to the shifts and advancements within humanities in an effort to examine the role and function of images.

24
00:06:39.960 --> 00:06:57.750
objects, and all performances within society, and in particular cultures or communities. The series foregrounds visuality is a useful team to approach the production representation, naturalization of power, state, or otherwise, in society that otherwise remains hidden or unseeable.

25
00:06:57.920 --> 00:07:08.700
With an emphasis on socio-visual thinking. The book series aims to unpick some of the preexisting imaginaries and boundaries that still dominate a major discipline like sociology.

26
00:07:08.820 --> 00:07:12.400
in particular, the ways in which we engage with images.

27
00:07:12.440 --> 00:07:40.609
their production and use in specific spaces and contexts. To this end social visualities looks to further normalize. And this is one of the goals also of the research committee. 57. Visual sociology. To normalize the visual is a valid data source as well as provide a platform to the interrogation and analysis of new emergent and ever change in types of visual data and image production practices.

28
00:07:40.650 --> 00:07:52.009
The series will provide theoretically rich different case studies and case study. Oriented guides that address the ongoing, scholarly and pedagogic visual turn in the social sciences.

29
00:07:52.030 --> 00:08:01.329
including, but not limited to visual global politics and international relations, visual criminology as well as topics more broadly associated to visual culture and society.

30
00:08:01.690 --> 00:08:25.840
so the series actually, has different formats. And this is due to Palgrave. capacity to accommodate these formats. basically. there are full feature books and pivots. Pivots is a completely different format, which is a slightly short

31
00:08:25.930 --> 00:08:27.450
and

32
00:08:28.320 --> 00:08:52.209
Jessica can say a few more words about these differences. both formats, full feature books and pivots series they can be either monographs or authored monographs, but also edited collection. Actually pivots, can I? I've seen also pivots having, been pop have been published as a collections.

33
00:08:52.290 --> 00:09:09.870
and So these are variety of variety of different formats that we we also accommodate within the series. and so it's the length. It's always, often often matters the length, so the pivots is is shorter and the full feature is much longer.

34
00:09:10.100 --> 00:09:31.549
 the series is organized, and in cooperation with the International Sociological Association Research Committee 57. Usual sociology. We have an International Advisory Board that works and sort of tries to invite proposals

35
00:09:31.550 --> 00:09:46.059
across continents, Latin America, Asia, Eurasia, Africa as well. So we have some members of the Advisory Board today.

36
00:09:46.140 --> 00:09:52.670
and we have the new president of R. C. 57, Luke Powell. So

37
00:09:52.970 --> 00:10:00.270
thank you, everyone. And now, Gary, can you hear me?

38
00:10:01.710 --> 00:10:06.869
I can. Okay. should I put your online?

39
00:10:07.210 --> 00:10:08.490
Just don't share.

40
00:10:08.580 --> 00:10:10.120
Okay, stop sharing.

41
00:10:12.620 --> 00:10:18.470
Okay. Now, now we can see you.

42
00:10:18.770 --> 00:10:35.399
GBratchford: I'm sorry I'm not with you physically, but here I am virtually, and I'm just gonna kind of back up what Dennis and Jessica said by giving you. If the cursory overview of what is currently either published or in the pipeline in terms of the book series. To give you a tangible sense of what's being kind of moved through the system.

43
00:10:35.790 --> 00:10:44.349
GBratchford: I guess it's worth mentioning. When Dennis and I first met Charlotte 5 years ago, which just colluded to. since then we've

44
00:10:44.590 --> 00:10:48.119
GBratchford: Dennis. I wrote our book. We conceived the book series, and there's

45
00:10:48.140 --> 00:11:03.049
GBratchford: 3 titles published since then, but rather opportunistically, in minor Genesis, and it's a co-ed co-author pivot. We we we we kind of opportunistically suggested the book series in the introduction. So I'm glad the book series exists

46
00:11:03.250 --> 00:11:04.990
GBratchford: because we we wrote it in

47
00:11:05.000 --> 00:11:09.389
GBratchford: something that already was there. So glad that came to fruition.

48
00:11:09.590 --> 00:11:13.159
GBratchford: But yeah, just to give you a sense of some of the titles that we have. So

49
00:11:13.230 --> 00:11:27.330
GBratchford: the 2 I already mentioned or online already, which you can see. That's a visual film. Mix sociology. By Joyce Berg. Then we have book holder at all so same visual socialities which is really interesting, and it's a volume. And then in production.

50
00:11:27.590 --> 00:11:30.420
GBratchford: and contract signed

51
00:11:30.620 --> 00:11:35.259
GBratchford: Veronica, which was mentioned just then, which I'm looking forward to hearing more about visual research in the Philippines.

52
00:11:35.540 --> 00:11:47.859
GBratchford: And then there's 2 concerning aerial research aerial kind of practices. one of them is both the ground beneath the sky by Monica, and as I was looking at drones in different geographic regions.

53
00:11:48.180 --> 00:11:53.009
GBratchford: and then we have vision of that account. You know the edited volume, and Dennis and myself.

54
00:11:53.180 --> 00:12:05.039
GBratchford: And then there's 4 of the 3 of the titles that are in proposals in house again around drones. Lastly, and then there's lots of proposals in the pipeline. So then this and I get

55
00:12:05.300 --> 00:12:16.360
GBratchford: through Charlotte. We get about one inquiry every 2 months. So it's quite an active book series, and the cross-section material is quite broad.

56
00:12:16.500 --> 00:12:31.549
GBratchford: and lots of discussions are having around different other things graphic medicine, so and so forth is the most latest one. So yeah, there we ask the overview of the activity of the series, anyway. So there's 3 things published. There's 3 in the pipeline. There's 3 on the contract

57
00:12:32.220 --> 00:12:34.690
GBratchford: since its conception 2 years ago.

58
00:12:36.950 --> 00:12:44.429
and we're trying to also be as wide as possible in terms of geographic scope of visual sociology.

59
00:12:44.470 --> 00:13:04.749
So It's not that we are just particularly looking for underrepresented visual sociologists. But it's just interesting. For instance, the title and visual sociology in the Philippines we know very little about, and it's just, I think, very interesting to know more about

60
00:13:04.940 --> 00:13:25.269
different places, and the the one that is in the pipeline is also about Malaysia and drones. So this, I guess is very important, that it's it's an international Sociological Association Research Committee trying to globalize visual sociology through this kind of book series. As well.

61
00:13:25.700 --> 00:13:39.279
GBratchford: Yeah, absolutely. Geographic representation is is key, I suppose because you know it, it would be great for the series. It will still take different types of inquiry around different geographies, politics, practices, which is out of the the context of the the statement for the series.

62
00:13:39.560 --> 00:13:50.620
I would also reveal that it's also very. It's critically important to have this kind of geographical scope sometimes, if you want to have a proposal accepted.

63
00:13:50.680 --> 00:14:12.059
and with some of the proposals already accepted reviewers anonymous reviewers. They suggested that despite very high quality of the proposal already it should be a little bit more inclusive of other places. So this is very important as well.

64
00:14:13.260 --> 00:14:15.209
kind of key to success.

65
00:14:15.500 --> 00:14:21.930
But it can. This can also vary from title to title depending on the topic.

66
00:14:22.120 --> 00:14:23.529
Okay, so

67
00:14:24.030 --> 00:14:46.769
anything else. Gary, I I hope you you're staying. And the the plan is that now, Veronica and Gay will give their proposals to sort of judgment and feedback from the publisher and ourselves. And then we can have a discussion. And closing.

68
00:14:46.820 --> 00:14:51.150
Okay? So I stop sharing, I guess again.

69
00:14:51.900 --> 00:14:55.409
no, I don't have to stop me. Share it. Here

70
00:14:58.130 --> 00:15:04.809
the Veronica. Do you have anything to share here, or you have the presentation. Okay.

71
00:15:06.930 --> 00:15:09.710
so a nice case here.

72
00:15:13.470 --> 00:15:21.539
Okay, okay, yeah. Okay. So now, we have Veronica.

73
00:15:21.830 --> 00:15:22.760
And

74
00:15:23.050 --> 00:15:24.929
okay, presentation is loading.

75
00:15:25.220 --> 00:15:27.719
Okay, at least the floor is yours.

76
00:15:38.790 --> 00:15:50.100
Hello, okay. Hi, everyone. I am Veronica Gregorio, from the National University of Singapore, Department of Sociology.

77
00:15:50.100 --> 00:16:16.300
and I am presenting a work in progress which was inspired by the recent book of our panel conveners, Denis and Gary. So yeah, thanks to both of you for convening this panel and to everyone here who are spending their Friday afternoon with us. So thanks in this presentation, I will share the story behind this proposal on visual research in the Philippines.

78
00:16:18.700 --> 00:16:40.149
Okay? So there are 2 parts here the timeline and the proposal contents, the contributions and the status of the proposal which Jessica mentioned already. But yeah, this is what I'm gonna discuss for this evening, as we all know, a book project like this can take years to finish.

79
00:16:40.150 --> 00:16:58.010
My interests are actually, I should say, my love for visual methods and research began in 2,014 during my master's ma in women's studies at the University of Philippines, and it continued, as I work on my Phd. In sociology at and us.

80
00:16:58.010 --> 00:17:21.300
So after my Ph. D. In 2,021 I read Dennis and Gary's work on the the book, the visual sociology, practices and politics in contest contested spaces, and I told myself. I think, this series has some potential. And I think it's time for me to work on something that will collate similar works about the Philippines.

81
00:17:21.300 --> 00:17:45.649
So yeah, in 2022. we have a Philippine Sociology Conference, and they form the panel there, posted the call and receive 4 papers at that time. After the conference there are 3 more contributors. They approach our panel, and so now I'm here sharing our our volume our proposal now. So

82
00:17:46.420 --> 00:18:01.110
the overall question for this project is, how do global South scholars, such as those from Philippines, catch up with the fast-paced, developing ways of collecting, producing, and analyzing visual data and knowledge.

83
00:18:01.180 --> 00:18:06.800
In the introduction I will show how ways of seeing are used in the Tagalogue language.

84
00:18:06.810 --> 00:18:29.570
Kitaba in Tagalog. It means, do you see? Or you see, in shorter form, where Kita K. Ipa can be simply translated to C. S. E. C. The phrase is also used as Nakhitaba. Are you seeing also in present tense, Marquitaba? Will you see in future tense and Nakitaba? Did you see

85
00:18:29.570 --> 00:18:53.220
in past tense? So in the introduction. I will just elaborate how Kita is about being visible or viewable as well. More importantly, it will demonstrate how Kita is about learning by seeing some examples using various forms of Kita or Nakitamos, a Tiktok did you see on Tiktok, Kitaba? Some app? Is it visible in the map.

86
00:18:53.430 --> 00:19:01.709
Marquita safari-san we can learn in history or Kitam Kita. It can be seen clearly. So there's that emphasis.

87
00:19:01.770 --> 00:19:15.719
Following the introduction. I will share here some some spoilers now. From the eighth contributions, and a concluding chapter will be commissioned to Philippine sociologist Philamine, and of par Philamine Gutierrez.

88
00:19:16.860 --> 00:19:37.700
So just a brief overview on the contributions this one. You can see the the chapter name and the the authors are here. so, drawing from visual ethnographic framework the authors identified visual and audio conventions of high engagement pro-markos, tiktok videos

89
00:19:37.700 --> 00:19:55.290
and discursively analyse the pro Marcos messages they successfully disseminated into the narrative landscape so Marcos, Jr. Is the current president of the Philippines through leveraging the Platform's norms of intimacy, relatability, and unpolished homemade media production.

90
00:19:55.290 --> 00:20:08.270
Tiktok creators portrayed marcosis or the Marcos as authentic, approachable, and average, instead of the overly formal. elite! Elita! Kind of a politician

91
00:20:09.180 --> 00:20:11.530
in the next chapter.

92
00:20:11.570 --> 00:20:26.080
concepts of aesthetics of security, neoliberalized ethics and concept of symbolic violence. Now, The author of Chapter 2 will analyze visual data gathered through walking ethnography.

93
00:20:26.090 --> 00:20:47.080
and she will argue now in this paper, in this book chapter, that, apart from merely recognizing This graffiti snow or buffing? No. Us effort in maintaining the cleanliness of both public and private property, the the Marikina city. It's a city in Manila, national capital region.

94
00:20:47.080 --> 00:21:00.139
It's ultimately an enforcement of neoliberal isthetics that lacks visual and methodical sophistication in the pursuit of its ideals. So this is a chapter 2,

95
00:21:01.120 --> 00:21:24.840
and then the chapter 3. contribution. It explores the use of visual, collaborative, and map-based methods to surface knowledge on protracted displacement in conflict, affected settings. So if you'll notice the the contributions are also very diverse. From north of Philippines to South Philippines. So the setting of this one, not the authors, did the case study

96
00:21:24.840 --> 00:21:37.039
of the experiences of vendors and traders of Marahui's Padian market. They were displaced because of the 5 month urban warfare in the Southern Philippines. This is in 2,017.

97
00:21:37.040 --> 00:21:52.040
So the the warfare is between the Philippine military and the Black flag groups inspired by Dalla Islamiya, or the so called Islamic state. When they level the urban core of the only ascribed Islamic city in the country.

98
00:21:52.040 --> 00:22:12.070
so by visualizing pres each occupancy and the use of the destroyed market, the authors provide a a visual frame for discussing the effects of internal displacement and issues of indigenous property rights, economic recovery and memory. From the point of view of the displaced residents.

99
00:22:13.360 --> 00:22:29.279
And then, chapter 4. Actually the authors of chapter 4. They are here Vincent and Clarion. This. This this chapter explores the visual representation of Filipino Catholicism

100
00:22:29.280 --> 00:22:54.649
through the lens of the catechtical ministry, practices in the Philippines, utilising visual data made of photos, videos, and drawings. This is from their project. This methods. Chapter examines the power of sociological visual analysis, in capturing and visualising Filipino Catholicism, in the context of retails, interactions, and symbols.

101
00:22:54.650 --> 00:23:06.239
the study argues that that visual sociology could frame and show key elements of collective solidarity as visually portrayed in the practices in in the Philippines.

102
00:23:08.220 --> 00:23:19.049
And then in this work this is by By another. Colleague, this author analyzed the production

103
00:23:19.050 --> 00:23:39.049
context and the visual resources of the Philippines. For most State-sponsored war memorial sites. So 2 sites, a shrine, a shrine in Batan and the Pacific War memorial in Croydor, also in in Philippines. So, using a multi model, critical discourse analyses.

104
00:23:39.070 --> 00:23:51.550
the author found that the discourses of heroism and sacrifice have have been for grounded by the Philippine State. To coincide with its specific foreign policy objectives.

105
00:23:51.550 --> 00:24:09.730
while bolstering the claim to our hero weeks by the Dictator Marcos. So this is speaking to the other chapter the first one also about Marcos. such findings will shed light, not only on the intention of the State to mobilize memory towards specific aims.

106
00:24:09.730 --> 00:24:23.830
but more. On how the flexibility! Flexibility of memory presented through the visual semiotic resources enables its reshaping according to the intentions of the political elite. So this is a

107
00:24:23.830 --> 00:24:36.760
chapter 5 and then 6. It's an archival research which is about collecting, creating and repatriating Filipino migrant workers. Interviews from selected European media

108
00:24:36.760 --> 00:24:56.499
in creating this materials that were not previously shown to audiences in Southeast Asia. This chapter reflects on the stream of labour migration now. By providing the sight and sound as dimensions of studying effective experiences and memories of mobility and displacement.

109
00:24:56.530 --> 00:25:13.120
So this Layers of sound accents, tunnel, and facial expressions were captured by the audio visual recordings as they traverse different social issues while forming their own narratives as documented in selected European media.

110
00:25:14.790 --> 00:25:19.719
And then we also have this second to the last one.

111
00:25:20.150 --> 00:25:44.459
Telescore. Yeah. Local local term for TV series are not safe from portraying acts of violence against women. So in this chapter the author identified the different visual attributes of the characters and the types and levels of violence were also coded and determined. So there are different telescope is used in this chapter.

112
00:25:44.500 --> 00:25:50.510
and the the author found that 62% of the vow Related scenarios

113
00:25:50.530 --> 00:25:54.660
include females as the main perpetrator of violence.

114
00:25:54.680 --> 00:26:09.519
This reinforces the male gaze and the catfight culture as objectified in entertainment content. So cat fights between women are often portrayed by the media as entertaining, humorous, and erotic, not in the eyes of the audience.

115
00:26:11.200 --> 00:26:40.860
And then the last chapter. I'll be writing it This chapter will show how I use photo elicitation in various projects. First is on urban for teenage, mothers on gender and poverty, research, second, on ruralute aspirations, youth research entered on female perceptions of Leptos pyrosis. An ongoing project. it's a health research project. this chapter will reiterate how photo elicitation

116
00:26:40.860 --> 00:27:10.529
is. it can be seen as a feminist method, and why it is beneficial for both the researchers and for the participants. With emphasis on youth and females. It will discuss how unraveling, concealed, and neglected these things is one of the main contributions of using photo elitation in different fields of research. Additionally, the chapter will offer practical recommendations and considerations for a conducting photo station in the context of the Philippines.

117
00:27:10.630 --> 00:27:32.970
And yeah, since this is the last chapter now, I I'll just give the update also in the status of the proposal after sending the proposal and receiving reviews. By the way, the reviews are really great, so it it helped me, and the contributors. In revising, you know. Revising the proposal, and also in their ongoing Revision for their chapters.

118
00:27:32.970 --> 00:27:46.430
No, so yeah. After I sent the revised proposal back. I received a feedback again. And yeah, we signed a contract with the Algrave. There was a change in title.

119
00:27:46.430 --> 00:27:54.819
Now. It's a visual culture in the Philippines. So the review

120
00:27:54.870 --> 00:28:23.180
saying that we should emphasize on the theoretical and conceptual contributions also. And we can wrap that up after I receive all the Revised versions, also of the chapters. So yeah, and this this is the status right now, and I'm looking forward to hearing. and maybe our contributors can say something also about the volume.

121
00:28:23.360 --> 00:28:26.399
So thank you. Everyone for listening.

122
00:28:32.560 --> 00:28:34.680
Is there any questions or comments?

123
00:28:41.070 --> 00:28:43.649
This one then devoted to the

124
00:28:55.800 --> 00:28:57.089
turn to session.

125
00:28:57.150 --> 00:28:58.230
Okay.

126
00:29:02.470 --> 00:29:03.150
okay.

127
00:29:05.790 --> 00:29:22.629
Good evening, everyone. Hello! Sorry. I'm seeing 2 familiar paces. Hello, great So I'm not going to give you too much background. I'm going to launch into reading the proposal, and I hope I read in a really

128
00:29:22.660 --> 00:29:33.300
animated way, to keep you to keep a solo in. And if you want the background to the book concept and sort of then we can talk about that in the Q. And A.

129
00:29:33.540 --> 00:29:45.579
But I'm going to launch into this presentation, and hopefully. we'll make sense of it together. But I look forward to your questions, comments, critical feedback when I'm done.

130
00:29:45.740 --> 00:30:01.110
Okay. So at the time of submitting the or responding to the call for abstract. This was the title I proposed materializing identities after apartheid shures and the long shadow of empire.

131
00:30:01.260 --> 00:30:09.409
Since then there have been about 3 or 4 reconsiderations of exactly what my post-doctoral project is about.

132
00:30:09.550 --> 00:30:23.670
and so now we have another working, tentative placeholder of a title, and I suspect it might change again. Visual fabrications. Isi Shuresra, which is a textile, and the search for post-apartheid, Africanically

133
00:30:24.590 --> 00:30:30.190
And here you're seeing different colors, iterations, uses of this cloth

134
00:30:32.880 --> 00:30:48.389
in a provocative objectification and texturing of country geographical boundaries in Africa, atra, a Digital Artist Management Agency, founded in 2,020, shared a map of Africa according to its fabrics

135
00:30:48.560 --> 00:31:03.629
created by the Kenyan artist and textile designer, Priya Shah. The image depicts a map of Africa on which various African textiles demarcate indeed, fabricate each African country space on the continent's map.

136
00:31:04.210 --> 00:31:23.439
Shah's fabrication imaginative creative in some ways literal imprints, easy shares on to South Africa. The iconic, resist-dide printed cotton fabric, with evenly so, with evenly spaced small patterns in distinctive indigo blue and white.

137
00:31:23.689 --> 00:31:39.310
Shah's map renders country and textile visually synonymous. It suggests that Isi Shreshua invokes South Africa. and therefore it invites us to see South Africa through the prism of the cloth.

138
00:31:43.000 --> 00:31:46.620
What many referred to as the denim of South Africa.

139
00:31:49.950 --> 00:32:07.540
texturing South Africa with icy shreshra, not only speaks to the fabric's under-explored visual proliferation as a signifier of Africanity, that is, a subjectivity that affirms origins in and belonging to Africa. In post 1994, South Africa.

140
00:32:07.680 --> 00:32:24.989
It also speaks to the symbolic restoration of South Africa's position as part of, rather than distinct from, the African continent, having been the last country to gain independence from what the Liberation movement termed colonization of a special kind.

141
00:32:25.040 --> 00:32:44.140
referring, of course, to the specificity of satellite colonialism under apartheid colonialism without a European metropol, and with the intention of Balkanizing Africa's southern tip into separate national polities demarcated by ethnicity and race.

142
00:32:45.370 --> 00:32:56.470
In denoting this relationship between textile and country as synonymous, I seek to highlight a relationship between the 2 that suggests a mutual associational benefit

143
00:32:56.840 --> 00:33:11.029
where the country is seen as embracing a black African cultural aesthetic, which derives principally from the textiles association with, among others, use in black women's matrimonial rights of passage.

144
00:33:11.510 --> 00:33:21.069
Transcending these and other precretedly, purportedly traditional modes of the textile's use is this, Russia is rare, as rallied

145
00:33:21.140 --> 00:33:31.920
as its growing visual repertoire suggests, as a uniform, as a unifying cultural signifier of a liberated post apartheid black aesthetic

146
00:33:32.320 --> 00:33:53.169
visual fabrications. The book that I'm proposing to you today unwraaps icy Shreshra's multiplicities as an industrial, ideological, cultural, symbolic, and aesthetic artifact mobilized to fabricate and materialize similarly varied conceptions of Africanity.

147
00:33:53.510 --> 00:34:01.019
It highlights the cultural and economic dynamics that underlie the synonymity that Shah's artwork beautifully captures

148
00:34:01.200 --> 00:34:18.859
in so doing the proposed book makes a crucial hermeneutic intervention in the fields of visual studies and material culture. Taking a sushi's visuality and materiality as the crucial starting point in illuminating its symbolic value.

149
00:34:18.990 --> 00:34:36.979
Visual fabrications leads critical commentary on the mobilization of Isi shreds to examine the complexities of asserting an Africanist post-apartheid subject hood marshalling 7 years of our cover research and the visual analysis of artworks and artistic performances.

150
00:34:37.110 --> 00:34:38.820
visual fabrications.

151
00:34:38.860 --> 00:34:52.250
visual fabrications, and covers the different ways that varying actors and institutions weave isish as the vital, haptic, and visual rudiment to their respective Africanity narratives

152
00:34:53.360 --> 00:35:14.320
distinct from traditional accents and visual sociology, which, as Stephen Gold has highlighted, use images to record social information. The proposed book interprets a wide array of imagery, including photographic images on and off social media artworks and museum exhibitions.

153
00:35:14.560 --> 00:35:31.310
It echoes Frankenstein's critique of the dominance of textual analysis in sociological research, insisting that the uniqueness of Textile's two-pronged visuality opens, exciting theoretical and and analytical possibilities

154
00:35:33.360 --> 00:35:57.659
2 questions guide the proposed book project. First, what perspectives on post-apartheid African identity as liberated African subjecthood? What I call Africanity can we discern from aesthetic and realist, or maybe for a lack of a better term, non-experimental uses of the of the textile.

155
00:35:57.770 --> 00:36:12.390
What fabrications, constructions, inventions, but not necessarily falsehoods of Africanity can we discern from how artists cultural and economic institutions use and visually mobilize this issue as well.

156
00:36:12.580 --> 00:36:30.919
Second, notwithstanding the individual and institutional uses of a common material, cultural object, what are the palpable physiiers, the fault lines, and the contradictions that are apparent in the fabrications of Africanity. That is, the Treasury facilitates.

157
00:36:32.480 --> 00:36:56.410
In answer to these, and perhaps other related questions. The book argues that the textile's non-experimental treatments in the domains of economic and cultural production exhibit a fixed conception of Africanity of Africanity. These treatments occlude the textile's entanglement with imperial and settler colonial visions

158
00:36:56.770 --> 00:37:07.660
which emerged to borrow Cedric Robinson from racial capitalist logics subjecting Africa and Africans to modes of imperial and colonial extraction.

159
00:37:08.000 --> 00:37:13.720
as Britain's King Edward indicated in a 1,904 speech in the House of Lords.

160
00:37:13.850 --> 00:37:34.449
the insufficiency of the supply of the raw material upon which the great cotton industry of this country depends has inspired me with deep concern. I trust that the efforts which are being made in various parts of my empire. To increase the area under cultivation may be attended with the large measure of success

161
00:37:35.180 --> 00:37:57.979
that a segment of Easi shresres value chain. Initially only cotton production was produced, was introduced to South Africa from the turn of the twentieth century, speaks concretely to attempts by the British Cotton Growers Association, starting in 1,903 to increase the cultivation area for cotton and parts of the British Empire.

162
00:37:58.140 --> 00:38:17.879
First, the Association established an experimental cotton plant in Northern South Africa. In 1,905 it installed a cot engine on the same site, opening another plant in the country's northeast, and in 1,913, a site in the northwestern part of South Africa was open.

163
00:38:18.390 --> 00:38:19.580
In fact.

164
00:38:20.510 --> 00:38:32.179
the opening in 1,948 of the plant on which the Kama textiles which manufactures this, and continues from which it continues to manufacture the cloth.

165
00:38:32.270 --> 00:38:40.380
was the consequence of a joint venture between the newly established Industrial Development Cooperation of South Africa.

166
00:38:41.020 --> 00:38:47.430
the Calico Printers Association of Manchester and the Department of Native Affairs.

167
00:38:47.670 --> 00:39:16.110
A purpose-built township. Zoe Licha was created on land donated by the Department of Native Affairs in South Africa as a dress rehearsal for the separate but nonetheless dependent and subordinate development plans of high apartheid. What the native affairs town planning report prepared in anticipation of Zealicha, referred to as an experiment and a forerunner to other similar schemes in native self administration.

168
00:39:16.660 --> 00:39:32.390
These imperial and colonial elaborations of Africanity and insubordinate relation to Euro-american, to Euro-imperial and settler colonial extraction are related in the manufacturers, custodial vision and discourse.

169
00:39:33.340 --> 00:39:40.139
They're also elided in the Cultural Museum's exhibitionary historiography about the Tech staff.

170
00:39:40.260 --> 00:39:45.140
and also in contemporary fashion aesthetics that the book presents

171
00:39:45.700 --> 00:40:06.979
in the first 3 chapters. And so the first 3 chapters, of what will now become the book are actually the core case studies that I deal with in my in my doctoral dissertation, and these are the more non-experimental, quite literal and realist sort of constructions of Africanity

172
00:40:06.990 --> 00:40:13.520
and visualizations of Africanity, using the cloth who stopped. Really what I have

173
00:40:13.690 --> 00:40:32.649
move towards. So again, chapter one deals with how the manufacturer, the gamma of Vc. Shre, has kind of redressed themselves and removed from view the imperial undertones underlying the cloth. Chapter 2 looks at the exhibition that tried to tell a history of

174
00:40:32.650 --> 00:40:57.489
this cloth visually through an exhibition, but in the process also elided the kind of uncomfortable apartheid legacies that were embricated into the making of this cloth, and chapter 3 looked at a contemporary fashion label, how it presents everyday Africanity as everyday heritage, but again, does not tap into these problematic and difficult histories.

175
00:40:57.490 --> 00:41:02.690
and presents Africanity as a kind of black urban consumer culture.

176
00:41:03.070 --> 00:41:14.310
The 3 new chapters which then complement the dissertation chapters turn the lens away from what I call these realist or literal treatments of the cloth.

177
00:41:15.090 --> 00:41:43.669
By contrast, artist's appropriation of Vici Shreshui expresses Africanity as malleable, contested multi-stranded in this regard the books of exploration of black artists, fabrications here understood as imaginative representations, and our artistic re-assemblings expand on Zakhya. Eman Jackson's provocative work on Black aesthetics as a counterpoint to dominant Western aesthetics and epistemologies.

178
00:41:44.290 --> 00:42:04.150
in leaning on black aesthetics, to invigorate, to invigorate ecstasy's cultural and social history, visual fabrications, extends adam getto's, more recent political, philosophical scholarship on de-colonial world making, but also Murphy'sula's Intellectual History of Neighborhoods, Philosophies of Black Humanism.

179
00:42:04.680 --> 00:42:18.510
however contra these scholars philosophical considerations. My book attends to the concrete, everyday strategies of personal and and so Personal and institutional self-making through Isi Shreshra.

180
00:42:18.980 --> 00:42:39.239
Visual fabrications illuminates the varied and often problematic uses that fabricate Africanity as amnesiac, post-apartheid institutional renew, that is, in the case of De Gama, and gendered heteronormative ideals of black woman womanhood. In the case of the Museum and the fashion label.

181
00:42:39.400 --> 00:42:52.899
These fabrications foreclose the possibility for Africanity as dynamic, alive to but subverting histories of imperial and settler. Colonial subjugation, racialization and gendering

182
00:42:53.120 --> 00:43:07.460
the book celebrates how visual artists and their aesthetic practices offer a different vision of emancipated and embedded post-apartheid Africanity. That wrestle with the country, and isis treasurer's colonial past

183
00:43:07.700 --> 00:43:19.060
articulated on the back of artist aesthetic insight. The book questions the extent to which we can approach the textile as an unproblematic marker of post-apartheid Afghanity.

184
00:43:20.290 --> 00:43:21.729
I'm almost finished.

185
00:43:21.790 --> 00:43:40.490
Theoretically, visual fabrications connects cultural studies in 3 domains, aesthetics, and visual culture with object-centered approaches to social life, attending to Argent apadeurize the social life of objects from the perspective of visual representation.

186
00:43:40.820 --> 00:43:42.519
Apart from work

187
00:43:42.990 --> 00:44:04.890
by the anthropologist, Nina Sylvanes, much of the recent scholarship on African print textiles, including by Juliet Libertoire's including Juliet lib. De'etoir's contribution on Nisi Shreshua, offer limited if any commentary on the past and contemporary political economies of African print textiles moreover.

188
00:44:04.890 --> 00:44:25.559
dominated as the scholarship is by accounts of West African wax prints manufactured outside the Continent. My book attends to a print text from Southern Africa, disrupting the scholarly concentration in West Africa, but also discussing the modes of this textiles. Industrial seeding in South Africa.

189
00:44:26.060 --> 00:44:40.729
Furthermore, given the existing scholarship's dominant interest in these textiles, aesthetic qualities and print techniques. My book pivots towards the imaginal. And here I'm borrowing a concept by philosopher Kiara Botichi.

190
00:44:41.590 --> 00:44:46.479
For her. The imaginal denotes the dialectic between visual culture

191
00:44:46.670 --> 00:44:55.199
and the political, philosophical. Perhaps even the Utopian imaginaries that engender human emancipation.

192
00:44:55.280 --> 00:45:09.079
visual fabrications, leverages. Butichi's concept of the imaginal to reformulate current debates on African print textiles, their genealogy and their place in contemporary visual culture.

193
00:45:10.620 --> 00:45:12.940
The book reveals a fabrics

194
00:45:13.150 --> 00:45:28.809
complex, evolving aesthetic and symbolic power. In how different actors aesthetically, enthusiastically mobilize it to anchor varied, competing, contradictory conceptions of Africanity. In a post-colonial context.

195
00:45:28.820 --> 00:45:37.850
It shows how artists work materialize ever evolving imaginatively expansive and more inclusive fabrications.

196
00:45:38.100 --> 00:45:53.869
imaginings of Africanity. Finally, it demonstrates how, attending to artist's provocations facilitates confrontations with the issue in South Africa's past and present, against the backdrop of the textile and the country's imperial entanglements.

197
00:45:54.300 --> 00:46:02.020
Even though Isis, Russia's materiality has remained the same over time. a resist dyed cotton fabric.

198
00:46:02.160 --> 00:46:13.359
The textile, together with its representations and mobilizations has changed and will continue to do so as social actors fabricate new visions

199
00:46:13.830 --> 00:46:42.509
at a time of heightened global contact and mobility. Isi Shreshua and its rail or imagined stories remind us that the quest for post-colonial Africanity is neither straightforward, immutable, nor uniform. Rather it is shaped by the confluence of global, economic and cultural relations, past and present, with their and with their attendant dreams, fictions, and imagined identities.

200
00:46:52.220 --> 00:46:56.419
introducing your proposals, some of them already accepted.

201
00:46:57.050 --> 00:47:02.439
And so if you have any questions or comments. please one

202
00:47:12.330 --> 00:47:14.740
competitions, we better.

203
00:47:15.580 --> 00:47:20.039
Or maybe you have questions also on your own performance.

204
00:47:23.400 --> 00:47:28.000
on the politics for policy with English.

205
00:47:28.440 --> 00:47:31.240
Oh.  

206
00:47:32.220 --> 00:47:33.320
Publish.

207
00:47:33.380 --> 00:47:37.460
because different publishers have different policies.

208
00:47:37.600 --> 00:47:44.179
 many of us. We have to negotiate

209
00:47:44.300 --> 00:47:49.439
 change the format of the images.

210
00:47:51.260 --> 00:47:53.410
First, ask the who

211
00:47:53.780 --> 00:48:00.959
homosexual boxes. You have any questions on the images?  and then

212
00:48:17.390 --> 00:48:25.080
there's a phone if you're using other material to make sure that it's either a creative commons.

213
00:48:25.440 --> 00:48:31.000
or if you can see pollution with the copyright owner.

214
00:48:31.100 --> 00:48:36.600
this is this is necessary. so with the

215
00:48:36.900 --> 00:48:38.969
B depends on the source

216
00:48:39.140 --> 00:48:56.180
who went on just for example, on websites. It says how this is creative. We can use that even in a commercial environment, because we are published up so it could be at the science of orders.

217
00:48:56.800 --> 00:49:05.589
So it's no problem to do all materials, inquiry and peace research during the management operation.

218
00:49:05.890 --> 00:49:09.920
Do I need to see the measures that we write or not.

219
00:49:10.170 --> 00:49:13.980
 best case scenario that's for free.

220
00:49:14.030 --> 00:49:16.660
But it might

221
00:49:16.780 --> 00:49:23.609
that they is published on proportion. She cannot be reversed to that. So please keep that in mind

222
00:49:23.640 --> 00:49:36.820
also. When you use material. When you, when you use illustrations, make sure that you invent them into your argument those uses for different purposes with that imagery argument, because then

223
00:49:36.850 --> 00:49:39.300
can also

224
00:49:39.770 --> 00:49:42.349
that it's for open search.

225
00:49:42.410 --> 00:49:59.179
And then there might be some more reasons. But there's no one size to all approach, because it always depends on the source, the copyright owner, and make sure if you can. And we realize this, someone here has the right?

226
00:49:59.630 --> 00:50:02.410
Yeah.

227
00:50:02.650 --> 00:50:10.219
the person that you need to talk to. And maybe there's an alternative source which feels the same

228
00:50:10.340 --> 00:50:12.590
function for for your.

229
00:50:13.330 --> 00:50:16.920
So there is research involved on

230
00:50:17.660 --> 00:50:28.019
that. It might also only focus on really the crucial critical illustrations because it can become very tiresome and exhaustive. And

231
00:50:28.140 --> 00:50:31.349
yeah, and obviously it's a

232
00:50:31.530 --> 00:50:34.250
the the.

233
00:50:34.560 --> 00:50:53.640
But yeah, but they're happy to help you

234
00:50:53.710 --> 00:50:54.940
in one

235
00:50:55.070 --> 00:50:59.760
which they in one library in the world, for reasons you don't believe.

236
00:51:00.010 --> 00:51:06.629
And yeah, we are very happy to to and support you, the Internet and develop

237
00:51:10.350 --> 00:51:11.110
the

238
00:51:12.320 --> 00:51:13.840
might have the same question.

239
00:51:13.900 --> 00:51:20.140
I'm trying to excuse him. I think we should. Gary, can you hear us?

240
00:51:21.800 --> 00:51:26.860
No, because I already have a microphone here? So actually

241
00:51:27.260 --> 00:51:28.100
so

242
00:51:35.910 --> 00:51:41.739
GBratchford: can you hear? I can hear most of what we said, but it is much better with the mic.

243
00:51:42.000 --> 00:51:46.990
At least you will hear the questions and moments, the disembodied voice.

244
00:51:47.160 --> 00:51:59.540
My question is along the lines of the photos. Of course. What about research or creative photos in a public setting that has a crowd, perhaps to still identify people.

245
00:51:59.560 --> 00:52:03.800
But it's a crown, and then a book setting. Did you have a policy on that?

246
00:52:05.730 --> 00:52:12.030
Something for my, it's a profession which I

247
00:52:12.500 --> 00:52:23.149
because I also understand that you can't. When you do picture for research, you can't have 20 people for their consent. It's just really. I'm like, sorry, just in the

248
00:52:23.890 --> 00:52:28.390
maybe scenario in the future that you're going to to publish it.

249
00:52:28.530 --> 00:52:34.559
 yeah, we can exchange cards, and

250
00:52:35.170 --> 00:52:38.289
if that helps you.

251
00:52:38.310 --> 00:52:47.140
I'm also not a legal person, and that's why I'm I'm glad that I have experts. I can ask

252
00:52:47.320 --> 00:52:51.070
exactly. It rules about

253
00:52:52.570 --> 00:53:05.239
 I don't know if you've come up with this situation. But what if an image has a questionable prominence. So we've tried to track down

254
00:53:05.660 --> 00:53:14.249
the original copyright holder contacted and contacted people, and it's been used in different places. You cannot actually find

255
00:53:14.900 --> 00:53:24.970
or get a response for the copyright holder of, say, an image, and I have a specific example of my but see an image from 1,939, and you're trying to, you know.

256
00:53:25.880 --> 00:53:30.850
down the prominence, and you cannot. And so can you use the image

257
00:53:33.000 --> 00:53:42.430
again? Tricky question, tricky question. I would say it's better to be safe than Tory and killing the buildings.

258
00:53:42.840 --> 00:53:50.879
because you never know. You never know whether there were some rights. passed on, and

259
00:53:51.150 --> 00:53:55.069
then then maybe the right child is visiting.

260
00:53:55.470 --> 00:54:00.709
I'm not a judge, and he's specialized in what i' to you, and I mean. And so

261
00:54:00.990 --> 00:54:06.970
that's a worst case scenario, and as far as the zoning of the publishing that has ever happened.

262
00:54:07.210 --> 00:54:18.500
But we just want you to be aware of the newly that I' but again, it's also something that you would need to figure out.

263
00:54:20.570 --> 00:54:23.960
Yes, yes, so.

264
00:54:24.390 --> 00:54:35.640
But yeah, we have. We have editorial brides. And we hold people in-house. And so we also. But it's like found a historical photo on Facebook.

265
00:54:38.680 --> 00:54:48.050
If it's not creative commons, then that person actually And also again, it depends on the copyright.

266
00:54:48.320 --> 00:54:56.079
But yeah, that's why people actually shouldn't use willingly illustrations that aren't theirs online.

267
00:54:56.270 --> 00:54:58.850
because they actually make themselves legally.

268
00:54:59.590 --> 00:55:00.959
Yeah, like.

269
00:55:03.430 --> 00:55:08.400
no, they, of course not. They're like that. They don't.

270
00:55:18.390 --> 00:55:41.729
no, I think I just wanna jump in also with her question. I remember submitting manuscript for a journal. And they said that since the photo is a public like event in the field work where I did the research, they said, it's okay. But if it will be, for example, a group of activists in a rally or something, then

271
00:55:41.730 --> 00:55:49.480
that's a different case, so they will not allow them. But I think it depends on the journal also.

272
00:55:49.480 --> 00:55:50.840
and then

273
00:55:51.340 --> 00:55:55.439
on behalf yes, and look

274
00:55:55.560 --> 00:56:06.250
 And then I just wanted to say, and Gary actually encouraged me to

275
00:56:06.690 --> 00:56:19.379
to work more with the artists and not to be discouraged. to ask the artists for author rights. and in our book of Visual Sociology, at least, he successfully managed

276
00:56:19.430 --> 00:56:22.790
to get this permission

277
00:56:23.220 --> 00:56:25.650
to publish the work from the artists.

278
00:56:25.740 --> 00:56:48.790
So please don't be discouraged. This is sometimes feel so it's it's difficult you will never find them. And And this why, this is why we're in one of the chapters for PAL. Great handbook on belt and road initiative to slightly different. But it was the only article with the images. My chapter I used the images from the Economist journal.

279
00:56:49.240 --> 00:57:05.689
and so the artists who do the drawings for the economists. They some of them agreed, some of them. Some of them ask for monetary compensation, or where does this go? And some of them suggested that we don't own the image.

280
00:57:06.340 --> 00:57:15.679
And sometimes you, you have to go to what Getty, or maybe a journal, so that it becomes a bit.

281
00:57:15.960 --> 00:57:17.809
But please don't be discouraged.

282
00:57:17.850 --> 00:57:38.079
and this is my experience. That's now I'm a little bit more inclined. If I like the image I will contact.

283
00:57:38.420 --> 00:57:43.500
and in the analysis flows better. Instead of just giving a link to the

284
00:57:43.700 --> 00:57:55.250
okay. Gary, any comments on your side, you know only to echo. Excuse me your sense that I think

285
00:57:55.550 --> 00:57:57.340
GBratchford: my experience, at least.

286
00:57:57.640 --> 00:58:19.740
GBratchford:  everyone I've asked who has an image in circulation, or, you know, press photographer and artist has always said, Yes, I think we appreciate the approach. It's another type of acknowledgment, and whilst they don't get any and a monetary value. I think the for the most part, if you approach them in the right way, they're quite happy to have their worksh in a different forum and context.

287
00:58:21.520 --> 00:58:28.980
Sometimes they might also ask, maybe for a copy, not even a copy, just a acknowledgment on the

288
00:58:29.700 --> 00:58:35.239
that sort of profile they want to get

289
00:58:35.290 --> 00:58:45.379
 the reference where it was these huge. So there might be some time sometimes. Not so we're doing very, very, with complex

290
00:58:45.990 --> 00:58:47.670
world of

291
00:58:48.780 --> 00:58:57.090
visual imagery production. Sometimes people want compensation. Okay, thanks.

292
00:58:58.630 --> 00:59:04.939
Yeah. I have 3 issues. First, what about the fair youth principle.

293
00:59:05.520 --> 00:59:15.440
but obvious, because you may be a commercial publisher, but we are a scientist producing a comment in your existing image.

294
00:59:15.560 --> 00:59:18.710
So I thought there was a sort of a fair use

295
00:59:18.790 --> 00:59:25.930
principle that, as you comment on a picture. You have a certain amount of analysis. Yes, no. Okay.

296
00:59:27.070 --> 00:59:27.880
can you?

297
00:59:28.260 --> 00:59:33.699
Well, some publishers there to go with that principle.

298
00:59:35.750 --> 00:59:44.970
I think it's very problematic if if she has to do when I do the also, even with images that we produce our own. For instance.

299
00:59:45.310 --> 00:59:49.130
if I would like to make a book on street photography

300
00:59:49.280 --> 01:00:06.020
by nature. You cannot ask for consent of these people, and if you kill it by blurring the faces, then you kill the street photography. I also wonder all the photography books made by famous photographers published by commercial publishers. How is that possible? I mean.

301
01:00:06.020 --> 01:00:19.539
it's really they are living. I I mean, I just came out of publishing with emerald, which was an absolute horror. I never again. I made a picture in Moscow, and it had a

302
01:00:19.900 --> 01:00:23.090
a wall painting, painting of a color panel.

303
01:00:23.980 --> 01:00:41.589
an army guy, and then just Starbucks, because my article was about globalization. Now they blurred the Starbucks. So what about depicting trademarks in public space that you can't make any photographs in a city, because it all based on Mcdonald's or whatever.

304
01:00:41.710 --> 01:00:43.760
So the

305
01:00:55.550 --> 01:01:03.159
the local and they use, as far as I know, which is in a or I'm not that familiar with. We put it to

306
01:01:03.210 --> 01:01:09.079
quoting other research works, but that doesn't include art.

307
01:01:09.420 --> 01:01:12.550
visual property as I now.

308
01:01:12.760 --> 01:01:22.119
So there's a difference between the written word that you can cite and they use from others because they're feeling that we've special communication, and it lives from this this course.

309
01:01:22.290 --> 01:01:26.619
But it doesn't include copyrighted work.

310
01:01:50.100 --> 01:01:51.800
You publish that photograph.

311
01:01:52.030 --> 01:01:58.169
I cannot make money by that building or by that document.

312
01:01:58.340 --> 01:02:07.640
because if you really state of those rules in photography all together is impossible. You cannot make pictures. You cannot show it. Just get out of the ice.

313
01:02:15.550 --> 01:02:17.410
Do that with the

314
01:02:18.360 --> 01:02:22.260
Oh, yeah. And why? Why? Why? Is that? Because

315
01:02:22.520 --> 01:02:31.719
you can copy and use as long as you change it substantially. So, if you're doing a huge street photography that has a Starbucks thing over there.

316
01:02:36.150 --> 01:02:38.060
I have a friend who

317
01:02:57.440 --> 01:02:59.040
and

318
01:02:59.710 --> 01:03:12.829
I think solutions can be found, and this is the goal of the editors and the

319
01:03:13.710 --> 01:03:15.270
Yes.

320
01:03:15.700 --> 01:03:39.929
something could be worked out. And I hope because we're having more and more titles.

321
01:03:40.940 --> 01:03:53.070
Okay, thank you, Jessica. I'm interested in just the cost and not just those related to copyright, but making books in visual cultures expensive.

322
01:03:53.080 --> 01:03:57.030
I'm interested in the actual book production costs. Assuming

323
01:03:57.490 --> 01:04:16.740
the author has dealt with copyright or even paste, you know, to get copyright. The production of sort of visually heavy books is a costly effect at those costs covered by Paul Graham is the author expected to contribute to all those production costs.

324
01:04:19.680 --> 01:04:22.690
no the production costs line with the publisher.

325
01:04:22.770 --> 01:04:37.549
We would never ask an author to pay anything unless we're talking about an open excess volume which then would incur a book of the Asian charge. But no.

326
01:04:38.000 --> 01:04:40.279
yeah, we wouldn't have in. Come with an invoice.

327
01:04:47.950 --> 01:04:48.960
Isn't this

328
01:04:49.130 --> 01:04:58.930
sorry? I'm I'm feeling a little lost like I stumbled in on a private club. I I asked the speaker the question, or is this just about publishing?

329
01:05:25.480 --> 01:05:27.460
I

330
01:05:31.370 --> 01:05:32.640
to you?

331
01:05:34.740 --> 01:05:36.400
actually.

332
01:05:37.550 --> 01:05:38.520
okay.

333
01:05:39.660 --> 01:05:43.989
And yeah, the the question was raised.

334
01:05:44.200 --> 01:05:54.169
No. But the only thing we need from an author is which words do you want index? And then we do the page numbering. And yeah, so it can be very, very basic.

335
01:05:54.180 --> 01:05:57.619
So in in general, the manuscripts just have to be one.

336
01:05:57.810 --> 01:06:18.299
we want to be able to discern the chapter heading from the sub heading, and it should be complete. But it doesn't fancy it's not that you have to time. Set it yourself that this is what we do from our end, so it can be times with Roman size. 14, if you like, for a real 9 we can deal with it.

337
01:06:19.920 --> 01:06:29.919
And this, sorry there's somebody in is pictures from their

338
01:06:31.350 --> 01:06:34.439
word shopping process, and they're taking pictures of.

339
01:06:36.640 --> 01:06:39.980
I'm saying you express from those

340
01:06:40.840 --> 01:06:42.639
that's the

341
01:06:42.660 --> 01:06:44.130
I'm

342
01:06:47.150 --> 01:06:48.140
okay.

343
01:06:51.910 --> 01:07:02.099
It's the so-called.

344
01:07:07.860 --> 01:07:17.180
has done a course with those students like a private little collaborative.

345
01:07:17.730 --> 01:07:22.110
Now the students have fed into the chapter in the

346
01:07:22.170 --> 01:07:23.689
this, her chapter.

347
01:07:23.730 --> 01:07:41.250
It's not going to be good, and he's student, but but she uses images from the creative process around, thinking up and sketching up and doing all of them. She's taking them a good cell phone? Must she get expressed permission from the students, or is it not just to make them

348
01:07:43.230 --> 01:07:47.080
best? Best case scenario, just to say is always saying.

349
01:07:47.240 --> 01:07:56.020
guys, I would like to publish it. I am going to make photos, just that you are we? If you don't want to be on the picture leave.

350
01:07:56.440 --> 01:08:03.709
But in this scenario I would say content was already given. But again.

351
01:08:03.980 --> 01:08:26.260
it's very hard. It's the case by case faces, but it all. In this case, I would say specifically in that environment for research purposes. And then it can be considered given, which doesn't mean that maybe someone, some parents would then be like, what a requirement! Why is my my kid here in that photo? They'll never give you blood sign.

352
01:08:26.540 --> 01:08:35.930
But yeah, it has become. And again, it's not done to us, but we have to follow the law and the copyright, and it's become

353
01:08:36.730 --> 01:08:39.770
the just fucking sorry.

354
01:08:43.200 --> 01:08:54.570
because I would like to summarize a few points

355
01:08:55.190 --> 01:09:02.880
first, and then I said that for me is covered by the nature of the images.

356
01:09:03.640 --> 01:09:32.220
and I think the second important point is, is when you have to argue with the competition with other titles. So when you are suggesting these titles here, and this is what I'm doing and maybe for the future proposals. This is extremely important, so that you show that this is unique

357
01:09:32.220 --> 01:09:37.759
uniqueness in my study. And this is why this proposal should be accepted. Just this point.

358
01:09:38.030 --> 01:09:39.130
Next to your

359
01:09:41.520 --> 01:09:48.030
summarizing, because it's a more serious. And we can now go back to this very

360
01:09:48.210 --> 01:09:48.940
okay.

361
01:09:49.320 --> 01:09:50.250
But like

362
01:09:50.360 --> 01:09:56.219
being able to have these discussions, because I think what we're noticing is that different parts of the world have different

363
01:09:56.390 --> 01:09:58.309
approaches and standards. And.

364
01:09:58.350 --> 01:10:03.589
for example, for your question in where I live in Canada.

365
01:10:03.740 --> 01:10:10.779
That's a question for a University Research Ethics Board, and you have to have informants and consent for any of that stuff.

366
01:10:11.020 --> 01:10:27.359
And referring back to this question, the thing about image copyright laws is that it's a moving target. So it's changing all the time. And right now apple computers is in a huge fight to copyright all images of apples.

367
01:10:28.230 --> 01:10:37.280
all, even a photo of an apple belongs to Apple, and they will come after you. So I think that we're at a time where companies

368
01:10:37.360 --> 01:10:52.450
really predatory over images, and they're they're even wanting to sue companies that the Swiss Company has been using on apple for their local for 115 years. It's like a labor organization with an apple and a Swiss cross on it, and they want to suit them for their apple.

369
01:10:52.660 --> 01:10:57.369
So it's any apple. And this is the thing is that

370
01:10:57.720 --> 01:11:07.830
it's like corporations have to get into these battles for us to be able to use images, or we have to go out there and they will go after. The little guys are making examples.

371
01:11:08.830 --> 01:11:31.189
and I think, in terms of the confusion earlier. I was also confused because I would like to discuss the proposals, but also discuss the series. So if there's like I didn't realize when it was like proposal discussion, time, and then general discussion time. But I don't know but I don't know what it is about on that, because we, we have a unique opportunity, or basically because he wants very well-room questions

372
01:11:31.580 --> 01:11:33.740
to the publisher.

373
01:11:33.810 --> 01:11:40.899
For some of these questions we will have a address to the people who are in the images.

374
01:11:41.620 --> 01:11:42.310
More

375
01:11:43.960 --> 01:12:11.219
in that way. I would actually like to say, Yes, please. So now we we didn't go back to proposal, but I was summarizing some of the points, one about the nature, the images, second, like the computing titles, and the third is the title itself, when you have a kind of very interesting.

376
01:12:12.410 --> 01:12:14.699
the tension of the universe.

377
01:12:14.830 --> 01:12:22.390
not just us, because we are the miracle edges. It's addressed to the anonymous to do a search.

378
01:12:22.900 --> 01:12:25.690
I'm sorry I

379
01:12:27.360 --> 01:12:52.489
When he was mentioned some of the titles at the end that sort of I draw I draw on these books and this studies. But I'm actually contributing in a different way. So this is what the proposal itself formally will ask you

380
01:12:52.810 --> 01:13:04.929
the proposed power of proposal. Right? I guess a wood ledge, whatever any published will ask you, what are the competing titles? And why is your title? Yeah, or should have the attention?

381
01:13:04.950 --> 01:13:06.040
So that's all.

382
01:13:08.030 --> 01:13:32.019
And this is actually the favorite part of being a publisher. The creative thing of the legal stuff. And so I I actually wanted to say something to to regarding your proposal and also regarding the title specifically. So, I prefer having no knowledge whatsoever of this topic. that the second type was much clearer, like, I immediately had a sense of

383
01:13:32.020 --> 01:13:41.400
Ok, where's the visual aspect in there, and also what I would generally suggest when thinking about titles.

384
01:13:41.470 --> 01:13:52.410
 because we're not dealing with the Phd. Thesis at the stage, which could have, I don't know 50 words or something, always think from a reader perspective.

385
01:13:52.710 --> 01:13:54.110
because most

386
01:13:54.220 --> 01:13:59.360
scholars nowadays get their research or find their research online.

387
01:13:59.510 --> 01:14:14.989
And how do they do it by using the big and G and entering some keywords. And hopefully, something pops up that relates to what they're actually looking for. So we would recommend the keywords that you're using in your manuscript.

388
01:14:15.380 --> 01:14:18.620
 use them in your title

389
01:14:18.650 --> 01:14:24.010
because that's think of it from from a search engine optimization perspective.

390
01:14:24.080 --> 01:14:39.009
because we are also asking you to provide keywords, for example, which we will use on our end for the marketing, because we want your book to be as soon as someone looks for anything related to your topic, and even just entering this issue as well.

391
01:14:39.030 --> 01:14:40.180
we want

392
01:14:40.260 --> 01:14:56.299
someone who is looking for that to find your book on the first page of the big energy. and yeah, and keep it clear and concise and use the keywords you would use yourself if you were to go for your own book of mind. That's always yeah, I think, from

393
01:14:56.340 --> 01:15:01.310
not for yourself, for any examiner, but for the actual reader.

394
01:15:15.990 --> 01:15:35.370
The some misreadings can can happen again. and I want to just comment on publishers role in promoting a lot of titles. You know, there's famous story of unre big coming up with a very lengthy title. And then the publisher says, also, it's about risk society.

395
01:15:35.500 --> 01:15:57.490
And this is how the the concept was for the basic society, because the publisher actually suggested a very brief marketing, marketable title. And actually, also, we received some very valuable comments from algorithms how we can make better titles.

396
01:15:57.800 --> 01:16:05.670
If you come up with a great title, it's even better. But I think there will be some work on the title afterwards. Anyway.

397
01:16:07.440 --> 01:16:20.620
are you open to channel suggestions, or are you happy with your title? That's my question. Well, I think I probably have this. So so I'm open to what I'm saying is that I realized that it's not sensitive.

398
01:16:20.650 --> 01:16:38.160
It's a title. So maybe you can. I is okay. Well, I just want to say, first of all they really like both proposals, and it's It's such a refreshing sort of five-grade look at different kinds of ways of approaching visuality, and

399
01:16:38.570 --> 01:16:42.380
 with a very sort of

400
01:16:42.620 --> 01:16:45.089
with a very on the ground texture.

401
01:16:45.390 --> 01:16:50.729
And so for Gay, the what I got, the feeling you were talking about was

402
01:16:50.860 --> 01:16:53.709
the visual politics of the

403
01:16:54.360 --> 01:17:02.260
and because of that tension that I felt that you were describing. And so my question for you would be.

404
01:17:02.290 --> 01:17:05.099
are you interviewing any of the artists.

405
01:17:05.260 --> 01:17:11.600
And are you distinguishing between the institutional and vernacular

406
01:17:11.920 --> 01:17:14.650
visual uses of easy tree train?

407
01:17:18.630 --> 01:17:42.600
 thanks for that. Yes, so particularly with the artists. Some of them have been in conversation with, and then some have visited the exhibitions over and over and over and again. But yes, this they would be probably the only part of the book that draws both from the visual, and they're also interpretation and sort of elaborating

408
01:17:42.620 --> 01:17:55.129
on what it is that the art is doing, and specifically what the cloth means or how they try to disrupt it. I don't necessarily think I need to rely on the sort of responses.

409
01:17:55.140 --> 01:18:06.149
because I think in how they using the cloth, it's discernible, the ways that they're intervening. And to disrupt the dominant representations and mobilizations.

410
01:18:06.880 --> 01:18:08.320
And

411
01:18:09.220 --> 01:18:23.450
yeah, so the simple answer is, yes, there will be a combination of sort of my own interpretation of the output, but also their own sort of voice in what they aunt is doing

412
01:18:23.800 --> 01:18:25.370
of the

413
01:18:26.250 --> 01:18:30.239
that's hard to say. Because.

414
01:18:31.450 --> 01:18:34.780
are you?

415
01:18:35.180 --> 01:18:52.580
Well, I'm a person that doesn't know anything about this topic. Liableham and I work together, and because we work remotely, and we have walked down my project work. I have no idea that she was doing any of this. So this is my first time hearing any of this, and I'm so excited to to read further. But as an everyday South African.

416
01:18:52.610 --> 01:19:06.620
I don't have, you know, great knowledge of the history of the textile, but in my personal interaction with it I remember growing up my mom, who my family used to call it this jagmar, and I don't know what the history of that term is.

417
01:19:06.840 --> 01:19:18.930
And then also it's a huge part of our marriage rituals. Now it's it's the the the Schwarzsche's skirt is worn by Homer Boyd, which is a view bride.

418
01:19:19.080 --> 01:19:20.810
How on earth did that come to be?

419
01:19:21.210 --> 01:19:33.389
And then I didn't hear you mention anything about the brown color. Was there any significance between the

420
01:19:33.650 --> 01:19:36.610
where it's from in every day? Chris?

421
01:19:38.710 --> 01:19:48.220
Yeah, I mean, I think it's hard again. The everyday person is probably 90% of the population

422
01:19:48.380 --> 01:20:06.120
women that men and patrimonial rights of passage. But what's also complicating who this everyday person is is that there's been this proliferation of the sort of appropriation of the cloth all over. You're looking for curtains. You find them, Mrs. Treasury. You're looking for slippers. Suddenly, in the last 20 years.

423
01:20:06.170 --> 01:20:25.420
and so no, I'm not speaking to ordinary South Africans necessarily, because I think there's something there's a prior story to explain why we are seeing the proliferation and why we're seeing the kind of presentation by various powerful cultural and economic actors.

424
01:20:25.420 --> 01:20:37.650
The preparation of the cloth in the way that is happening which helps you support or explain why even the ordinary person feels so enamored

425
01:20:38.010 --> 01:20:41.770
with the cloth. You don't know that.

426
01:20:42.570 --> 01:20:51.229
I think, and maybe in the middle. That's a sociological, and I think it's a sociological side. But otherwise it's more like helpful.

427
01:20:54.360 --> 01:21:13.959
And is it not the cultural studies? But it's in visual study sort of cultural studies. And isn't sociology more than just sort of an interviewing instead of takes space? I mean, we want to know why it's a matter

428
01:21:14.770 --> 01:21:28.400
so. And and maybe this is what didn't come on training in in the presentation. Because I think, and this is to go back to the history, right the crop into South Africa in the mid nineteenth century, through German missionaries

429
01:21:28.490 --> 01:21:33.619
it is utilized in the conversion of Africans to Christianity.

430
01:21:33.760 --> 01:21:48.590
and so its first sort of expression in every everyday life was not actually in everyday life. It was in the context of Christianization and proselytizing, in making sure that African women do not arrive in the church, they embrace it.

431
01:21:48.730 --> 01:21:57.150
And so it's part of a kind of underlying, civilizing project of German mission piece. That's why it's Izzy-jamin.

432
01:21:57.610 --> 01:22:08.780
And and then over time, because of the resilience of this, it's quite a hard you cut it. It becomes part of the almost like the true soul

433
01:22:08.950 --> 01:22:10.729
of a new bride.

434
01:22:11.290 --> 01:22:31.080
The clothes that you give to her, that one communicate to the world, that one she's Christian 2. She's married, and therefore off bounds, and this hardy apron becomes her accompaniment through our life almost because it does not. We wear off easily.

435
01:22:31.280 --> 01:22:36.920
and in the process of then becoming incorporated into a matrimonial random passage.

436
01:22:37.370 --> 01:22:41.380
it then becomes also indigenous, and the kind of

437
01:22:41.680 --> 01:23:07.910
it then becomes sort of essential. So when I got married, it was essential to my mother that I must win this particular cloth at a particular print when my future annuals arrive to demarcate one availability to our ethnic affiliation. So I mean all of that I didn't say here. And also all of that, I think, is stuff that the other title by Giuliani

438
01:23:07.910 --> 01:23:14.429
speaks about what I'm trying to do is really go into the political economy

439
01:23:14.750 --> 01:23:34.469
that explains the process of indigenization. She tells us it's prolific. Everybody wins it, and she shows how that happens. I'm saying, how did this happen? And that is a question of power and economics and imperial subjugation. It's not just. Oh, this is pretty

440
01:23:39.170 --> 01:23:56.550
and the different direction. I always think Europe appropriates the Anna and the cultural art. There's also an example of the and appropriating a symbol of European civility and African Nazi it over 200 years. So that's like the voltage I can read all of my

441
01:24:04.990 --> 01:24:11.019
I would just make another sort of summarizing comment on this.

442
01:24:11.130 --> 01:24:18.919
the series is titled social visualities. But it's not sociology. It's not only sociologists

443
01:24:19.010 --> 01:24:31.750
can be. Artists can be criminologists, and we've seen, for instance, that it would be cultural studies, whatever it has to do with sociality and visuality in this kind of overlap.

444
01:24:31.830 --> 01:24:39.509
So if you are not very prolific. And so you you you are not positioning yourself within sociology. Please don't be discouraged.

445
01:24:39.700 --> 01:24:55.529
And actually, this is when again, we're collaborating with the publishers. And what does this fit? So I think we will. Also.

446
01:24:56.030 --> 01:25:06.860
It's not visual. Probably it's not going to be. But there are different kinds of visualities.

447
01:25:07.460 --> 01:25:09.610
and the tension between

448
01:25:10.120 --> 01:25:12.730
colonial and

449
01:25:13.050 --> 01:25:15.560
reappropriation like a Nancy.

450
01:25:17.030 --> 01:25:21.089
And then another summarizing comment for anyone, we should do

451
01:25:21.260 --> 01:25:25.660
submit an edited collection.

452
01:25:25.670 --> 01:25:45.389
I think it's also maybe that as a sort of feedback, and our experience that you always need some kind of a threat, a common threat, and it should ideally be the title, because again the critical comments will come and say, so okay, these are all nice chapters. But how do they all get together in a book?

453
01:25:45.620 --> 01:26:07.880
And how do we market all this? And very often this is the case after a conference, when you have wonderful presentations, a lot of people talking about very interesting things. But how do you get this in an end to an edited poly when they all kind of communicate? This is when the editor or editor and you have been many of them

454
01:26:07.980 --> 01:26:29.950
in editors. that's when your skill comes to sort of get all these people together and then maybe actually providing an introduction. This is when the introduction works and then you in the proposal, you have to write that. Okay, this is what I'm going to do, and maybe at the end also, some

455
01:26:30.300 --> 01:26:40.850
A prominent sociologist is writing sort of a post face and summarizing all this, how all these these together. Sometimes I've seen these works

456
01:26:40.960 --> 01:26:50.150
by other anthropologists, and so on. And and this works quite well. So I'm learning from many other people who are editors and

457
01:26:51.040 --> 01:26:51.830
see.

458
01:26:52.460 --> 01:26:55.259
this is a very important point as well. A common threat

459
01:26:55.290 --> 01:27:06.639
conceptual, or it can be visual politics before culture, visual fabrications. And sometimes it's maybe coming from the title of the conference as well.

460
01:27:06.960 --> 01:27:07.970
House that?

461
01:27:22.610 --> 01:27:26.770
an introduction? Yes, it would frame. Why.

462
01:27:26.920 --> 01:27:30.799
you may actually need this relative volume once included but

463
01:27:31.260 --> 01:27:37.479
in a perfect world, and he reviewers love. It is if the conclusion that also

464
01:27:37.580 --> 01:27:57.259
addresses gaps that were found on that that where they originally in in the literature, and that could be close to that volume or future research that needs to be addressed. And yeah, what are the common themes? What are the findings. And the

465
01:27:57.630 --> 01:27:59.560
so don't.

466
01:27:59.820 --> 01:28:01.000
Yeah, because

467
01:28:01.130 --> 01:28:04.809
it makes sense to have a conclusion that I mean, you know.

468
01:28:04.950 --> 01:28:14.170
because you don't want to spoil to everything in the introduction. So yeah, but the conclusion should be, yeah

469
01:28:14.380 --> 01:28:16.170
to the

470
01:28:16.580 --> 01:28:26.420
yes. So that's why introduction and conclusion. I will ask Gary if he has any comments, because then we can sort of conclude on this.

471
01:28:27.710 --> 01:28:41.940
no, no, no. He just turned off the video. There was an interesting talk also on how students and he was in digital sociology.

472
01:28:41.940 --> 01:29:01.829
okay. Gary, any comments on this discussion about the image images titles, common threads? from your perspective also. No, I think I think by large it was covered. It was It was a good question about

473
01:29:02.170 --> 01:29:13.750
GBratchford: whether it's visual. So sociology or not from the floor. And I think, as you mentioned Dennis, the series is about the kind of or the cross section of the visual. Really. and I think

474
01:29:14.670 --> 01:29:22.389
GBratchford: the series is happy to accept work that pushes and challenges what the visual is. But vision, visuality, what an images!

475
01:29:22.620 --> 01:29:24.950
GBratchford: And from different disciplinary

476
01:29:25.390 --> 01:29:31.959
GBratchford: positions. I think that kind of adds really kind of strength to the series. So yeah, it. Yeah, don't be put off. If it's not

477
01:29:31.970 --> 01:29:46.849
GBratchford: foregrounding sociology per se. I think it's it's about a poly vocality of. or voices and disciplinary ideas about what the visual does. And I think that's that's really the way the visual is going. It's, you know, it's been used in in a whole host of different disciplines to different varying degrees. So it's

478
01:29:47.540 --> 01:29:52.529
GBratchford: the series is about how we manage the best cross-disciplinary contributions of that.

479
01:29:54.130 --> 01:30:02.790
Thank you. Thank you for participating in there. And here you have a yes, sure.

480
01:30:02.970 --> 01:30:18.179
You mentioned something about a format called

481
01:30:18.990 --> 01:30:30.039
 yeah, it didn't go too much into detail, because the you can either publish a pivot-only series

482
01:30:30.690 --> 01:30:32.880
or

483
01:30:33.220 --> 01:30:44.669
yeah, or a series, but without any pivots. So unfortunately. And that's the reason why your world you can't be part of the series. Visual sociology, because it's a pivot

484
01:30:44.690 --> 01:31:05.380
pivot is basically like it's not a series. As such. It's a forward. So it has a different publishing workflow. For example, what it differentiates from a regular monograph is and and then, obviously, you know, if if you feel like, it won't be longer than 125 pages, and it might then not

485
01:31:05.380 --> 01:31:23.719
be long enough for your series. Then it doesn't mean that you come and publish it with us, but it can't be a part of the series. So what pivots mean is, basically, it's a depending on how you look at it. A shorter monograph or a longer article maximum, 50,000 words.

486
01:31:23.730 --> 01:31:25.750
And

487
01:31:26.230 --> 01:31:27.510
yeah.

488
01:31:27.950 --> 01:31:37.350
we've had this format now for over 10 years, I think. And what's a brain about it is because we can publish it very, very quickly.

489
01:31:37.530 --> 01:31:50.410
so within 6 weeks. And so, yeah, and the regular monograph would take longer to to publish. And so it's become very popular.

490
01:31:50.410 --> 01:32:19.719
especially among early career researchers who are like, well, I need to publish. And I get more points or do it because it counts as a proper. It's not just online, and we also print it and and out and cover And yeah, I get 1 point where I can. You know, I expand upon it and only to to shorten it by by much to fit it into this journal. And and yeah, so that's basically an alternative. But yeah, I'm 21

491
01:32:20.140 --> 01:32:24.110
50,000 words make so 125 pages.

492
01:32:24.130 --> 01:32:41.670
And yeah, but but unfortunately, that's the reason why you're Vol. You can't be in this series. So this is either pivot or on that. It is attending the session. Kay and Veronica. Thank you.

493
01:32:41.760 --> 01:32:49.629
It's just a moment. I am just happy that you mentioned do not be discouraged many times.

494
01:32:49.760 --> 01:33:02.659
because in this conference there are many discouraging, you know, disparaging moments. I know I can't believe that ethics is a ongoing fee.

495
01:33:02.720 --> 01:33:17.050
How you conduct research and they question you is as though you get a research anymore.

496
01:33:17.050 --> 01:33:35.740
Publish it. Because I think in our book we have to have Chapter a commentary on this. Because what you what when thinking about what visual social visuals this is, I think it's the problem in itself. We have to have a take on what's happening in the Philippines, because we have our respective laws.

497
01:33:35.740 --> 01:33:45.320
we have our respective ethical boards. And what's our take on that meaning. We have our photos differently, we our consent differently. So we have to.

498
01:33:45.410 --> 01:33:51.680
you know, enable, you know, scholars like us to let the world know, you know the knowledge

499
01:33:51.750 --> 01:33:56.860
centering knowledge. You know, global north, what you want to call me

500
01:33:56.910 --> 01:34:01.109
to know that it's not happening in our country.

501
01:34:01.130 --> 01:34:23.710
We allow it. And that thing should be known. And your problem is that our problem? You're so driving that private we're collecting. You're so individual or community. You're so. So all those tensions, I think we have to start threshing out so that we could really understand.

502
01:34:24.110 --> 01:34:28.109
Ok, so thank you for being encouraged.

503
01:34:28.630 --> 01:34:30.120
Okay, thank you.

504
01:34:30.320 --> 01:34:45.440
Thank you all for coming to this session.

505
01:34:45.440 --> 01:35:01.270
Good quality proposals. They can be reviewed anonymously.

506
01:35:01.370 --> 01:35:04.390
Yes, I

507
01:35:05.560 --> 01:35:10.690
let's have a cattle with Gary, who is behind us.

508
01:35:10.740 --> 01:35:13.990
Okay.

509
01:35:57.590 --> 01:36:05.020
Have you taken the photo? Yes, yes.

510
01:36:16.530 --> 01:36:28.559
but can I go? I can only see my own face. It's very strange.

511
01:36:28.630 --> 01:36:30.620
One.

512
01:36:40.160 --> 01:36:42.120
It was reading

513
01:36:42.510 --> 01:36:48.259
1, 2, 3. Then I'll take a cell. Okay.

514
01:36:49.490 --> 01:36:50.510
okay.

515
01:36:51.000 --> 01:36:56.270
1, 2, 3.

516
01:36:56.450 --> 01:36:58.000
Well done.