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Roswitha Breckner: so Hello, everybody here and there. Good morning, or hello to the night.

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Roswitha Breckner: Well, As not to lose track, because it's 2 30 am. And and in at my place, and

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Roswitha Breckner: I'm afraid I have to read my paper since it's too late to to talk really

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Roswitha Breckner: so. Thank you very much for the opportunity to present my paper in the testing

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Roswitha Breckner: based on the project

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Roswitha Breckner: biography, in the making, in a connected live world exploring, visual and verbal construction of life stories.

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Roswitha Breckner: I refers to my presentation that images and social media are part of biographical construction processes

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Roswitha Breckner: which, however, only becomes clear in connection with narrative biographical interviews. Using a case, as we call him, Richard. I will concretely demonstrate a pattern of visual stuff, presentation, social media.

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Roswitha Breckner: and its connection with the most relevant aspect of Richard's life. In the third part I will address the methodological challenge of triangulating visual and narrative analysis

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Roswitha Breckner: by greatly outlining the research design we developed for our projects.

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Roswitha Breckner: Finally, in the fourth part, I will turn to the ethical challenges and possible solutions.

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Roswitha Breckner: This almost completed the Empirical Research Project explores the question of how biographical construction processes are shaped with new media practices in arena.

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Roswitha Breckner: such as Facebook and Instagram, which are characterized by an unprecedented level of image communication.

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Roswitha Breckner: We were interested in the extent to which created

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Roswitha Breckner: image compilation can be considered part of biography. And how do visually and narratively constructed biographies relate to each other.

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Roswitha Breckner: We started a total of 51 cases, 39 in Austria and 12 in Brazil, each from 3 different media generation.

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Roswitha Breckner: So to what extent can toated calculations of images, especially in Facebook and Instagram, be considered a relevant part of biography

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Roswitha Breckner: as an overall result of our research? We can conclude that images and social media accompany the live list.

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Roswitha Breckner: either documenting or symbolizing it, without in

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Roswitha Breckner: any way being a copy of event, situations or experiences.

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Roswitha Breckner: Sometimes the self presentations reach into the more or less distant past, the rest. Retrospective folks are formally analog photos.

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Roswitha Breckner: as in Richard K.

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Roswitha Breckner: For example, in his 55 for Facebook photo albums, which include more than 6,000 photos.

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Roswitha Breckner: We see an ancestor gallery. other photos of with his family and childhood.

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Roswitha Breckner: Oh, I cannot point. yeah, I can. I can. I can, I can't, I can't I? I'm rich to start with 15 years and him as in God and father.

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Roswitha Breckner: Alongside these types of images are arranged various biographic appearance and

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Roswitha Breckner: heirs, specific events, themes, and experiences broadly following Richard's life course, much like a traditional photo album.

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Roswitha Breckner: In contrast to analog photo albums, however, Richard's live is presented far more expensively with a huge number of photos on Facebook.

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Roswitha Breckner: The potential of social media is also used to make certain things and subjects more either iconic.

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Roswitha Breckner: for example, through highly staged and hypermediized images.

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Roswitha Breckner: I will. So in the next slide

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Roswitha Breckner: on Instagram, where it has posted more than 900 photos, imaginatively staged, hypermedialized, theatrical, and sometimes normatively transgressive image types become more dominant.

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Roswitha Breckner: For example, in relation to general performances

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Roswitha Breckner: in this image path, to which many similar photos can be assigned, the theatricality of the staging of hyper masculine matrices.

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Roswitha Breckner: This at the same time ironically undermined by feminine and even direct performances. as well as reference to scenes that could be part of a professional film.

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Roswitha Breckner: So here the email

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Roswitha Breckner: waiting.

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Roswitha Breckner: The play with theatrical staging also continues in image types in which Richard shows an aggressive science that is also partially ironically counteracted. When Richard provides

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Roswitha Breckner: images of it didn't pass

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Roswitha Breckner: one with the terrorist photo

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Roswitha Breckner: and another time with the photo of a made up fairy tale bigger with. So both email and make onnotations, you can see, because we have very clearly, because we have to blur if we have to provide it.

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Roswitha Breckner: Another condensation takes place on Instagram, namely, the staging of Richard Richard's body as a work of art

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Roswitha Breckner: by transforming his body into art images, Richard transcends it into a symbolic dimension with iconographic references that are also used to negotiate general to existential questions of being human.

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Roswitha Breckner: In these images the juxtaposes, super masculine and aggressive images in with famous attitudes, and staging symbolically opening up gender performance to a broad spectrum of possibilities.

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Roswitha Breckner: Hi, Evan!

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Roswitha Breckner: These highly iconic staging are also counted on the Instagram by snacks of life photos from Richard's everyday life and family context.

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Roswitha Breckner: which has by conventionally design. but they are almost lost in the mass of iconically condensed and professional. This day's photo.

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Roswitha Breckner: The Montana principle of the images on the Instagram is designed like a gallery of Richard, as a person

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Roswitha Breckner: in which he is both objects and curator.

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Roswitha Breckner: In this way Richard follows the respected platform style and also takes up the specific media related possibilities of visual self. For example.

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Roswitha Breckner: crucial for the overall interpretation, however, is the structuring principle of the image composition, composition, which can be observed across all image compilation.

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Roswitha Breckner: It consists in a visual performance that is not only multi-layered, but downright antagonistic, with which Richard negotiates different sides of the height of his persona.

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Roswitha Breckner: a good and the other side, or a bad side, as we call them in the interview.

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Roswitha Breckner: How these are embedded in his biography only becomes clear in the analysis of the biographical interview which cannot present it here.

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Roswitha Breckner: It should only be maintenance, that Richard was born with a life-threatening illness

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Roswitha Breckner: that required repeated long hospital days and coverless and treatment. In this context he was confronted with sexual abuse and humiliation several times in his childhood.

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Roswitha Breckner: and developed a survival strategy to defend himself through aggression and violence.

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Roswitha Breckner: You can I? 2.

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Roswitha Breckner: As his reaction was not understood in institutions or by his parents. He was punished for his aggressive action, and thus made an upset.

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Roswitha Breckner: and thus made an offender, even though he was a victim of abuse

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Roswitha Breckner: in the course of his life, during which he went through the severe and also last written in crisis. Several times

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Roswitha Breckner: Richard learned to deal with his anger and aggression by focusing on his good size.

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Roswitha Breckner: At the same time he found a way to symbolically express the bad side in his images as well

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Roswitha Breckner: against his backdrop. Richard's visual performance on social media can literally be understood as biographical work, exhibiting his life in the form of a gallery of himself.

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Roswitha Breckner: with which he found a way to make himself understood by depicting both sides of his personas

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Roswitha Breckner: of his persona, which were also formative for his own life.

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Roswitha Breckner: Well, Richard, is a case where the images in social media take on a specific biographical meaning and function in all 51 cases from these generations that we collected and analyzed in our projects

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Roswitha Breckner: will be able to identify strong relationships between the visual and the narrative of presentations. Therefore we can assume that the images seen in social media clearly are part of biographies

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Roswitha Breckner: in the way. Today. however, is not always obvious at first land, and has to be reconstructed empirically in each individual case

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Roswitha Breckner:  oh, how many.

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Roswitha Breckner: I forgot to show it to to switch back to that

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Roswitha Breckner: but

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Roswitha Breckner: so the question of how images in social media and lift and narrated lives are connected lead to methodological challenges

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Roswitha Breckner: of which I would like to briefly address to how can the triangulation of complex visual and narrative of presentations be methodologically organized? And how can we deal with large amounts of visual data from social media?

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Roswitha Breckner: The salute. And we found in the project consists of stress strategies to systematically collect and analyze different types of data and to organize the whole process of analysis according to the principles of theoretical sampling and constant comparisons.

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Roswitha Breckner: We documented all the images provided by each interview partner, conducted narrative biographically, interviews according to assistance.

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Roswitha Breckner: followed by photo interviews focusing on the images presented by the interview partner.

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Roswitha Breckner: The pictures were analyzed with the method of image, cluster analysis, the Vala panica and villas.

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Roswitha Breckner: the narrative interviews with the method of biographically case reconstruction developed by that way of all the time. And we're

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Roswitha Breckner: the letter allows us to see how biographic the patterns of action have developed and changed over time. How the biographical narrative is theatically structured from the present day perspective.

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Roswitha Breckner: and also how specifics of the interaction during the interview became relevant in the narration.

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Roswitha Breckner: So how can we triangulate? So how can the triangulation of complex visual and narrative of presentations?

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Roswitha Breckner: We first analyze the image, compilation separately from the narrative interview, in order not to infer the meaning of the images from the narrative, and vice versa. The respective form or the style of the semantic structure of the visual and narrative, that presentations were contrasted within each case.

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Roswitha Breckner: in order to understand which aspects of the biography become visible in the images, and which, in the narrative. further, more and more generally, we were able to answer the question

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Roswitha Breckner: of how biographical articulations relate to each other when they are expressed in different media.

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Roswitha Breckner: This implies the question, so to what extends a different arena?

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Roswitha Breckner: Our biographical construction are similar or different in terms of semantic and media-specific structures of self-presentation.

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Roswitha Breckner: From these analysis, and by generalizing patterns from the individual cases, we formulated heuristic characteristic types of how the visual and narrative, paragraphical performances relate to each other, and what role social media play in processes of biographical construction.

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Roswitha Breckner: While the method of biographical case reconstruction is now well established.

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Roswitha Breckner: The bigger challenge was how to deal with the huge amount of visual data, even within one case that was such as the 7,000 photos in recess. Social media accounts.

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Roswitha Breckner: therefore, we mainly use image class analysis for investigating the images

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Roswitha Breckner: image class. The aim of image class analysis is to reconstruct the the specific style of an image cluster

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Roswitha Breckner: with results from certain selective on task principles.

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Roswitha Breckner: This is understood as an implicit expression of a world and self perception.

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Roswitha Breckner: An image cluster is composed by certain image types and categories of images.

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Roswitha Breckner: In practical application. It is a matter of comparative viewing of images that aims to uncover visually emphasized aspects and structural connections within an image compilation

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Roswitha Breckner: like, for example, Facebook albums are also Instagram

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Roswitha Breckner: following principle, doctor, and the theory. At this live

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Roswitha Breckner: especially the the same thing. He categories emerge from the analysis that explains the montage principles as well as the semantic and static

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Roswitha Breckner: ballistic practice of an image compilation. This also makes that quantities of images analytically manageable, as you can see.

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Roswitha Breckner: Indeed.

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Roswitha Breckner:  go to from our process of analysis.

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Roswitha Breckner: The specific style of picture in one's house will reveal the way the respective individuals perceive him and herself.

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Roswitha Breckner: This and her related significant. Others also group millions, situations, objects, basis, development, and much more

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Roswitha Breckner: in our project. We were able to see that images in social media, and they implicit montage principles successively become essential part of fire out of it

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Roswitha Breckner: that social media can be considered as arenas of biographic construction processes, and even of biographic work, as we have seen in the case of Richard.

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Roswitha Breckner: So now I come to the ethical step. Challenges.

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Roswitha Breckner: working with images and social media accounts, complemented by narrative interviews, offers

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Roswitha Breckner: deep insight into biographies which brings it with it the challenge of protecting the privacy of research participants.

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Roswitha Breckner: An optimization is an essential tool. Even if the interviews give us the missing to use their photos without an invitation.

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Roswitha Breckner: Anonymizing interview transcript is already a challenge. If we need to change data without losing the overall structure of the biographies.

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Roswitha Breckner: this is even more difficult with pictures, as photographs in particular, are indexically linked to the appearance of a person's expressive body when they present themselves.

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Roswitha Breckner: and all the people's basis, objects and situations depicted in the pictures.

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Roswitha Breckner: As we learn from government, we present and identify each other bodily. those in actual interactions and in hyper-ritualized images. In social media. The importance of bodily self presentation has become even more relevant

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Roswitha Breckner: in order to understand the biographical significance of visual representation. Facial and bodily expressions are therefore a central Internet.

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Roswitha Breckner: This raises the question of how the images of the participants and all other depicted can be anonymized without losing the analytical potential of the images.

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Roswitha Breckner: I can only hear that some of the solutions we have developed in our project.

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Roswitha Breckner: In the case of Richard, for example, we decide for each using publication which part of the body needs to be anonymous. And in what way.

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Roswitha Breckner: if the facial expression is relevant, we try to keep it with less blurring, but blur other parts of his appearance, such as tattoo, more. On the other hand, if the tattoos are more relevant to a particular to a particular argument.

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Roswitha Breckner: Some parts of them need to be thrown, while others are blurred so as not to show the whole pattern which would make Richard identifiable.

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Roswitha Breckner: This is another example of anonymization where the facial expression remains visible with a drawing of the face.

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Roswitha Breckner: If this is crucial for the interpretation

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Roswitha Breckner: in general, it can be said that a normalization only makes sense when the analysis has revealed which element of an image is crucial for our understanding, its meaning in a particular context, and which can be neglected.

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Roswitha Breckner: Thank you for your attention.

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Piotr Szenajch: It up perfectly. Just under 17 min.

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Roswitha Breckner: Oh, 200,

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Kaja Kaźmierska: so 70 70. It's okay. I was slow. I was slow reading what? What we could.

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Kaja Kaźmierska: Is it we follow you. So thank you very much.

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Kaja Kaźmierska: okay, so we, we have the discussion at the end of the presentation. So now I come in, I think you should look for the second speaker.

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Kaja Kaźmierska: I have a second speaker here.

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Let me just check.

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Kaja Kaźmierska: And this is what I mean, Carol, do you have a much here with us?

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Not really. So, I think we should proceed.

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And

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here, not online. So I guess I guess

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right.

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let's say that

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Kaja Kaźmierska: you're going to

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light on. Okay? So

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yeah, probably you can take a break. Now, what do you think, Kaya? And yeah, because I was instructed that the official instruction was, yeah. So probably we can proceed. You agree? Yeah. Okay? So let's proceed to the first presenter

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Kaja Kaźmierska: because we couldn't. we? We didn't, Here, what? What? What was going on?

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Piotr Szenajch: What? What? What's the?

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So the official suggestion was to have a break now, instead of moving on to next presentation. But we all agree here that Lisa should should present now without any. So because we don't have the second speaker. Yes, yeah, he's not here. So

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Kaja Kaźmierska: so, okay, yeah, would you invite Lisa?

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Lisa M Moran: Yeah, no problem at all

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Piotr Szenajch: from the South East Technological University.

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Lisa M Moran: And in Ireland. Okay, so thanks very much to Kayya, and also to Po. Sure for organizing and sharing the sessions. So it's really nice to see you both again and meet some new people. So, as Pyotr said, I'm Lisa Morr, and I'm a senior lecturer and hedge department at Southeast Technological University in

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Lisa M Moran: the south east of Ireland, in a place called Waterford, for anybody who might know it. So this piece of work is an ongoing piece of work that Liam O'farrell at the University of Sheffield and I are working on at the moment. It's very much work in progress. 2.

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Lisa M Moran: But it emerged just out of a small scale study of homelessness. that we've been doing in Ireland over the past year and a half, and recently just launched a report. so here's me. And this very cool looking man, and beside me is lame. So just to give you an overview of the collaboration that we've developed About 18 months ago, 19 months ago, I was successful in winning some money

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Lisa M Moran: through the and the Institute for Social Responsibility.

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Lisa M Moran: Erez Agmoni in in the Uk it was about €10,000, but it was enough to keep us going to get a small scale and study around homelessness and the biographical perspectives of people that found themselves homeless during COVID-19, and they were in temporary accommodation. One

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Lisa M Moran: and Liam was the research assistant on the project, and all I can say is, thank God he was there, and even though we've never met in person, he has just been the most fantastic colleague, and unfortunately he's not here today to talk about the project.

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Lisa M Moran: So this project about homelessness was the first project in homelessness that I ever did. But it's not the first project that I did on COVID-19, so as Kaya would know, and Theyota and others 150.

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Lisa M Moran: I've been involved at Research Network. Go Tree of the Esa for about 2 years, and became really interested in the work of Maggie O'neill in particular, around the work that she did on walking and biographies, etc.

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Lisa M Moran: So this work on homelessness and Covid falls very much in line with my previous research interests, which are very much around COVID-19 new social architectures, post covid, and the reconstitution of society normally, etc. And this is combination in some work that Lorraine Green and I did in the Uk around sanitisation, governance cultures and comparative work on the governance in the Uk in

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Lisa M Moran: Covid versus Ireland and decision making, and also some work that Anna Katano in Lisbon, and I also did on the possibilities and barriers to online interviewing online by graphic and interviewing during covid lockdowns, etc. And also some work that I'm doing on emotional suppression and expression. So we were really interested in in people's emotional expressions, and also how they They

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Lisa M Moran: talked about the world and understood the world during covid lockdowns when they were in very confined crammed spaces and temporary accommodation, couch surfing, etc. But specifically, more specifically, people that were using a homeless service in cork.

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Lisa M Moran: So there's also some work that I did the the the Isa Midterm and the Esa and the Bsa. On the Temporalities of the challenges for biographical interviews, and so called by escapes, which is the term that we used in some of that work. So that just shows you where this presentation. It's

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Lisa M Moran: so Liam's research biography, Liam is very much a policy researcher. He's interested in the notion of justice and how development is made potentially more just, but also a lot of his previous work and his current work. 150

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Lisa M Moran: looks at engagement methods and different methods of participation of service users in service design in libertarian concepts of development, and he is also working on a really interesting Phd. At Sheffield University, on free ports in Monaco, Geneva, and Luxembourg, using qualitative methods and the geography of the super rich

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Lisa M Moran: Erez agmoni. So we came at this from 2 very different perspectives. But he also had a lot of experience researching with people who were homeless in the Uk. So he came with that very much research background 150.

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Lisa M Moran: So through this small pot of money. We developed a partnership research approach with a targeted service in Cork, which is in the south of Ireland, called the Good Shepherd, and we used very much participatory learning and action approach.

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Lisa M Moran: and while this started off as being something that was quite small-scale, qualitative, and in-depth interviews, we found that there were questions that emerged in relation to online interviewing, that we had to go back into the biographical literature. For because we found that some of the answers to some of the questions around ethics, around the meaning of partnership and around innovation was very much dealt with within biographical research literature.

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Lisa M Moran: That wasn't to say that more general qualitative approaches and qualitative work didn't deal with some of these questions, but we found that some of the leading lights within the biographical research frame dealt with these questions in a lot more death that married very much with our work

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Lisa M Moran: mit Ctl. And so we were interested as part of the report, and you can read it online on the Edge Hill is our website. We looked at the complexity of people's everyday wellbeing narratives and pulled this out within socio social, theoretical frameworks in particular, Sarah White, 150.

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Lisa M Moran: So at the heart of this study, was in the a biographical study of the experiences of homeless families and support workers in Cork during COVID-19 lockdowns in relation to what works? we were interested in reactions to government policies, in the management of social distancing rules, in homeless and services, and also in narratives of care that would come forward from both people to use the service, and also from the support workers themselves.

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Lisa M Moran: And unfortunately, we have to end up doing all of these interviews online. The original research design and the protocol was very much based around doing face-to-face interviews. We were very cognizant of triggering emotions and and very difficult memories for people that had often experienced severe oppressions and different types of multiple injustices from childhood. 150.

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Lisa M Moran: And we're very interested in bringing forward some of these key principles of biographic and interviewing within the context of this research in whatever way that we possibly could, although we felt at times that we were very hampered by the fact that we were doing online interviews and trying to devise particular strategies.

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Lisa M Moran: to pull out the past, the presence of the future cells. But there were issues to do with sampling. And there were problems, for instance, in engaging people in the research as well. So this worked to some degree, but didn't work in all.

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Lisa M Moran: So in some of the other work that we did. And we use this This notion of COVID-19 being like a type of jagged splinter, is a type of shard of glass if you want that explodes. And at the very beginning of the work we took this this quote that Katerina, sit around the Yankee, and I have used one

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Lisa M Moran: erez agmoni. You know an autographic piece that we're publishing later in the year around the the pre-pandemic social regularity is being transformed, redefined, reframed, and how people struggle to adapt one

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Lisa M Moran: to novel interactions in the so called new normal. So we kept this really at the centre, at the heart of what it was that we were trying to do in grappling with some of these narratives that we got from people around what it meant to live lives in this new normal.

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Lisa M Moran: and of course, some of the people that we interviewed had never been homeless before. COVID-19. So for them it was oppression on the double, but also new, normal on the 11.

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Lisa M Moran: So just in relation to the literature, there's a lot of international research which says that covid, accentuated existing inequalities in relation to health care, systemic inequalities in relation to income, unemployment, substance, abuse, alcohol misuse, and also experiences of societal stigma and we took some of this literature forward in the context of the report as well, but also used more up to

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Lisa M Moran: Mit Ctl. And a research, for instance, that was conducted more at an individual level as well on increases in substance, abuse increases in relapse from holy experiences of heightened anxiety. What happened to people during Covid to try to tell these stories as faithfully as possible. 150,

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Lisa M Moran: and this sense of fear that people had around losing beds in temporary accommodation, and also being a close contact. So we were trying to pull out how people negotiated these different types of emotions, these different fears that people had in in everyday life, as well in relation to the rise in boredom, sadness, sleep, disruption, weight, fluctuations, and and all of that.

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Lisa M Moran: So we started off, and we called that we had a nice neat piece of research, and then we were plunged into another lockdown, and we figured we actually can't do this face to face because we can't travel.

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Lisa M Moran: So some of the questions had these questions that prefigured the research, but they became more prevalent as time went on how can we conduct conduct depth interviews online with vulnerable persons, so that ethical standards are upheld? And this was really the central ethical question of the whole thing. that was there, really, from the beginning. But we had to keep this front and center as we went throughout 100

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Lisa M Moran: mit. Ctl, and what are the key principles that we can extract from the literature and online interviewing from biographical research, but also from other quarters that we can incorporate into our approach, and what we can be learned from extant research, free Covid, but also during COVID-19. So we

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Lisa M Moran: what we've tried to do is to conduct a scoping review around biographical research during COVID-19, using the work that Anna and I did a couple of years ago as a springboard to pull out what were some of the key concerns of biographical researchers during Covid? What were the challenges of doing online interviews with vulnerable populations? What types of methodological innovations happen to cope with pandemic conditions.

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Lisa M Moran: And what are the challenges that are facing qualitative researchers and biographical researchers in the post COVID-19 era.

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Lisa M Moran: So, as I said before, this was very much a participatory approach with the Good Shepherd in Cork, which provides an integrated homelessness service to people in the Cork area, and Cork is the second largest city in Ireland. There was very much an emphasis on stories

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Lisa M Moran: mit Ctl. And and as time went on we found that there were huge problems engaging people trying to get people to to engage with the the research. And we had to widen to start the The search out and interview staff members and also volunteers using thematic analysis as well, because this was a report, and we were also very mindful of the fact that we were working to a Commissioner one.

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Lisa M Moran: But this didn't stop us from bringing in some of the key principles of biographical research, trying to create spaces of storytelling, using, catching caller policemen's work on then what happened? Trying to pro people, but also mindful of the ethical barriers and the ethical boundaries in online spaces and also having to use telephones at particular times. So using timeline graphs idea of the notion of pushing. Possibly

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Lisa M Moran: so as part of the scoping review we conducted a scoping review for the report, but we also conducted a separate scoping review around biographical research, and during COVID-19 and since COVID-19 and scoping reviews. As we know, it's a very slippery and opaque definition, and there are lots of different models of doing scoping reviews. But arxy and normally 6 6 stage process

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Lisa M Moran: around developing research questions, selecting studies, charting data, creating, summarizing and reporting results is the most

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Lisa M Moran: probably the one that is most utilised.

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Lisa M Moran: And here are some of the sources that we've used so far the European sociologist biography, and also arena tree of the European Sociological Association, but also there are others as part of the scoping review that we are currently doing to trying to publish it. So we see biographical research as kaleidoscopic, and also as constellatories patterned

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Lisa M Moran: mit

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Lisa M Moran: erez agmoni. So here's some of the key findings of the second scoping review that we did, which is around biographical research. And what we managed to do so far was to deline a studies that roughly fall into these 4 categories. challenges in developing trust and report 150

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Lisa M Moran: challenges, ethical challenges and issues, emotions and self-care, but also opportunities that are garnered to the pandemic conditions. Now these are interlinking, which is why I have the line going going across, or have them in a more in a circle, because obviously there are some studies that deal with trust in report, which is also very much an ethical issue which is to do with emotions. But these are the rough categories that we're using. So far.

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Lisa M Moran: so within biographical research, just to say that a lot of these are framed within key questions around reshaping, for instance, Marne, how let's work around how the use of technology might reshape our understanding of field work, but also within bigger questions, around the notion of the self, and within very deep auto, ethnographic reflections about the self, about space about place, etc.

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Lisa M Moran: And I know, for instance, people in this room like Pyota, etc., who has also completed really interesting work in relation to space in the past 2

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Lisa M Moran: erez agmoni. So just to go through some of the findings, I suppose, of the second scoping review around trust and rapport, some of the key. Questions that are emerging or have emerged are in relation to foraging and maintaining trust without having that notion of co presence, and how we can facilitate this 150

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Lisa M Moran: erez agmoni. This feeling of being in the room with someone when interaction only happens by a telephone online or by written sources and also dangers in relation to quality of the data. Skew data issues to do a triangulation and also problems of coaching and participants. And Anna Kitano uses the words of touching from a distance, and she talked about that in a presentation to or no tree about 2 years ago, 150,

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Lisa M Moran: and there's also been a lot of work in Rosita. You kind of emerged or alluded to it a couple of minutes ago, as well in relation to nonverbal cues. So when you were talking about, for instance, anonymizing your case study, I was thinking about nonverbal queues and the significance of sites 2,016. But in relation to trust, these are some of the teams that that we're pulling out

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Lisa M Moran: in relation to the bigger, the bigger topic of ethical commitments. And again, these are not exclusive. They interact. There's also a big emphasis on understandability, readability of materials. And this is something that we were really cognizant of in the context of our work, but also in the safety and in pardon me in ensuring the well being of participants

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Lisa M Moran: in ensuring that the road so time for participants or not, just for participants, but for researchers to offload and to discuss

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Lisa M Moran: and ensuring the students are the students. You can see, students are in my head right now, and the participants have are cognizant of their right to often and out, but not just that. They that they know that they have the right, but they're cognizant of what that right actually means. And again, the importance of self care and sharing the self which links back to the first point.

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Lisa M Moran: and also following on from that in relation to emotions and self care, the concept of self care is something that emerged very, very strongly within biographical research, in relation to emotional suppression and expression.

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Lisa M Moran: and I suppose, in relation to to our work as well, the importance of showing rapport even when the cameras are off, and and Catherine and I talk about this notion of Thank you of what it means to to switch off and to log off from someone's life, even when the cameras are off. How do you show emotion, or how do you still care towards yourself, or short show care towards your co researcher, etc., but also emotional management that happens after the interviews.

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Lisa M Moran: and also in relation to innovation, which was our fourth category which we're working on as well. At the moment the emphasis on shared sensory experiences of place, on new innovations and drawing on previous work as well. Like the W. Ibm. The Walking interpretive biographical method which O'neill and Roberts have developed 150

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Lisa M Moran: mit. Ctl. And the emphasis on researcher insights and memories, and also on innovations in collaborative autumn ethnography, in happening in online spaces and also using survey tools as biographical data sources as well, an online service one.

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Lisa M Moran: And there have also been lots of different opportunities for this type of innovation sharing. True, I know the the Isa network, but also, or in entre.

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Lisa M Moran: And again. Some of this is framed within very deep biographical work. by colleagues in Rna Tree and in in other networks. which are very much cognizant, I think, of the the pre-covid memories. reminiscing was it me the tactile, the sensory experiences. during COVID-19 as well, which be figures quite a lot of that.

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Lisa M Moran: So some of the reflections that we have based on this, we've just released a report which is available online on the Isr website at

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Lisa M Moran: and conducting online interviews. It allowed allowed us to do a research which in essence we had to do, and we had to deliver upon. And we had commitments to the Good Shepherd Cork, and we were very, very strong and very cognizant in relation to that, but it did present challenges in terms of building trusting relationships with people who would already experience lots of different types of impressions, who relate very complex narratives of

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Lisa M Moran: ere

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Lisa M Moran: there were a lot of issues to do with technology where sometimes people that had experienced homelessness didn't have the financial means to access zoom and wanted to do online or interviews by telephone rather than online. But the gatekeepers and the partnership approach still allowed us to do the research, and still allowed us to carry it out, which was really positive.

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Lisa M Moran: There were issues as well with confidentiality which were common to grips with about participants potentially being coached, and we also had fears about participants being overheard. And this was potentially something as well that we were very cognizant of in relation to domestic violence and triggering emotions. something else that we're pulling out at the moment is around the role of silences in some of these interviews, and we also found that keeping researcher diaries was something that was really key.

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Lisa M Moran: So maintaining confidentiality and

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Lisa M Moran: discussing sensitive topics are definitely more difficult when conducting biographical research online. And it also meant that for us a lot of the sensory information that people might have had if we were in a position to travel to Cork and walk with them around their places. or to talk to them face to face was not possible

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Lisa M Moran: mit ctl, and but the use of new methods or different methods, such as W. Ivm. Ca. And other types of research reflections. They offer important insights into living in and true what is called a state of exception, and thank you for listening 150

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Lisa M Moran: and to your email addresses. And we be delighted to hear from you if anyone is interested. Thank you.

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Okay.

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Kaja Kaźmierska: thank you very much.

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Kaja Kaźmierska: and we can move on to the third or fourth Speaker actually.

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Kaja Kaźmierska:  who is on the spot.

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Piotr Szenajch: And this will be Dr. Adam Carter from the University of Sheffield in the Uk.

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Piotr Szenajch: And Lisa, you mentioned that you've just published this report. Maybe you could please share it in the chats, because it's possible now. And and so, as we talk right now also, if you have your works published already, I would certainly love to to be able to look into it if if you could share it

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Piotr Szenajch: with us.

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Okay, I'm gonna go then. hello, everyone. Wherever you are. I'm also going to be reading my paper today, not because of sleep deprivation, but because I'm terrible at keeping time. and so it's the only way that I can sort of do it. And this preamble is not helping my timekeeping so. But we we have quite a lot of time. So please me, too, too quick. Okay, that we could. All these up are these up? Then?

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I'm also very aware you're getting all the chins in your view. so sorry. Sorry about that. And this is a comparatively frivolous paper compared to the other 2 papers that you've just seen. But thank you for joining me. and for the invitation to present this paper on lessons from Rupa's Drag race. Shady edit my overall argument today concerns how there are stark parallels

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between the practice of producing reality, television reporters drag rates being an example of reality, television, and in the practice of analysing a presenting video method, social research, particularly research that seeks to tell stories about the lives of our research participants, and that there are potential lessons to be learned through engaging with popular cultural ethical controversies.

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a.

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Which which one is it that one

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space? Right? Thank you. But before I get into the specifics of that argument I want to lay out why I'm interested in this at all.

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so my current project utilizes video methods. It's funded by the Leviathan Trust in the Uk, and examines how families use humor in everyday family lives, particularly in the context of challenging situations, such as managing young children caring for real relatives moving home. moving into retirement. Those sorts of life course events

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participant families in the project are provided with cameras

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to capture everyday family humor practices.

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and then subsequently, I conduct, follow up interviews with those families based on using some of the video data that they've given me as kind of elicitation devices in those follow up interviews.

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And the idea being that I'm connecting moments from the video data that they've given me to broader biographical and relational histories of their of their families, and of the of their sales, I suppose?

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And then exploring the place of humor in the building of relationships and navigation of daily life. additionally, my interest in this area around Rupa's drag race and reality TV grew alongside, competing my project.

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So especially during the latter part of the Covid lockdown in the United Kingdom, I, binge watched the entirety of Rupert's drag race

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12 or 13 seasons, I think, was out at that particular moment. I I did that in about a month or 2 it was It was good times. Well, it was covid times, but it was good times we've So Rupert's drag race is a reality. TV competition where drag queens participate in various challenges related to drag culture, such as balls, costume, design, lip, syncing comedy and acting challenges as well.

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They're judged by a panel, including Rupert Charles A. Renowned us drag Queen with decades of experience. Contestants are eliminated each week.

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Oh, no! Go to

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follow your script, Adam. The show features fidget of the Queen's preparing for challenges, discussing the competition, sharing their opinions of other contestants, and

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revealing biographical bits and pieces during interviews and conversations with fellow contestants.

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so as part of this new interest in Rupa's drag race. I became aware of online fan discussions. that had been taking place years before. I was even aware of reports drag race, or or started watching the show and the continue to be discussed to this day on Reddit Twitter fan videos on Youtube, and these discussions explore, explain, and offer examples of some of the editing practices used by rupals, drag race producers. And it's here that I came across the term the shady edit

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referring to the ways in which the show is editing, allegedly manipulates the portrayal of contestants in ways that cast them in a bad light, in contemptuous or derogatory ways, and and one flavor of the shady edits is the villain edit

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the dreaded vin and edit where a contestant on the show is cast quite clearly as the antagonist of that season. And they're often shown in direct arguments with the eventual winners of those seasons that the kind of key protagonist, the key hero of the season

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one such drag performer, who alleges that they received an unfair, shady villain. Edit is Jeremy formerly known as Fiji O'hara, but because of their experience on Rupels drag race no longer use that drag name It's It alienated them from their own alter ego

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and what they said about their experience on root pools drag race. I'm not going to read the whole thing just taking out the key tip bits. It's like watching a completely different show, because it's nothing like what happened on Set. They've just made me look like another backstabbing, manipulative monster.

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and at least, whatever the truth of the situation, this at least highlights the potential between the reality of the competition and the reality presented as part of an edited television entertainment show.

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and as I'm watching this show, been watching this show side by side with starting some of the field work on my own project, sending out cameras to my participant families. I start to realize that they might be lessons or warnings in how reality TV is constructed and presented that could be relevant to forms of academic practice that deal in the presentation of research participant lives, my own work included.

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which led me. One leads me to ask these 2 questions. So what operational issues in the practice of editing for reality TV contribute to this form of storytelling. How does the shady edit come about? Essentially?

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And then what lessons can be learned from this about editing and story making when using video methods for biographical research or for any any form of research to be on this.

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So the reality TV editing practices in answering the first question, the opera, there's a few operational issues in the practice of creating reality television that kind of show where this, where the show, the edits might might come from. So I looked for what producers and editors who had worked on other reality. TV shows had said about reality TV, because Rupa's own editing and production team are remarkably tight lipped on this particular phenomena do kind of

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if they, if they are kind of

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if they're told that this these sorts of medicine practices are happening, they they flatly deny that these these sorts of vegetarian practices are happening. When I it seems quite clear that they are

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And as I started looking into it. Into this they were straight away parallels between the work of story producers and the work of particularly qualitative researchers interested in narrative and biography. So the first quote here, John Collins, a story producer on season 14 of reality competition project one runway. U.S.A. I'm sure you're all fans. says, getting a package of raw video footage is akin to someone handing him a giant bag of broken glass.

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And the from there his job is to make a mosaic

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and this is achieved by the the process of stringing out or story, but a kind of storyboarding, essentially assembling clips and sound bites into a loose form, that, when viewed together, at least start to make some sort of narrative sense.

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And so once that broad sense of the footage is established, the work moves to an editor who constructs scenes that will tell that story ready for broadcast and public consumption in interesting and compelling ways. So the editor receives a timestamped log of events. The quote from Thomas here illustrates how cutting together just a few different fragments of video footage constructed from this log of events could create a villain or a hero, a lazy bum.

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or a team player by using footage that either shows a participant doing nothing or a participant modding approval. So it it's worth saying how these tiny bits of video footage, these tiny moments of video footage are extremely powerful

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in presenting narratives about individuals, and again, a warning for those who use video in kind of the the construction of research participant stories.

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This construction can sometimes even involve something called Franken- Biting, Franken-biting.

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marking sound byes making soundbite sorry that were not actually uttered by participants. They're edited together from different parts of dialogue from elsewhere in the series. literally putting words into people's mouths. I'm not going to show these clips today because because of time, time, time and tech

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yeah, tech stuff. So, but if people want these slides, I'm quite happy to send out afterwards. finally. And I think most crucially for this particular paper is, it concerns the labour context.

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 working. In reality, TV often involves quick turnaround times with pressure coming from networks for content to be readily available and cost-effective, often burdening under staff teams. So this context is important.

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So if there is the need for a sound bite, if there is a need for something to back up the story that's being told in this reality. TV format. It might be it might be easier to construct a Franken by rather than get a get a full of contestant, fly them in, get them into a studio, make sure that they're saying the right thing in the right order it. The logistic challenges and the time cause and the cost

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may stop editors and story producers from doing that sort of thing, and so go for Frank inviting instead. It can also lead to the use of simple yet universally understood, but always compelling archetypes, such as the villain and hero narratives. that I mentioned earlier that as as being prevalent in Rup, Paul, strike grace.

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The labour context, then, is that has the pressurizing effects on time scales that impact stories being produced. So I'm hoping that I've as I've gone through that that some of that

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brings relevance to those who engage in qualitative data analysis and and the construction of biographical tales based on our research participants stories.

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And

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so just to draw out some of the click, the clear similarity or key similarities. The qualitative video data set can resemble any qualitative data really can resemble a giant bag of broken glass. But to make academic products with that be journal, our schools, conference papers, ethnographic films, whatever

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some sense has to be made of the broken glass and the forms of output. We have follow established academic conventions with expectations as to how these should be formatted. For example, the classic structure of an ethnographic film includes an intro, a problematic, an argument, then a conclusion.

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the task of the academic analyst is oftentimes to force that broken glass to fit these academic conventional structures. We have qualitative analytical tools that help with this process. qualitative researchers may complete coding akin to a log of events used by editors in constructing reality TV scenes. And in video data work, you can produce logs of emotions, facial expressions, actions, gestures, words using computer analysis, tools.

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academics working with video in biographical research are therefore open to similar temptations in manipulating data to create compelling tales with similar tools as reality TV producers. The labor context, again, is important. We live in an era in contemporary academia underlined by the credo of publish or perish. The shortcuts are tempting easier tales based on established archetypes, using manipulative practices

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to tell more sensational stories to ensure publication and citation. So, therefore, what ethical principles might we adhere to in the use of video data in biographical research to avoid reproducing problematic practices

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identified here. And this is not an exhaustive list. and it's suggestions. That's why there's a question mark. Next to lessons. I'm not. I'm no massive authority around this. This is just some things that occurred to me when thinking about what lessons might be learned from thinking about the

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the editing scandals around reality, TV and rupals drag race. So, firstly, to avoid the potential pitfalls of moving too quickly to turning a bag of broken glass into a string out or a story grid. A fundamental adherence to maintaining temporal integrity of the dataset may be required that is, not cutting and pasting back and forth bits of the story out of chronological order. In order to give a clearer sense of that story.

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The it may mean that it makes the a a key point Messia in, or a theme Messier, when you're trying to communicate it. But maybe there is a compelling story to be told about the fluctuations and the deviations. I really like the term kaleidoscopic from the earlier presentation focusing on those sorts of forms of biographical storytelling rather than linear narratives that more often than not characterize the biographies

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of our participants. Secondly, and in an effort to outline an ethical principle that might undermine the need to fit certain academic production conventions. So at the forefront of biographical research, practice should not be the structure of the story, but the fundamental importance of carefully listening to our participants.

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So in my own research, I'm trying to do this through ongoing consent, checking through the whole process. So every time I talk to my participants, everybody, actually I see them checking over and over again. They have not signed their life away to me on the first signing of the consent form. Okay.

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 I ensure participants are happy with the use of their video data, and then how it's employed. So any with any outputs, etc. The plan is to make sure that they're completely okay with what I'm saying.

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additionally, as I mentioned earlier, I incorporate participant feedback as part of my research design by showing relevant clips back to my research participants to get their own views, their analysis on the behaviors and stories that they've given me. I also think that this is

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It's it's come up a couple of the presentations already. I just think it's all more, all the more needed in video research release topography because of the fact of the face. The participant face is potentially going to be part of these outputs. And there's something

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kind of

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very serious around using using the face

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as again like, it's as previous, as the previous presentations have said.

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So, my contention here is optimistic to assert that centering the participant in this way in these ways might provide us with the courage to break with academic production conventions and to find other ways to produce outputs that do justice to the biographical complexities of our participants.

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and and their stories. Thirdly, in order to avoid the temptation of the log of events. there is a value in not over specifying in any sort of coding process. So instead of utilizing computer assistant analysis to get data into broad. So instead utilizing computer assessed analysis to get data into broad categories, trying to keep as much of the context to the shards of data that we're that we're given

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as is practical and being careful in particular, I think, and and for my work not to strip emotions out of their inevitable complex contexts. and yes, it will probably mean going back to those broad codes later. and that that's a messier process. But again, lives are messy. Biographies are disjointed. It might be something that we get used to working with rather than working around.

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And finally, a couple of points. In response to this, the the idea of the pressurized labour context and its and its potential for forcing the production of easier stories. So I I tend to advocate for the slow edit as part of the slow scholarship movement.

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taking the time to watch, re-watch, ponder. No, take Doodle, getting some fresh air playing with data

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and the references there on the slide to Mount Sital and Nichols and Dennis relate to the notion of so scholarship as a means of resisting neoliberal academic production contexts. based on a feminist ethic of care for colleagues, self and research participants in service of good scholarship. So in biographical research, we need to be caring careful and take time with participant stories.

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but with this idea of the slow edit, however, there is the possibility of guilt and guiltiness. the neoliberal university is a guilt and shame producing machine, particularly around the notion of academic productivity. And To address this

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again. It's quite fanciful, I would say this

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trust in the richness of biographical data for one

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accept imperfections in the analytical and editing processes.

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possibly prioritizing in-depth analysis of smaller stories rather than trying to cover cover a whole data set or incorporate a whole data set into one

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massive story that doesn't

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maybe not say very much But also, clearly, there are levels of privilege here that need acknowledgment. So I dare say that it's easier to deal with the spectre of guilt, with certain gendered, racialized class

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abled resources. I'm an early career researcher, facing the prospect of joblessness at the beginning, at the beginning of next year. and I would assume it is easier to go against convention, to face down the forces of the publish or parish culture, to slow down to take care and be principled about making data manageable for your project when your academic security is assured.

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However, I would also argue, we would produce better and ethically sound biographical work by going slower rather than marching to the institutional drumbeat.

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Piotr Szenajch: And you have one minutes By the way.

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thank you. So to conclude.

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being aware of debates in popular culture can benefit academia by addressing relevant issues and shaping our understanding of academic practice. I truly believe that watching.

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binge, watching, and engaging with drag race and its controversies have improved my sociological perspective, and insured, I really hope the ethical completion of my current project. the pressures and editing techniques in TV production serve as a reminder of the temptations academics face when working with complex narratives from their own research participants.

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It's

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handy wise to acknowledge these temptations and find ways to resist them. and this is these are crucial ethical considerations for social researchers. And finally, and it's not relevant necessarily to biographical methods. But this work has implications for television production prompting reflection on the possibility of an ethical form of reality TV. Could you imagine such a thing that embraces human complexity and narrative richness?

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And that's me done. Thank you very much for your time.

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That's what we will

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Piotr Szenajch: is a

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Piotr Szenajch: on the podium. It will close.

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Okay.

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Piotr Szenajch:  Sorry is perhaps. our speaker, Karel, on the premises in Melbourne.

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No, he's not here. So we can move on to the discussion. I think

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any questions online may be. First, let's start with online participants. If not, then, do we have any questions here?

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Comments in the earth?

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Yeah, there's one question. So perhaps you can come here so they can see you.

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Hi, thank you all presenters, and I have a question for Rosetta that conducted interviews in Austria and Germany, in in Austria, in Brazil. I would like to know if it will observe some difference in regarding ethical aspects in both

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cultures.

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Roswitha Breckner: So thank you immediately for the question. This is one of the big surprises that

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Roswitha Breckner: the difference where not? well, there are cases there at. It's different cases

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Roswitha Breckner: have been different cases in each generational sample. But

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Roswitha Breckner: compared to the autumn sample, we we did not discover really apological differences so.

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Roswitha Breckner: and I assume that this also has to do with the fact that we had to conduct the interviews

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Roswitha Breckner: in in English. So we somehow address people already part of the global well, as as a globalizing way of of middle class and way of life and using social media. So therefore.

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Roswitha Breckner: really, it was not a big difference

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Roswitha Breckner: in terms of Well, the the the participants from Brazil. They were much more open to, to give us permission to use their pictures and and their interviews.

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Roswitha Breckner: That might be a little different. But

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Roswitha Breckner: it was not so significant that I would say that there is a big divide between. the context. We have conducted the interviews, and I must say that we have to thank Priscilla to since, especially

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Roswitha Breckner: for conducting interviews for us in in Brazil. Yeah.

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okay? The next question, please come to the stand.

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Thank you. I'm I'm Karl from Griffiths Union in Queensland. this question is for Lisa. I'm just interested in terms of, because I'm also working on I'm working on Covid and musicians.

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and I want to apply their

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W. Ibm to this work of mine. But can you just elaborate further on? how did you use it in your research? And how was it integrative to the other message that you've used, for instance, in the interview?

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Lisa M Moran: So first of all thanks. So much for your question. So on the W. Ibm. Walking interpretive by grafting methods. So we didn't use walking methods as part as part of this project. So

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Lisa M Moran: if you're talking about what we did in terms of the homelessness work, we did online interviews, and we did telephone interviews. But we did not use. W. Ibm. So W. Ibm emerged in the second scoping review, where we were looking at one

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Lisa M Moran: innovations and work that was completed by biographical researchers during COVID-19. So just to to reiterate that. So Maggie O'neill and Brian Roberts have a really brilliant book that was written in 2,019, published in 2,019, I think, by Bristol University Press, or the the Policy Press on W. Ibm. So that's the kind of one of the main key source books as it was around that

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the?

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So we have one more question.

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Okay, so thanks. First of all, to all the speakers.

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I had a question for Adam. So I I I think you've made a really strong argument about reality TV as a kind of cautionary tale about the kinds of practices we don't want to engage in. I wondered. What sorts of genres might you look to

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for the practices we might want to engage in some documentary filmmaking, for example.

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I mean. oh, gosh.

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okay.

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hello.

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So I I

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I've engaged much more of reality TV than I have any other TV form. Most most recently, I'm not entirely sure that there's anything from television. Necessarily, I mean, someone mentioned documentary filmmaking. But I mean some of the stuff that's been

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created by Netflix. That's that's had similar kind of machinistic.

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pressurized poor labour context around around the production of some of those things. Some of them are complete bullshit as well, and rubbish and tact tell complete lies, so I I don't know. I don't know that there is a genre, necessarily, though I would say, act as a act as a

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a good. Do you have any suggestions? Do you think that any you think there's any goods kind of

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okay as, oh, I'm thinking purely in television terms. Okay? So

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I'm gonna ask you. So tell me about the streets of everything

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it just. There's a opportunities to to think what the texts produced.

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Yeah, I think again, just drawing it back to kind of my, my knowledge of reality. TV, you know, these.

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these, these programs are not shown to the performers before they go out to the general public or the performers, the contestants, the the people involved. And I do wonder what that sort of television would look like if if they had some sort of sign off on the stories that were being told about them within reality TV. And there's a similar sort of sense with that. That collaboration. That's that's the underlying thing, you know. Any. So I guess there are forms of television that might do that. There are forms of street photography, art, that that

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foreground, collaborative forms of research and and and production of knowledge production.

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 but I I I would still come back to that problem of the labour context. That's very difficult to do.

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particularly his early early career research with time pressures, trying to build those sorts of networks out of nowhere. That sort of thing. I hope it answers your question in somewhere. Yeah, thanks.

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And

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the like. Any further questions or comments.

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Piotr Szenajch: if I may, we still have time, if there's no one one more question. So, hey? Yes, so so maybe

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Hi, Hi, Daniel! Here, Lisa! Nice to see you, and thanks for the presentation. I was wondering in. all these challenges that you beautifully described, that you encountered. Did you also maybe see some opportunities or positive elements that stood out in this kind of setup that you had to engage with

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Lisa M Moran: erez agmoni? Thanks, no, and I'm great to see you as always. So I know Daniel through the Sociological Association of Ireland, and I'm glad that you you travelled safely to Australia so well done. 250.

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Lisa M Moran: So in terms of opportunities. yes, and we had to think on our feet sometimes very, very quickly, in terms of what to do, particularly when our sample went to Roy, and particular participants said that they wanted to be involved, and then they said that they couldn't be involved. So there was a process of thinking on our feet.

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Lisa M Moran: and sometimes the process of even sharing insights with each other like some of the drawings which I didn't show you today that we had talked about online, about the meaning of biographical research. So we try to strip back, go back to the very basic sometimes of who we were as researchers. using techniques as well like to harry windows.

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Lisa M Moran: Because, bear in mind, we've we've never met Liam and I have never met in person. he's been working all across Europe, and so sometimes it was very useful, and I think potentially fruitful as well for our later ongoing collaboration to go back to basics, to kind of

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Lisa M Moran: who are we? Who we are as researchers? what her shared interests are not just our shared interest, but our shared assumptions about research

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Lisa M Moran: erez agmoni So in terms of opportunities, I think that represented a really key opportunity for us in terms of our ongoing collaboration, but also in terms of sharing research, your diaries together, which wasn't something that we had in the initial study plan, but something that emerged as time went on, because we often had to deal with very difficult narratives and also 250.

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Lisa M Moran: And this type of of sharing, of information and sharing of the self online. albeit in an online setting, was also very important for our own process of self care.

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Lisa M Moran: and that was something that we had foregrounded at the very beginning. But we thought about self-care as coming together once a week and talking to each other online. We didn't envisage using to harry windows or or sharing so much of the self. And yet that became a very intrinsic part of this because we were dealing obviously with very unanticipated and unknown circumstances

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Lisa M Moran: in the context of a disease that had no past, and at the time it was an unknown future.

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Lisa M Moran: So we dealt with all of these things, I I suppose, as they emerged And tried to use, I suppose, insights from the research that was already conducted by people like Vitamin and Nurse Maggie O'neal and colleagues and and not just my Maggie and Nudm. But others in relation to these types of shared insights. So so they were some of the opportunities that that I encountered.

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Lisa M Moran: Thanks, Daniel.

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you

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do. We have any questions, comments?

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No. So we're kind of done here. So Pilot and Kaya over to you.

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Piotr Szenajch:  okay. So so I have a a comment for Adam, and and the to shoot questions for Rosvika. So

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Piotr Szenajch: I I I I love your presentation. And so I I I

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Piotr Szenajch: I was thinking that that some of the reflections here that you've made are are very much a akin to the reflections on academic writing in general. That you can.

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Piotr Szenajch: I I I was looking for at some points to to

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Piotr Szenajch: myself of my own writing, and and especially, I remember

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Piotr Szenajch: who works by by Cl. For the gears on on famous ethnographers. Right? The I don't remember the English title, or or this little handbook for for the

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Piotr Szenajch: early career, scholars by by Horde Becker about writing, which is also a a a great

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Piotr Szenajch: place to to, to, to to start so

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Piotr Szenajch: in academic writing a as as in the you you always had. narrative patterns. There were always

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Piotr Szenajch: there, and modes of representations that you that always there is something very similar to montage. Right? Because you all also can, especially in good academic writing. You have a scenes, have protagonists. You have a story arcs, even right? And and so especially, I think, in a

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Piotr Szenajch: biographical methods where we where we are so close to we can have

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Piotr Szenajch: time for us slowly studying and describing one life story unlike in in, in other qualitative methods. This is this is very visible. And and so but but that's as you said as as as is

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Piotr Szenajch: you, you. You reflected that upon this a a a bit that also those this monitor, those scenes, and so on. They they from on our certain aesthetic constraints, because we we think about our writing in an as aesthetic aesthetical fashion. Right? We we we want it to be a a a beautiful story in the in our story, not the story life story that we've heard right.

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Piotr Szenajch: This, this this story of our writing, especially in the perhaps continental Europe and free neoliberal labor context, which was that the the basic form of communication was a mon monograph, right that that would span for a hundreds of of of of of words. so And and by the way, this, this is also.

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Piotr Szenajch: weirdly present in even nature and in in nature sciences such as there's this quite well known. book Popularizing Science by Sabina hos, and felt that about how the idea of the beauty of simplicity of a theory is is clouding judgment and and and and you know,

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Piotr Szenajch: hurting good good theorizing it because they are so focused on on having a simple, beautiful explanation, and as was the the the, the, the sort of the norm, a aesthetical aesthetic norm in physics. in in the the the beginning of the century, the twentieth century, and and and a question for for a a Rosita Breckner.

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Piotr Szenajch: I was wondering what are your plans for publishing the effects of this visual analysis. Because I I was in the morning I I was. I was so re reflecting sort of as a photographer right on how how we can.

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Piotr Szenajch: use a visual material, but not only as as m research monitor for analysis, but also to in in some ways of publishing right? And and and those very interesting clusters that you've shown of images right and and and and and I mean.

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Piotr Szenajch: during a conference you have slides available. But but what? What's kind of how how to publish this? I remember that's a in a in a, in a in a, in a, in a number to journal issue, edited by Lisa Moran was this problem. I had this problem right? How to add a a.

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Piotr Szenajch: basically a, a photo essay to a to a written, you know conventional article in A in a in print. And the the the the second question to those Vita would be about blurring, because I I I believe this is not, of course, perfect anonymization, as any anonymization is not perfect, but as a photographer I have to say that it

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Piotr Szenajch: deeply spoil the image right and and and curse my ability to actually maybe not even aesthetically saver the the photograph. But even to, you know, to to get this dense, you know, extremely fit thick you know, content of of knowledge and information that is in the photo.

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Piotr Szenajch: And at the same time you have to remember that those are pictures selected for public display and from online for the whole world to see. So perhaps you know, I I also worked with people who are very recognizable in their fields, and they were under there.

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Piotr Szenajch: names I mean they they they they were not anonymized, and and and they were refusing anonymization of any kind, right? So, by the way, so so there are certain cases when you might to negotiate or or think, or or even, you know. a proposed I mean, give a prop proposition to your researchers. That, hey? Maybe it it would be okay with you that at least in central

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Piotr Szenajch: certain context, like a conference, I could de anonymize you, in fact. but not show your name, but only in the images that you shown to the world yourself.

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Piotr Szenajch: Thank you.

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Kaja Kaźmierska: Sorry, because I have quite similar question to you. So maybe I can at this now, and you can, Put it together. So yeah, because I was also wondering

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Kaja Kaźmierska: about this anonymization issue, because even if you blow the face, actually, you can quite easily find such a picture in the Internet. Yes, if, of course, if somebody is interested for some, This kind of investigation. But still, why? Why? I'm asking

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Kaja Kaźmierska: this question, because we have now, quite similar pro a problem in our ongoing project when we interview people who are quite active in the Internet, like youtubers like Instagramers, and we have their narratives.

401
01:21:22.810 --> 01:21:28.949
Kaja Kaźmierska: And we would be very happy to compare

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Kaja Kaźmierska: The biographical story with this, what they show in the Internet, or or how they present themselves in the Internet also, Earning money on this kind of some presentations, but we are very hesitant about that, because we promise them to anonymize.

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Kaja Kaźmierska: After all, it's quite difficult to anonymize the the the transcription, because, you know, if you change too much, then it's no sense but it you. If you don't change too much there, you can quite easily recognize them. So

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Kaja Kaźmierska: so. So this is my question to you how you you deal with this problem. And what do you generally think about it? Because I I I think that this is actually a

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Kaja Kaźmierska: The first time since the method of biographical narrative interview has been established that we have a real problem with anonymization. It's not enough to change names, cities, or maybe

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01:22:35.860 --> 01:22:53.920
Kaja Kaźmierska: occupation, or whatever. Yes. So so what do you think about that? And I have one question to Lisa, did you think about coming back to your narrative in in real, just to meet in in a real

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Kaja Kaźmierska: okay. Thank you.

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Okay.

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Lisa M Moran: so do you want to go first and and I'll go second.

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Roswitha Breckner: Okay, So thank you for for your questions, which goes to the heart of our research challenges. We have to face.

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Roswitha Breckner: Well, the first one is how to publish with images. Well. it it it always is a it's kind of a fight, because if you have printed the publications, it's it's Meanwhile, not so much more expensive, but it is expensive to

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01:23:31.830 --> 01:23:39.249
Roswitha Breckner: to print images. so at the same time. My person now is that

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01:23:39.520 --> 01:23:46.820
Roswitha Breckner: with the online and then open access publication procedures, it becomes more more easy.

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Roswitha Breckner: My argument when I published a paper saying that I have to include images is saying that my images are my argument. and if I do not sell them, I cannot make an argument, because

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01:24:00.550 --> 01:24:07.410
Roswitha Breckner: to make an argument by by visibility is a different one than making an argument by

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01:24:07.450 --> 01:24:11.449
Roswitha Breckner: by by a discourse. If wording

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01:24:11.690 --> 01:24:24.619
Roswitha Breckner: it's it's like the Adam mentioned that there is a difference between first place, data and interpretive. Second.

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Roswitha Breckner: well, second, order interpretation, which you can put in a discursive argument.

419
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Roswitha Breckner: So you, if you work like we do to, to, to, to, to, to, to, to you your original data

420
01:24:40.800 --> 01:24:44.859
Roswitha Breckner: in order not to lose track from them, and not to get

421
01:24:45.160 --> 01:24:51.529
Roswitha Breckner: who abstract immediately. You you really have to fill your material to some extent

422
01:24:52.370 --> 01:25:04.349
Roswitha Breckner: so, and then it's to publish images. and I confront the publish this time and again. that sometimes the images are even

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Roswitha Breckner: equals to the phase of the text. but there is always a negotiation, and always any good reason with the layout there, because, they are many layout rules.

424
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Roswitha Breckner: For example, the place image is always on the top of the page or on the bottom of the page, and all these kind of stuff. and then then I have to. I can. No, it's just not the way we

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01:25:27.240 --> 01:25:36.010
Roswitha Breckner: we, we have to place our images because it does not fit as the way we, we develop our our argumentation.

426
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Roswitha Breckner: So. But

427
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Roswitha Breckner: I think that that also the the fact that visual sociology has been has

428
01:25:47.400 --> 01:26:01.090
Roswitha Breckner: well, had it as a a high time in the in the forties and and in the thirties and forties. and then it was not followed. first, that has to do that. It was too expensive to public.

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Roswitha Breckner: So it was only in the 6 seventies and eighties that it was possible to find publisher who were ready to the public images.

430
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Roswitha Breckner: And nowadays. I hope that it will become much more easier.

431
01:26:14.910 --> 01:26:20.610
Roswitha Breckner: Okay, this is a question of how to publish images.

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Roswitha Breckner: the blurring is always unsatisfactory. I agree.

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Roswitha Breckner: and because, of course, as I've tried to to with the the drawing, if you need to face expression for interpretation, you have to find ways to keep it at the same time to protect your into a partner.

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Roswitha Breckner: And that goes

435
01:26:43.500 --> 01:26:51.339
Roswitha Breckner: to the question of an minimization that I also raised, because when you do this kind of biographical interview.

436
01:26:51.620 --> 01:26:57.009
Roswitha Breckner: we really have quite deep insight into this into biography and

437
01:26:57.520 --> 01:27:04.710
Roswitha Breckner: we do more interpretation of these stories than the people themselves would do for themselves.

438
01:27:05.390 --> 01:27:14.479
Roswitha Breckner: So this is the the kind of stepping from the original data to the second state to the second order knowledge.

439
01:27:14.840 --> 01:27:23.909
Roswitha Breckner: and then My experience is to confirm people with your interpretation of their lives can be quite irritating for people.

440
01:27:24.570 --> 01:27:29.740
Roswitha Breckner: So at some point I decided not to do it anymore. Because

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01:27:29.830 --> 01:27:33.249
Roswitha Breckner: Why, how? Why should I confront them

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01:27:33.280 --> 01:27:38.809
Roswitha Breckner: with what I did with their biographies, which is not their own view on their biography

443
01:27:39.170 --> 01:27:49.959
Roswitha Breckner: at the same time, if I only follow their own view, I don't have to do any scientific or scholarly interpretation. I just I just say what they said about themselves.

444
01:27:50.600 --> 01:27:59.550
Roswitha Breckner: So there is a dilemma as there, there is a dilemma in that, and the solution, from my point of view, is to protect

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01:27:59.830 --> 01:28:07.319
Roswitha Breckner: the the individuality and and privacy of people in order to be able to make second-order knowledge

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01:28:07.430 --> 01:28:14.540
Roswitha Breckner: interpretation. And this is also it is. It is also also necessary

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Roswitha Breckner: for people who publish their images for a wide public.

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01:28:20.680 --> 01:28:36.760
Roswitha Breckner: because the that has a protection regulations from the European Union. Very clearly.  says that if you take an image out of one context, and if you place it to another context, you need the content of people.

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01:28:36.920 --> 01:28:41.269
Roswitha Breckner: You can't do it just by saying, Oh, this is public, I can use it.

450
01:28:41.310 --> 01:28:50.810
Roswitha Breckner: No, that's not possible. it's only possible with people of public interest politicians, for example.

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01:28:50.920 --> 01:28:57.800
Roswitha Breckner: for example, that goes to Kayas. Question Instagram, us or

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01:28:57.830 --> 01:29:02.789
Roswitha Breckner: Now, is your answer. We have

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Roswitha Breckner: about 1 million followers

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01:29:05.210 --> 01:29:10.240
Roswitha Breckner: with 1 million followers, you can consider them as being a public person.

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01:29:10.310 --> 01:29:16.239
Roswitha Breckner: and then you don't need the content. So there is a kind of gray area.

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01:29:16.480 --> 01:29:24.420
Roswitha Breckner: but if these in into us. I have 2,000 $304,000, or let it be 10,000.

457
01:29:24.580 --> 01:29:33.569
Roswitha Breckner: You need the the in front, content to use their images because they transfer it. So this is the real of of of colorly work

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Roswitha Breckner: and

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Roswitha Breckner: and even then it is not easy to to anonymous. And what we do is is to put the images in in Google images

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Roswitha Breckner: in order to think, to see whether along the images

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01:29:52.020 --> 01:29:58.999
Roswitha Breckner: and the the the accounts can be raised, and and then with, when we check that.

462
01:29:59.050 --> 01:30:07.869
Roswitha Breckner: the the the Google image that does not manage to to place the account. Then we feel somehow

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01:30:07.890 --> 01:30:09.910
Roswitha Breckner: they that

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Roswitha Breckner: The the anonymization is okay.

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01:30:15.370 --> 01:30:28.609
Roswitha Breckner: it remains a problem. and I've It's a gray area. and at some point. We also think about using stock images.

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Roswitha Breckner: So after having done the analysis and and to know what what I want to show with the the image.

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01:30:35.950 --> 01:30:42.619
Roswitha Breckner: And what is the argument with the image? Then I I could try to find other images of other persons. That

468
01:30:43.730 --> 01:30:46.320
Roswitha Breckner: kind of

469
01:30:46.460 --> 01:30:56.949
Roswitha Breckner: this element, of this, this aspect that I I found out in my well, that that would be another

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Roswitha Breckner: Another possibility is.

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Roswitha Breckner: if interview partners are quiet, the with them offering their images

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Roswitha Breckner: anyhow.

473
01:31:10.110 --> 01:31:16.599
Roswitha Breckner: So for Richard, for example, he is a he's almost a public person, and and he was not at all.

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Roswitha Breckner: hesitant to to to give us an admission to use his total. At the same time he was involved in a

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01:31:28.520 --> 01:31:34.989
Roswitha Breckner: in a sentence about the child care and I don't know how it is brought in English.

476
01:31:35.010 --> 01:31:50.710
Roswitha Breckner: His his wife, did not allow him to see his children. So he he had to find to see his children. and and this was the only context where he said, he does not want his children to see his images

477
01:31:50.720 --> 01:31:53.050
Roswitha Breckner: in a certain way. So

478
01:31:53.510 --> 01:31:56.940
Roswitha Breckner: this as an argument for for

479
01:31:56.980 --> 01:32:13.289
Roswitha Breckner: if you can use images if you are allowed to use them. The anonymized you have to take care about what you do for the person, even if the person is not aware of what happens if you use their images.

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01:32:13.770 --> 01:32:21.809
Roswitha Breckner: So this it's it's not, it's it's not as easy to say, oh, this person gave me the permission to use the image, so I use it.

481
01:32:22.050 --> 01:32:32.010
Roswitha Breckner: I really have to take care in what kind of context and what kind of knowledge comes out of these images, in connecting with them biographical and languages.

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01:32:32.110 --> 01:32:36.080
Roswitha Breckner: And and normally, we decide for

483
01:32:36.100 --> 01:32:45.329
Roswitha Breckner: trying really to analyze the images as good as we can. But you are right. and the aesthetic of the image is is lost.

484
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Piotr Szenajch: but I I just wanted to add that that in your article in current sociology you After consent, you do publish lots of. I'm just watching it. A lot of this. from from Facebook Instagram of of Assign one who's your protagonist? Right? Then, yeah, okay, thank you for reminding me. Yes, this. This was an example.

485
01:33:12.240 --> 01:33:26.020
Roswitha Breckner: where? he explicitly he gave the permission to use the images without minimization. But in his case it was. There was no difficult interpretation.

486
01:33:26.140 --> 01:33:30.300
Roswitha Breckner: and and there was no difficult context in which

487
01:33:30.540 --> 01:33:46.379
Roswitha Breckner: the reconstruction of the images and and the biography would could do any harm to him as a person. So now we decided not to actually, at least, the best.

488
01:33:50.880 --> 01:33:53.690
Piotr Szenajch: Lisa, would you like to?

489
01:33:54.030 --> 01:33:59.310
Lisa M Moran: Yeah, yeah, sure. So, thanks to Kaya, yeah, really interesting question. So

490
01:33:59.340 --> 01:34:11.370
Lisa M Moran: so with a couple of things, I suppose that I'd say about it, and the kind of links to the last paper. So Adam talked, for instance, about academia being a type of neoliberal publishing machine one.

491
01:34:11.440 --> 01:34:26.130
Lisa M Moran: And this comes up, but really every single sociology conference, certainly every conference that I've been at really for the last, I would say 5 to 6 years, and probably even before that. so pla or participatory learning and action

492
01:34:26.160 --> 01:34:35.960
Lisa M Moran: is a type of methodology that I think generally is quite well used, but in some research it tends to be used for a very short period of time, and

493
01:34:36.150 --> 01:34:55.209
Lisa M Moran: it's kind of like the participation is thought of as something that ends when you get an output, or you get a report out. And certainly participation is not like that. It's something that's meant to go on over a longer period of time, because we are.

494
01:34:55.400 --> 01:35:04.719
Lisa M Moran: We are quite constrained by funders, by funding regulations and also by our own jobs. And also we work in 2 different countries.

495
01:35:05.080 --> 01:35:29.760
Lisa M Moran: So I have no doubt that this research would have worked a lot better if we were face to face, and if we could meet people, if we could walk with them. If we could talk to them. If we could engage in their spaces, if we could see their living arrangements rather than hearing about it over a telephone or online. so we did a launch recently with Isr, the Institute for Social Responsibility

496
01:35:29.760 --> 01:35:37.250
Lisa M Moran: which was not very well attended by our our service providers, shall we say? Because, of course, they have their own commitments?

497
01:35:37.250 --> 01:35:50.610
Lisa M Moran: but also not very well attended by participants, and I think this was a real shame. But it was something that I had anticipated a while back, because there were obviously a lot of very strong economic and

498
01:35:50.730 --> 01:36:14.469
Lisa M Moran: very strong social constraints around stigma, etc., and identification. And all of these things that go along with being a homeless person, and people may not necessarily want to identify themselves as somebody who potentially was homeless, or at risk of being homeless, or who accessed the service. So I think that was a real shame. So there were certain things that we did at particular points during the research

499
01:36:14.470 --> 01:36:21.229
Lisa M Moran: to try to amplify the the voice and the input of the service. But we can only do certain things.

500
01:36:21.290 --> 01:36:41.549
Lisa M Moran: So one of the things the service the Good Shepherd has asked us to do is to do a face to face launch, which we're really open to, and which we will do in the autumn, where we'll bring the report to Cork. We'll do a presentation, but we also want to find some other way of engaging the service itself. Not just that. We're talking

501
01:36:41.550 --> 01:36:54.449
Lisa M Moran: to a service because it kind of puts us almost in a type of privileged position. Here we are as the researchers, but actually trying to encourage that researcher voice and that research ownership amongst the Good Shepherd itself.

502
01:36:54.460 --> 01:37:03.750
Lisa M Moran: And I think that's something that we need to think about in terms of of planning that event around ownership, etc. There are also 150

503
01:37:03.790 --> 01:37:18.759
Lisa M Moran: plans that we have a foot around. Co. Writing something particularly for practice and journal are also for practice matters, which is a publication from a university college Cork and the school of applied social studies.

504
01:37:18.770 --> 01:37:24.279
Lisa M Moran: So they publish, probably about 6 or 7 times a year. It's a magazine type format.

505
01:37:24.600 --> 01:37:36.340
Lisa M Moran: and something that will showcase the work. But we'd all. We'll also showcase the great work that the the Good Shepherd actually does in the community. So for the next stage of the research 150.

506
01:37:36.340 --> 01:37:56.289
Lisa M Moran: We don't see pla as something that ends when we get the report out, and we do a nice launch with Isr, which is lovely and fantastic, and thank you very much to them and for organizing it, but also something that has to go on and make a meaningful input into people's lives. So the shape of that is something that we're working out as we go now.

507
01:37:57.210 --> 01:38:13.939
Piotr Szenajch:  and thank you. The the the sun is slowly rising in war. So. But we do have another 10 min. So maybe. Adam, you would like to. comments on on aesthetic constraints of writing a

508
01:38:14.060 --> 01:38:15.230
Piotr Szenajch: or

509
01:38:16.460 --> 01:38:19.209
Piotr Szenajch: because you haven't had a chance to.

510
01:38:21.260 --> 01:38:22.770
I'll be quite brief.

511
01:38:23.280 --> 01:38:32.240
 So maybe ironically, I tidied up my presentation. So it's got a longer history, this, this.

512
01:38:32.690 --> 01:38:38.699
this worry around storytelling as part of academic writing in particular. So I wrote a paper

513
01:38:38.890 --> 01:38:55.549
years ago, now 2,019 which very much had a couple of participants cast as villains, and a a group. Another group of participants cast as heroes. well, maybe not quite heroes, but certainly not the were cast in a poor light.

514
01:38:55.550 --> 01:39:10.919
And it's I I read back. I go back to that article now, and I read back. And I wonder if there was a more sophisticated way that I could have told the story. I still stand by the paper. I still think it's got some interesting things about it.

515
01:39:10.920 --> 01:39:23.700
It's called Essex girls in the Comedy Club plug. And it's in the European Journal of Cultural Studies. But yeah, so that's what's really the kind of back going back in my own academic history.

516
01:39:23.700 --> 01:39:43.949
That's that's the underlying, driving force of this. Looking back at my own academic writing, and wondering if there was better ways or more interesting ways. Or was I constrained by the Journal article format itself to to make, to clear up the story to that extent that I had to use that sort of narrative. And so, yeah, that has fed into my watching of

517
01:39:43.950 --> 01:39:49.530
it was dry grace and the continuation of my own academic project, I suppose.

518
01:39:49.670 --> 01:39:51.399
But thank you for their comments

519
01:39:51.590 --> 01:39:54.149
really. very pleasing. Thank you.

520
01:39:55.670 --> 01:40:05.539
Piotr Szenajch: Do. We have maybe, a. some some 1. One more question, or or even 2 more questions.

521
01:40:05.810 --> 01:40:06.710
Okay.

522
01:40:07.250 --> 01:40:08.720
Piotr Szenajch: any comments.

523
01:40:12.240 --> 01:40:18.400
Piotr Szenajch: maybe on the premises and mountain? No, not really here about online presenters.

524
01:40:24.950 --> 01:40:29.300
Piotr Szenajch: Okay, so the Kaya, would you like to

525
01:40:29.450 --> 01:40:30.630
Piotr Szenajch: concludes.

526
01:40:34.550 --> 01:40:41.949
Kaja Kaźmierska: yeah, I I just can say, Thank you very much for very interesting presentations and discussion.

527
01:40:42.140 --> 01:40:56.370
Kaja Kaźmierska: And yeah, and have a good time in in Australia and to have a good sleep. I hope we managed to recover, For today, for today's with you. This.

528
01:40:56.780 --> 01:41:01.200
Kaja Kaźmierska: So thank you very much. Thank you. Anybody.

529
01:41:02.370 --> 01:41:03.050
Thank you.