WEBVTT 1 00:00:00.001 --> 00:00:18.139 Arshi Jahan: so Hello, everyone. Very good morning. From this side. this. study. The name of my presentation is the epistemological function of visual questioning. The visual representation of dull it community in development. Of course, I would like to stick to the time 2 00:00:18.170 --> 00:00:22.029 Arshi Jahan: Esther has already mentioned. So yes. 3 00:00:22.570 --> 00:00:26.450 Arshi Jahan: starting with this, I am updating my objective 4 00:00:27.440 --> 00:00:45.519 Arshi Jahan: and the purpose of the study. The first is to focus on the representation of people from Dallas community, through which one in development is, course. Second, how visual can image. We can construct marginalized narratives and making them look more vulnerable, marking it as their only identity. 5 00:00:46.450 --> 00:00:52.469 Arshi Jahan: The third one is, what do we see in visual narrative and what remains overlooked? 6 00:00:55.220 --> 00:00:56.630 I. Okay 7 00:00:58.090 --> 00:01:10.740 Arshi Jahan: for the method and approach. I have taken up an interdisciplinary collaborative approach where therein I will be undertaking 3 disciplinary standpoints. sociology, cultural studies, and media study. 8 00:01:11.020 --> 00:01:22.979 Arshi Jahan: This work is representing a theoretical point of view wherein an effort is made to use some relevant theoretical standpoint from 3 disciplines and use them as an analytical framework. 9 00:01:23.810 --> 00:01:38.890 Arshi Jahan: I will be critically examining each theoretical argument, my which might extend the scope of this study. and this work is limited to a generalized use of concept. For the purpose of this study 10 00:01:39.760 --> 00:01:49.420 Arshi Jahan: the work would attempt to explore the interconnectedness of these theoretical standpoint that would call a cumulatively draw some conclusions. 11 00:01:53.050 --> 00:01:53.810 Arshi Jahan: Yes. 12 00:01:53.940 --> 00:01:57.559 but basically defining that it as a category. 13 00:01:57.790 --> 00:02:16.030 Arshi Jahan: So for just getting a historical overview. The roots of that is, oppression goes back to the origin of caste system, and using religion in the philosophy of of a caste is contained in the monicility which is a sacred Hindu text dating from second century Bce. 14 00:02:16.030 --> 00:02:33.139 Arshi Jahan: Untouchable outcast communities were forbidden to join in the religious and social life of the community were confined to menial task, that that were viewed as polluting, such as animal slaughter and leather working, which is still prevalent in many parts of the country. 15 00:02:33.830 --> 00:02:44.190 Arshi Jahan: according to the census 2,011, the scheduled caste population. So the Dulles category comes under the said scheduled cast or category 16 00:02:44.250 --> 00:02:56.399 Arshi Jahan: it is consist of 16.6 of India's total population, which is a significant rise from 2 2,001 census results this count 17 00:02:56.920 --> 00:03:07.820 Arshi Jahan: for a reorientation in policies, for overall inclusive development, for example, suggested increase in the reservation, in the sector of jobs, education, and other. 18 00:03:08.690 --> 00:03:25.329 Arshi Jahan: As we are 18.5 of total rural area and 12.6% October. It's clearly fine that the population is higher in rural areas. So the list, it is a subsequent word which means opera and downtown. 19 00:03:25.330 --> 00:03:51.209 Arshi Jahan: The world was appropriated in 1,970 by untouchable writers and activists, to describe their community, both in the present and in historical content, and, as mentioned, it comes under the category of scheduled costs. Beginning with the study center movement, led by writers in 1,970 is the Tombal. It acquired a radical new meaning of self identification that signified a new opposition. 20 00:03:51.560 --> 00:04:03.760 Arshi Jahan: So this is a little political historical background. So today the tom is widely used in the Indian public sphere, especially a Catholic, and literally feeds 21 00:04:03.780 --> 00:04:20.810 Arshi Jahan: for the 19 nineties can be observed as a dk.to renewed activism with national public debate over the extension of affirmative action. The reservation in public sector, higher education made visible even cities, metropolitan areas. Largely. 22 00:04:21.040 --> 00:04:42.439 Arshi Jahan: this done, is actually so fundamentally based on the political icon, Dr. Dean, who led over which was led by professionals, delete elite include doctors, lawyers, teachers, ex service personnel, the Fc. Association of public sector employees in the Railway Bank Food Cooperation, that is, number of 23 00:04:42.720 --> 00:04:45.759 Arshi Jahan: Parliament in various parties, and so on. 24 00:04:46.290 --> 00:05:05.050 Arshi Jahan: So then, so here I'm digging with the theatrical background. So when I'm saying for sociological perspective, I'm specifically questioning, what does the visual communicate so specifically talking about border large or concept where he's talking about the models of the real 25 00:05:05.050 --> 00:05:28.900 Arshi Jahan: is calling image. So where he's saying that images are part of socially constructed reality with authority, shape, collective imagination. However, it seems contradictory factor here that we think of image, not just some as a murder of the real, but also a construction of noble reality which is based on authoritative ideas. As a priority. 26 00:05:29.480 --> 00:05:48.190 Arshi Jahan: Further to this, for example, if then it's body, if if any image is represented in a distressed condition, for example, maybe in any kind of advertisement or any poster, maybe the during political really rallies. They talk about their 27 00:05:48.190 --> 00:06:00.819 Arshi Jahan: upcoming policies for the opera in their memorandum. So if they present, that is in a distressed condition. So the question is, what this picture is denoting. 28 00:06:00.960 --> 00:06:10.579 Another very important question that it raises is the question of agency. Who is speaking for who has the agency to 29 00:06:11.020 --> 00:06:14.590 Arshi Jahan: speak on behalf of Zoom? So 30 00:06:15.340 --> 00:06:32.140 Arshi Jahan: it it talks about who are the creators of that those kind of visual who are who are preparing this sort of narrative on behalf of the operate those who can't have the authority of for maybe you know, writing their own ideas. 31 00:06:32.150 --> 00:06:57.410 Arshi Jahan: Further, an image then becomes more than a product of perception of the Creator, but a result of collective knowledge and intention so visual can be seen as a medium of cognition that transmit ideas. Therefore it is important to understand visual strategy, that to understand what of the visual, which further requires an inquiry into the how, where we are specifically talking about the strategy. So this 32 00:06:57.610 --> 00:07:10.049 Arshi Jahan: collective knowledge, which is constantly in construction through visuals. it's it's it's sort of it's sort of a strategical action. So it somehow questions that. 33 00:07:12.350 --> 00:07:33.040 Arshi Jahan: okay, further to this is our cultural perspective, which is top specifically pointing out the ideological apparatus. So according to the culturally determined meaning of an image, it's not just a product of a given medium, the video or picture, but a product of ourselves as we generate images of our own imagination and postal perception. 34 00:07:33.040 --> 00:07:44.739 Arshi Jahan: the first, second, that an image is not just a define with visibility, but also the whole symbolic meanings and mental frame of the created. Again, going back to the idea of how 35 00:07:44.890 --> 00:07:49.960 Arshi Jahan: so the authority of the Creator and the ideas of the creators impacts a lot 36 00:07:50.370 --> 00:08:05.489 Arshi Jahan: for the it. It's emphasiz on the quotes the impact of these one phones, collective beliefs. It appropriate cultural and native belief against the minority for the widening, existing social differences and in inequalities. 37 00:08:05.770 --> 00:08:07.330 Arshi Jahan: Jenny Janet 38 00:08:07.350 --> 00:08:28.100 Arshi Jahan: describes the phenomenon of group think that lead to a course. This form of communication. So can we imagine that this course, this communication tends to create a pattern of conformity within audience that would inevitably promote persistent soft cultural norms. So whatever we are communicating through 39 00:08:28.370 --> 00:08:41.380 Arshi Jahan: images, there is high possibility that it will end up becoming not an individual idea, but a collective. It will become a collective idea of some group or 40 00:08:41.480 --> 00:08:49.400 Arshi Jahan: a collective sort of idea which might have which might 41 00:08:49.770 --> 00:08:59.880 Arshi Jahan: what to say. promote a sort of a our already existing social inequality. 42 00:09:00.170 --> 00:09:11.770 Arshi Jahan: So cause this communication will offer you. There is a sublime tool by the powerful and authoritative regards stakeholders to exercise its control over Martian population. According to layers. 43 00:09:11.770 --> 00:09:30.529 Arshi Jahan: the cultural stereotypes are maintained by cultural processes in the society through communication process and not to forget. communication is a very important part of society that that helps in a lot of culture processes. That goes on. 44 00:09:30.950 --> 00:09:35.920 Arshi Jahan: The third is media studies where we are largely talking about it. Impact on audience. 45 00:09:35.950 --> 00:09:49.459 Arshi Jahan: The first theory is the hypodermic needle model that by haroldness wall, which is also known as magic bullet theory that explains audiences are directly affected by what they see and what they hear. 46 00:09:49.530 --> 00:09:52.419 Arshi Jahan: who are supposed to be big and passive. 47 00:09:52.610 --> 00:10:04.679 Arshi Jahan: So, according to the media, in the form of content, it can inject ideas, perceptions into passive audience, who would not receive, but also belief passively, without questioning. 48 00:10:04.840 --> 00:10:11.960 Arshi Jahan: So the theory suggest that audience is power powerless towards reducing the impact of 49 00:10:12.220 --> 00:10:27.050 Arshi Jahan: message. So there is one example also from this, the movie trump of the bill there. It has been used as a propaganda to inject pro this. promoting Nazi calls into German audience 50 00:10:27.520 --> 00:10:32.560 Arshi Jahan: the lastly, another one theory is cultivation theory 51 00:10:32.930 --> 00:10:47.939 Arshi Jahan: that creates the audience as passive. It's for just a repetitive exposure to the same message. For example, again, I'm talking about editing when, during political release the call kind of banners that come out to promote their prop memorandum. 52 00:10:48.180 --> 00:10:59.619 Arshi Jahan: It can have an effect on our audience attitudes, and that means and it can decide that the more frequent exposure to particular messages any form will more likely to alter audience ideas accordingly. 53 00:11:00.590 --> 00:11:14.309 Arshi Jahan: So here, I'm specifically focusing on what are the factors that can that are involved in this course construction in June? So these are 4 fundamental. 54 00:11:14.310 --> 00:11:33.389 Arshi Jahan: you know, if factors that can affect. this course, construction in any Ngo that's a very basic level for stakeholder kind of funders that are coming in network and alliances. For example, if Ngos are, have some political affiliations, they are supporting some political 55 00:11:33.390 --> 00:11:47.830 Arshi Jahan: parties, so they will automatically function accordingly. Third, fundamental and and principle values. What are the values that all these Ngos are following. The third is the Csr model of development. That is the 56 00:11:48.590 --> 00:12:08.649 Arshi Jahan: Yes corporate social responsibility, which is an extremely important factor as it described corporate zone within the wider, formal, and informal institutions. For so it is interest and concerns. It reflects norms rules, beliefs, integrity of Tsr stakeholders where that at those are expressed in 57 00:12:08.650 --> 00:12:27.550 Arshi Jahan: practices. So Csr activities basically take responsibility for the interest of society consists of corporate policy programs and strategies. And you provide assistance to corporations implementing and achieving various goals, such as handling different social welfare programs of testing, assisting them. 58 00:12:27.620 --> 00:12:43.779 Arshi Jahan: and campaigning for G of to gain benefits. And it it is in this due process that high chances the the the ideas of these corporate stakeholders might reflect in the back practices of Ngos. 59 00:12:44.000 --> 00:13:04.220 Arshi Jahan: Further, these are the few images for references. Where if you can see the first image, it's a graphic representation of that. It's a mother. It's it's of population in the heart. A number is a poster. It's a it's for child, right? Campaign. The top child neighbor. The third is. it's a 60 00:13:04.220 --> 00:13:15.889 Arshi Jahan: some sort of political rally. It it's a shobi, for of the link to highlight discrimination in. So, for example, I have taken the these images for references. And 61 00:13:16.110 --> 00:13:36.530 Arshi Jahan: further, what I observed is the dominant expressions for that. Listen, visual and narratives remain the words which will always keep on recording in whatever we read and whatever we see are they underdeveloped, agitated, Gil Shane under knowledge, helpless, scared. 62 00:13:36.540 --> 00:13:50.849 Arshi Jahan: distress, traumatized, and highly vulnerable? What's this one less dominant in the narrative remain. The words and the expressions are joy, happiness, and his developing and aspirations. 63 00:13:51.620 --> 00:13:58.820 Arshi Jahan: So when I say that this terminology of visual. So I'm largely talking about the kind of knowledge that they end up 64 00:13:58.860 --> 00:14:23.399 Arshi Jahan: producing in the mindset audience. So I'm I'm I'm writing as what we see, what is what we overlook. So we obviously see what remains very dominant in the all the narratives that we get. So for me, in most dominant narrative. Positive affirmations have hardly found spaces in the various. This courses on oppression or done, and Martian life, community 65 00:14:23.480 --> 00:14:38.680 Arshi Jahan: discourses around joy, happiness, and positive expeditions almost to remain non-existent part of a large discourse on cast and oppression, as evident in our everyday life. The offline and online content remains more focused 66 00:14:38.720 --> 00:14:45.929 on the instances of brutality and dehumanization of Dallas, and this can be viewed as an import 67 00:14:46.330 --> 00:15:04.149 Arshi Jahan: victimization, which is because of the exaggeration of dominant narratives that have left led to an internalization of office identity. Further, the historical representation in silencing of direct voices have immensely contributed in the misrepresentation. 68 00:15:04.200 --> 00:15:15.799 Arshi Jahan: Therefore, the experiences of dehumanization of that is, have made it difficult even for this spectator to look beyond their social location and dominant narrative. 69 00:15:15.900 --> 00:15:29.320 Arshi Jahan: while discrimination in many forms connect them together as the bearer of same experiences and emotions. However, the resilience of Dali can take the form of dominant narratives which can possibly make them look empowering and hopeful. 70 00:15:30.100 --> 00:15:50.030 Arshi Jahan: So a focus on mental health upset where done is, issues are treated with much sensitivity, with the purpose of not suppressing the traumatic experience, but healing through conversations on joy. I can possible possibility, possibly fulfill a holistic idea of development. So just to add 71 00:15:50.500 --> 00:16:07.369 Arshi Jahan: a brief conclusion which is which has been uplooked out through this, the interdisciplinary approach as method. It can be said, that visuals constitute an important part of narrative in the development sector and paramel to. In other disciplines. 72 00:16:07.490 --> 00:16:26.309 Arshi Jahan: Visuals are significant and effective in narrating the reality which can be a social construction alongside. Visuals are also subjected to the Creator's own perceptions, ideas, experiences, and biases, whereas the spectator at the receiving end remains. A passive viewer. 73 00:16:26.350 --> 00:16:32.620 Arshi Jahan: Visuals carries ideas along with images, they transmit knowledge in implicit ways. 74 00:16:32.720 --> 00:16:58.959 Arshi Jahan: Therefore the study is not, overlooking the traumatized experiences of done it as a group. As a group, however, it is trying to imagine a narrative that is built on join and healing that can be a form of resistance as well. That counter normalized operates. Therefore it is important to rethink, reflect, and rewrite the narrative on the A. 75 00:16:59.120 --> 00:17:00.090 Arshi Jahan: Thank you. 76 00:17:01.140 --> 00:17:16.370 Arshi Jahan: I think I have. Okay, 20 min exact. Thank you. Thank you. You are on time, and thank you so much, and we will get back to you after a while. But before that I request Dr. 77 00:17:16.710 --> 00:17:19.269 Wood Rogersky 78 00:17:19.360 --> 00:17:20.640 from Poland. 79 00:17:20.660 --> 00:17:25.680 his Faculty of Sociology Department of social practice, research and theory. 80 00:17:26.080 --> 00:17:29.639 let me see how to. 81 00:17:30.000 --> 00:17:33.660 I I think we should leave this. I don't know 82 00:17:34.050 --> 00:17:36.410 a great 83 00:17:36.660 --> 00:17:40.550 Arshi Jahan: should I stop sharing. No, yeah. You you stop sharing. 84 00:17:41.530 --> 00:17:59.150 Thank you. and his topic also is very relevant to that very theme. Visual representation of rural development challenge, of using visual research method instead in rural areas. Maybe your case could be 85 00:17:59.160 --> 00:18:06.249 the Poland case. I get okay. No, go ahead. Thank you very much. 86 00:18:14.280 --> 00:18:17.440 Hello, everyone. I'm very happy to be here. 87 00:18:17.500 --> 00:18:25.329 my name is Khashoggovsky. I come from Poland. I'm also happy to present today, because I finally 88 00:18:25.800 --> 00:18:29.529 not suffering from the deadlock. So 89 00:18:29.630 --> 00:18:57.300 I will try to describe some my experiences from research project about the Rural development but let's say, let's start at the beginning. I would like to say that the the visual methods in sociology have come a very long and bumpy road At first they were treated with caution 90 00:18:57.540 --> 00:19:07.019 as an invention of researchers who could not scope with traditional methods and techniques. Then with great enthusiasm. 91 00:19:07.040 --> 00:19:22.389 based on the belief that visuals may provide that data that are usually unavailable using other methodological attitudes. And eventually they became a relatively well established part 92 00:19:22.440 --> 00:19:26.330 of the field of sociological research methods and techniques. 93 00:19:26.360 --> 00:19:52.669 it is also worth to mention that if we if I talk about usual methods, or when when people talk about visual methods it. It can be treated in free ways. First, visual methods refer to those practices when images try to stimulate or create other data. For example, in 94 00:19:52.670 --> 00:20:01.609 for the elicitation interview, when we use images to stimulate people to talk about other things 95 00:20:01.610 --> 00:20:29.920 the second thing the second way of describing visual methods. When we treat visual data, we give images as a data, and we analyze them. For example, in qual qualitative and quantitative way. And the third way visual methods. And as a way of creating narration in films in photo exhibitions. In my presentation, I will focus on the mainly on the third one. 96 00:20:29.920 --> 00:20:35.610 So I will try to talk about visual narrations. But not only we can also mention 97 00:20:35.610 --> 00:20:51.049 Other things. Of course, the development of visual research creates new challenges of using them. Here are some new new challenges 98 00:20:51.060 --> 00:21:08.839 of using using visual research methods and techniques. this is not all of them. But if we try to. mention some of them, the these are, for example, the relationship between visual data, and that data obtained from other senses. 99 00:21:08.850 --> 00:21:37.320 the relationship between visual data and data generated on the move in mobile research, the role of new technologies in using using visual data, some new ethical challenges related to visual research and also competencies of participants of Visual Visual research competencies related to creating and using visual data. 100 00:21:37.580 --> 00:21:45.759 These are some of the of the challenges that are mentioned in the literature. Of course there are also some others. However. 101 00:21:45.900 --> 00:21:51.740 there is one challenge that for me is very often overlooked. 102 00:21:51.920 --> 00:21:58.470 I would I would like to focus on this one today. 103 00:21:58.580 --> 00:22:01.720 It refers to the question whether 104 00:22:02.110 --> 00:22:16.199 the type of research in the area influences, visual research and visual methods. If we look at the tradition of using visual research in sociology, it is mainly focused on urban areas. 105 00:22:16.380 --> 00:22:40.769 Assumptions of the about the visuality of the of the city are are often transferred to other research areas, and my presentation will therefore try to focus on the on the selected specifics of using visual research in rural areas. So I will try to answer. 106 00:22:40.770 --> 00:22:53.100 are there any specific guidelines for using visual research in rural areas, and I will try to do it, using the example of the project direction 107 00:22:53.390 --> 00:23:11.959 this was funded by the European Union. in horizon 2,020 Mari's quad of scakuri actions, innovative training networks. This project aimed to study social entrepreneurship in rural areas 108 00:23:12.030 --> 00:23:16.170 and the social innovations implemented there. 109 00:23:16.500 --> 00:23:33.810 more than a dozen scientific and non-scientific institutions participated in the project. You can see the least of all of the of the organizations on the left, and they came from 7 countries. 110 00:23:33.980 --> 00:23:40.480 Ireland, Portugal, Denmark, Germany, Poland, Austria, and Greece. 111 00:23:41.620 --> 00:23:49.189 One of the project's components was a comparative visual study in selected Rural regions. 112 00:23:49.260 --> 00:24:02.999 In Portugal, in Greece and in Ireland you can see a PIN on those regions. In those 3 countries, in Portugal it was Baja Atlantejo. 113 00:24:03.100 --> 00:24:11.099 in Greece. It was a Phytis region, and in Ireland it was Balijura region. 114 00:24:11.360 --> 00:24:36.990 and in each of this region. in each of the count, in in of this country, we focus on a different topic. In Portugal we were researching, networking of local farmers. In Greece we were researching new users of farmers, traditional ways of working, and in Ireland we were researching how local community centers are created 115 00:24:37.290 --> 00:24:54.730 an interdisciplinary research team of sociologists and for photographers created a documentary film and an online for the exhibition. Here. I can see this team also me there. 116 00:24:54.730 --> 00:25:10.929 and my presentation will be illustrated by examples from this film and from this exhibition and basing on my experiences from this project I would like to focus on 4 topics 117 00:25:11.090 --> 00:25:24.019 that may be relevant to the specifics of using visual research conducted in rural areas, particularly concerning the creation of visual loretics. 118 00:25:24.600 --> 00:25:33.800 So what are the 4 topics? The first one is cooperation with the local rural community and its ethical challenges. 119 00:25:34.100 --> 00:25:44.350 Small rural communities, such as those where we conducted our research usually work closely together. 120 00:25:44.520 --> 00:25:53.049 From my research experience, rural residents tend to be less anonymous than the urban residents. For this reason. 121 00:25:53.110 --> 00:25:58.100 obtaining content to participate in visual research is easier. 122 00:25:58.160 --> 00:26:05.179 as people are less concerned about sharing and disseminating their images. 123 00:26:05.740 --> 00:26:12.390 For example, in Portugal we worked with a local Roma community 124 00:26:12.530 --> 00:26:20.370 to talk about their lives and problems as a minor category. In Greece 125 00:26:21.120 --> 00:26:32.830 Farmers invited us to their daily meetings when they discuss the current challenges of working on Stevia farms. 126 00:26:33.040 --> 00:26:35.169 Here you can see the 127 00:26:35.200 --> 00:26:50.650 some captions from those meetings while in Ireland we participated in a Bingo game local Bingo game. It was a huge even because there was a community accumulation and a huge 128 00:26:50.650 --> 00:27:10.910 huge price. And it's been low gain in all of this cases local communities were very open to to us, and we were, happily to participate in those meetings. However, at the same time, such situations increase the danger of exploiting 129 00:27:11.010 --> 00:27:28.389 networks of local dependencies and coercing to participate in research. It is therefore necessary to ensure that all participants agree to take part in the project themselves, and that the third-party consent is used appropriately. 130 00:27:29.140 --> 00:27:35.580 The second topic is the role of the natural environment in rural visual research. 131 00:27:35.980 --> 00:27:44.529 Of course, the natural environment and the local work associated with it are among the hallmarks of rural areas. 132 00:27:44.690 --> 00:28:04.130 Hence, when collecting visual materials, it is possible to stage such situations and frames where they not such situations and frames when the natural environment forms the background. Even if dealing with such a situation in the field, may seem strange. 133 00:28:04.250 --> 00:28:05.600 For example. 134 00:28:05.960 --> 00:28:19.059 In the documentary film we introduced the Ballyhura region in Ireland, but showing its natural environment, although creating this material, was quite challenging. 135 00:28:19.300 --> 00:28:34.199 We drive the car very slowly. One of us was filming through the car window. Other cars were overtaking our car on a very narrow road, however. We finally deal with this captions. 136 00:28:34.440 --> 00:28:44.530 The other example. We also, for example, asked asked to use a table and chairs, one shooting in a Stevia plantation in Greece. 137 00:28:44.760 --> 00:28:58.929 It was a combination of such elements that usually do not co-occur. Such a contrast focused more attention to specific elements of the picture, and may emphasize the role of the environment. 138 00:29:00.300 --> 00:29:04.579 The third topic is collaborative creating knowledge. 139 00:29:05.430 --> 00:29:17.239 Our research was at least partly participatory. We collaborated with the local community in creating the scenario and organizing the various things. 140 00:29:17.700 --> 00:29:34.990 this was especially important when presenting work in rural areas, we and we encourage staging certain activities that farmers know well, so that those activities became familiar also to the Abbeyans as well. 141 00:29:35.270 --> 00:29:40.660 In doing so we ask to show details and frame the details 142 00:29:40.900 --> 00:29:46.670 this way. The viewer can get more involved in the presented materials. 143 00:29:47.240 --> 00:29:48.569 For example. 144 00:29:49.480 --> 00:30:00.470 a farmer on an aromatic, her plantation in Portugal talks it in details about his work while presenting the plants, the camera? 145 00:30:00.940 --> 00:30:13.239 So we can see that we are focusing on the details. He also demonstrates how some machinery on his on his farm works. 146 00:30:17.660 --> 00:30:28.280 However, it is also worth noting that rural life in that life in rural areas is usually less dynamic than in the city. 147 00:30:28.410 --> 00:30:46.120 Reproducing rural, slow life is also the task of visual materials, then it is worth looking for such situations that in cooperation with the local community will sometimes produce moments of dynamism to attract the viewers. 148 00:30:46.230 --> 00:30:47.920 So, for example. 149 00:30:48.510 --> 00:30:53.540 when going to the field in Greece, we were invented to an open one. 150 00:30:53.890 --> 00:31:04.240 we used this moment to dynamize the narrative, and at the same time to create the sense of being inside the situation we were narrating. 151 00:31:09.200 --> 00:31:10.679 And the 4 topic 152 00:31:10.690 --> 00:31:16.659 which is important for me is about the perspective of the of the narration. 153 00:31:16.870 --> 00:31:23.690 Most of the materials we produced in our research was created from the perfectly for rural residents. 154 00:31:23.710 --> 00:31:38.320 They were the main protagonists of our research. We gave them voice, and they described us and showed us their lives. All the examples so far have referred to this perspective. 155 00:31:38.680 --> 00:31:48.680 however, at the same time, in the photographic exhibition, we created, basically in the project we offered another external perspective. 156 00:31:49.210 --> 00:31:56.790 These were short statements that were created by Ph. D. Students who researched those areas. 157 00:31:56.840 --> 00:32:16.069 These were brief notes from the field mark a field work supplemented by photographs the doctoral students took. They come from yet another element of the visual research carried in the direction project the visual diaries created by the Ph. D. Students. 158 00:32:16.250 --> 00:32:22.139 This external perspective of the narrative becomes an interesting addition. 159 00:32:22.270 --> 00:32:43.409 To the leading insider perspective of the area residence! It lends credence by drawing attention to what may seem everyday and unreflexive to the residents. So here are some examples of those external perspective and the visual diaries created by the Phd students. 160 00:32:44.360 --> 00:33:00.320 So in my presentation, I wanted to to point at 2 things. The first was to point out the error of visual research is its universalization regarding the area in which it is supplied. 161 00:33:00.760 --> 00:33:09.339 Rules developed in dominant urban research are only sometimes applicable to rural areas. 162 00:33:09.880 --> 00:33:19.970 The second goal was to point out, based on my own research experience, some features of visual research that can be applied to rural regions. 163 00:33:20.280 --> 00:33:30.830 so what are the guidelines for applying visual research in rural areas? I do not want to create a finite list at this point. 164 00:33:31.090 --> 00:33:37.840 instead, in my presentation, I am signaling some points. worth paying attention. 165 00:33:37.890 --> 00:33:42.779 If one wanted to list a few such guidelines, they would be, for example. 166 00:33:43.000 --> 00:34:09.110 first of all, caring for the local community, including presenting the research results, especially, for example, Claudia Mitchell points out that good practices for disseminating results. Results of visual research include locality and presentation in an atrio-create place. It is very important when we conduct such research in rural areas. 167 00:34:09.130 --> 00:34:21.310 Another point would be attention to voluntary participation in the study by all participants. Another would be emphasizing the role of the natural environment and physical setting. 168 00:34:21.500 --> 00:34:28.040 Another one would be focusing on details to create a sense of being inside the process happening. 169 00:34:28.319 --> 00:34:37.089 Another would be the balance between dynamizing the narrative and emphasizing the importance of rural, slow life. 170 00:34:37.330 --> 00:34:38.969 and the last one 171 00:34:39.020 --> 00:34:55.909 would be creating narrative from different perspectives, insider outsider. And, for example, according to European guidelines, this would mean that we are focusing rather on communication than dissemination. 172 00:34:56.359 --> 00:35:12.340 Thank you very much. If you would like to watch in detail the film I was referring to. You can type in Youtube, working with communities direction and the full film. is ready to watch there. Thank you very much. 173 00:35:17.439 --> 00:35:27.070 Thank you. Because maybe you can see it here, because we'll have Q. A. Definitely. I also have some concerns. But before that 174 00:35:27.200 --> 00:35:30.600 I request a Professor Harvey to say something. 175 00:35:31.940 --> 00:35:39.350 Thank you both both presenters for very interesting presentations. 176 00:35:39.880 --> 00:35:41.710 Luke Mini and I 177 00:35:41.730 --> 00:35:43.500 organize this panel 178 00:35:44.570 --> 00:35:53.650 thinking about that, we look at a whole range of possibilities of visual sociology with regard to development. 179 00:35:54.060 --> 00:35:54.950 that 180 00:35:55.120 --> 00:35:59.570 I thank you for presenting some of the areas 181 00:35:59.580 --> 00:36:03.720 like the rural areas in Europe, Ireland of to the Greece. 182 00:36:03.820 --> 00:36:05.959 that we really don't know much about. 183 00:36:06.100 --> 00:36:15.240 Now we can read a narrative. We could come and describe what you saw in those villages, but when you present visually. 184 00:36:15.580 --> 00:36:22.369 you know we immediately understand. We see what was going on, and think of it as a pedagogical tool. 185 00:36:22.450 --> 00:36:26.500 If you are teaching a class, whether in India or in 186 00:36:26.600 --> 00:36:36.579 Australia. I'm talking about European rural life, agricultural changes. We show these visuals. And immediately the students grasp what's going on 187 00:36:37.030 --> 00:36:41.199 now? Referring back to Jahan's presentation. 188 00:36:41.760 --> 00:36:45.539 if you look, look at Foucault, look at all the big names. 189 00:36:46.050 --> 00:36:51.360 That's fine. That's absolutely fine. We all do that. We have to start with some big names. 190 00:36:51.410 --> 00:36:54.159 But you simply look at the potential 191 00:36:54.220 --> 00:37:01.660 of visual sociology, visualization of developmental problem. When I give you one example from India 192 00:37:01.970 --> 00:37:05.590 in India there was a major scandal. 193 00:37:05.760 --> 00:37:10.060 It is a major scandal with regard to primary education. 194 00:37:10.360 --> 00:37:24.030 and the scandal began at the level of World Bank and international communities with a simple video that a student took from his mobile phone in a in a class without teacher. 195 00:37:24.460 --> 00:37:36.730 no teacher, because the teacher is supposedly be there. But the teacher has other work in the village, so the school is empty. The students come, is simply a rich well of going to school. No line. 196 00:37:36.980 --> 00:37:57.429 So the student uses his mobile phone to describe their situation, and that immediately got the attention. And there are many other examples I can give from my other area of research, which is sociology of disaster, famine. And I can give you this 2,000, this 1,994 example, where 197 00:37:57.590 --> 00:38:06.630 a major crisis was being created due to food shortages in certain parts of Africa were kept hidden 198 00:38:06.820 --> 00:38:13.579 by the dominant narrative. The States don't want to accept that there is a famine condition 199 00:38:13.990 --> 00:38:15.080 until 200 00:38:15.210 --> 00:38:17.290 someone group that 201 00:38:17.460 --> 00:38:31.080 by visually presenting taking pictures, any pictures. And you know, television has played a very big role in that. So you can use which one narrative as a counter hegemonic 202 00:38:31.110 --> 00:38:36.779 strategy rather than looking at it. Representation from people's point of view 203 00:38:36.970 --> 00:38:49.210 it would be part of the dominant discourse, but it can be a counter-dominant discourse, and you can find hundreds of examples where visual narrative and visual tools 204 00:38:49.240 --> 00:38:51.309 have been able to 205 00:38:51.940 --> 00:39:04.810 debate, interrogate, and even destroy the dominant. And in the Indian case I think that the the story of Dallas I mean, of course, we have joy. You have happiness, but if you look at the big push. 206 00:39:04.910 --> 00:39:09.669 the State narrative, the official narrative is, everything is fine. 207 00:39:09.730 --> 00:39:13.689 and the visual continuity will be not. Everything is not fine. 208 00:39:13.850 --> 00:39:18.119 This is in that sense, one really has to think more deeply 209 00:39:18.660 --> 00:39:30.699 as to how to leverage on this technology and on this methods. And I could just, I would end with one shot. For example, there's a movie not very well known. 210 00:39:30.710 --> 00:39:32.179 But fifth second. 211 00:39:32.670 --> 00:39:35.629 it's a semi-documentary semi 212 00:39:35.730 --> 00:39:40.059 feature film, mostly documentary, based on the 213 00:39:40.080 --> 00:39:56.959 the right-wing narrative in America, where they created this meat, that there was a pizza hart outlet where Hillary Clinton and others. You know, they were involved in all kinds of nefarious activities, and this documentary exposes that. And it one 214 00:39:56.980 --> 00:39:59.729 mentioned in cantry in festival last year. 215 00:39:59.860 --> 00:40:07.600 So this is an example of what visualization and visual methodologic can do at the very 216 00:40:08.870 --> 00:40:15.300 could I add something? Maybe we can. Yeah, maybe we can have more if 217 00:40:16.320 --> 00:40:21.389 our audience have something to say. participants. Yeah, please. 218 00:40:26.140 --> 00:40:38.060 good morning. I'm Labohi. Thank you both for the presentations. My question relates to, I suppose, to both of you, but specifically to the first presenters 219 00:40:38.700 --> 00:40:41.550 in the context of kind, of 220 00:40:42.080 --> 00:40:48.150 a democratic dispensation of image production and dissemination 221 00:40:48.560 --> 00:40:52.510 from people's mobile phones, and the kind of immediately 222 00:40:52.660 --> 00:40:56.849 to what extent do these sort of top-down 223 00:40:56.870 --> 00:41:11.680 sort of external productions of images, whether of rurality or of subordinated caste identity? To what extent do they still hold power? 224 00:41:11.910 --> 00:41:22.369 and and and and to what extent do they remain authoritative in the constructions and representations of those identities or geographies? 225 00:41:22.460 --> 00:41:34.919 And and and maybe that's a broader question around in your own assessment, the influence of new 226 00:41:35.080 --> 00:41:45.110 visual technologies and the ways in which they have dissented in some ways, or are they? It's a question, are they decentering the power authority? 227 00:41:45.180 --> 00:41:52.719 You know, the epistemic authority of researchers of government agencies of 228 00:41:53.040 --> 00:41:54.250 Ngos. And 229 00:42:00.320 --> 00:42:02.030 yeah. A, 230 00:42:11.250 --> 00:42:21.069 I'm I'm soa like chat a bit from Thailand. This is very interesting. I just have a little bit. 231 00:42:21.520 --> 00:42:27.289 2 to one. A quick question about how 232 00:42:27.300 --> 00:42:39.450 you contextualize the setting is the concept of the area, the area that you conduct, your reserve 233 00:42:39.490 --> 00:42:47.699 similar to the one of mine. My, my colleagues, they just like that loan. Yeah, to collect data 234 00:42:48.100 --> 00:42:51.480 in the forest and community. And then 235 00:42:52.080 --> 00:42:56.010 there, there are lots of things there. I mean, in the community. 236 00:42:56.150 --> 00:43:02.490 a lot of people people living in a forest and concrete and 237 00:43:02.660 --> 00:43:16.170 many problems in those areas. So do you have to go to the field again. And I mean research with the 238 00:43:16.240 --> 00:43:20.230 it on a narrow team here in your area. 239 00:43:21.720 --> 00:43:26.500 Thank you. let me. Also. 240 00:43:27.100 --> 00:43:35.449 it was my concerns as well for Rc. it was wonderful to. 241 00:43:36.730 --> 00:43:42.199 I have this idea of this how this is being visualized 242 00:43:42.290 --> 00:43:59.159 one of the marginalized groups in India. And but it's the lady just mentioned. regarding this is new era for social media, and everyone is having this cell phone and etc. What could be the way to 243 00:43:59.160 --> 00:44:14.340 I'll alter this very approach. And and I was reminded of one of the visualization process while my was in the government, and you must be knowing my tried to 244 00:44:14.440 --> 00:44:20.629 construct impact this statue of her own. 245 00:44:20.910 --> 00:44:45.159 and that was being criticized in India heavily, and I don't know whether it has had any impact to the people or the her voter. So so I think, yes, definitely, we we are very much concerned about the way it is being done. But according to you, what could be the alternative for for for for for this? 246 00:44:45.160 --> 00:44:59.109 mass masses! And for researchers like you to create a alternative thing that would be one of the concerns. And for you, sure, yes, definitely. 247 00:44:59.510 --> 00:45:12.150 your rural areas are similar to our urban areas of global south. And the way you try to mention, for example, your statement was 248 00:45:12.230 --> 00:45:15.740 this, rural areas are less dynamic 249 00:45:15.790 --> 00:45:21.740 and urban are more dynamic. If it is the kind of conclusion 250 00:45:21.880 --> 00:45:34.520 then might be we I tend to, tend to again subscribe this very neoliberal idea of urbanization, modernization, and 251 00:45:34.630 --> 00:45:51.439 other things. And then how could we retain this rural things? according to your perspective? These are my concerns for for both of the interest and please maybe we can go other way around. First. 252 00:45:51.500 --> 00:45:58.149 first restaurant from Poland. And she will be the final one. Okay? I see. 253 00:45:59.260 --> 00:46:02.960 Okay. Okay? 254 00:46:03.410 --> 00:46:09.709 first of all, about contextualizing and your your question. 255 00:46:09.740 --> 00:46:18.740 I didn't mention about it. But creating the film was also based on several interviews. 256 00:46:19.000 --> 00:46:27.530 the the I mentioned that the research team was created from photographers and sociologists 257 00:46:27.570 --> 00:46:46.560 and photographers did did some shoots, and they make a pictures and created fields. Why, the photographer, the the sociologist, it was me. I I did. about 15 interviews with people who lived in those areas. 258 00:46:46.560 --> 00:47:00.479 And the the film was based on comparing those 2 perspectives. So we didn't want to only show pictures. 259 00:47:00.480 --> 00:47:20.999 But we show the pictures in the context of the interviews. So if I I suggested that you can. You can see the full film on Youtube. Then you will see the all those interviews, some parts of it with context to all the the pictures. 260 00:47:21.000 --> 00:47:34.300 and of course the narrative is somehow connected, so the the the voice narrative is connected to the visual narrative, and this is also important for creating 150 261 00:47:34.470 --> 00:47:48.330 creating the the whole narration. I think this is what what you mentioned the beginning. This is a very huge topic about 262 00:47:49.490 --> 00:47:58.420 who creates the narrative and about whether the visual is always the counter hegemonic discourse 263 00:47:58.750 --> 00:48:02.320 it usually is, but not always. 264 00:48:02.420 --> 00:48:15.170 Yeah. And, for example, I mentioned that when we were creating the exhibition and the film, we were doing it, together with the local communities, however. 265 00:48:15.570 --> 00:48:18.440 there are the leaders of the local communities. 266 00:48:18.540 --> 00:48:26.909 Yeah. And usually they may want to show their communities in a specific way. 267 00:48:26.990 --> 00:48:33.309 They want to height some things that are not very positive for them. 268 00:48:33.410 --> 00:48:56.489 And this is why we wanted to talk, not only with the leaders, not only with the managers of those social entrepreneurships, and so on. However, also with, let's say, normal residence with this Roma community, with those farmers, and so on. And 269 00:48:56.490 --> 00:49:06.690 thus we created also this bottom up narration, not only the narration of the leaders of local communities, but also the narration of 270 00:49:07.890 --> 00:49:15.090 normal residence. Let's say, yeah. And I would be very afraid 271 00:49:15.120 --> 00:49:28.149 to say that visual is always always counter-dominant. It may be a very hegemonic. discourse, yeah, exactly. 272 00:49:28.150 --> 00:49:50.259 Yeah. And also it is important to to say that you. You said that. for example, you may use visual narrative in pedagogy to to to show to to students, and so on and so on. It is also very important for the whole tradition of visual research that it is 273 00:49:50.260 --> 00:50:08.849 very often targeted at different audiences, not to the scientific audiences, but, for example, to non scientific, you know, to to to those who are no specialists. And that's why I mentioned that we are not focusing on on this is 274 00:50:08.850 --> 00:50:38.529 from European Union guidelines, not dissemination, but communication. We just focus to create the communication from the beginning of the project. Not only the results to show the background of the project. That's why we also use this also. this visual diaries of the Phd students which showed the background, how it was used, and so on, and so on. And this is also a case for for creating this counter 275 00:50:38.810 --> 00:50:41.520 counter. 276 00:50:43.520 --> 00:50:48.490 and about your about your question. Well. 277 00:50:48.550 --> 00:51:16.850 this, this, this this, this less more dynamic? I said, of course, this is the case. Yeah. And I don't want to say that rural region is always less dynamic than than than the than the urban ones. However, this was some our experiences from those regions, and many people in the interviews said that also the nature of their life 278 00:51:16.860 --> 00:51:24.359 is to to feel that they are in a kind of slow life. That's why we wanted to show it in the 279 00:51:24.370 --> 00:51:40.469 in the field. That's my point could be sometimes less. Dynamism could be good for the society. 280 00:51:41.080 --> 00:51:42.130 Yeah. 281 00:51:46.320 --> 00:51:50.140 yes, thank you for giving me this. The the water late? 282 00:51:50.530 --> 00:52:08.309 so I I'm not familiar with the visual sociology. I can be out of curiosity and interest. But still, like a question came to my mind relating to cooperation with a photographer in the production of data in in research, but thinking that this. 283 00:52:08.540 --> 00:52:32.430 like also open the door to new forms of collaboration between science and art, as photography also relates, and to to the artistic production of that are sociologically meaningful 284 00:52:32.490 --> 00:52:41.269 fiction and scientific representation or sociological representations that at least have the 285 00:52:41.380 --> 00:52:43.550 the methodologically 286 00:52:44.140 --> 00:52:51.069 yeah, objectifiable, so to say. Oh, so I was wondering to which extend you 287 00:52:51.230 --> 00:53:13.030 who came across those epistemological issues in your own research, and how dealt with it. And I'm I'm not saying this with the idea that we should defend science or scientific discourse against art, but rather also to recognize possibilities. 288 00:53:15.260 --> 00:53:19.489 thank you very much for this question. 289 00:53:19.630 --> 00:53:31.630 A very important question about the relations between science and art. The photographers we were cooperating with 290 00:53:31.690 --> 00:53:37.230 had some scientific background. 291 00:53:37.300 --> 00:53:43.069 They were. They graduated anthropology. 292 00:53:43.400 --> 00:53:49.940 So they were somehow they knew something from the social science and humanities. 293 00:53:49.970 --> 00:53:57.790 And also it is important. So so they had this, this scientific feeling. 294 00:53:57.820 --> 00:54:12.809 what to what? To capture, what to stage, and so on. And also this is important to know that not all kinds of photography feeds very well into visual sociology. 295 00:54:12.930 --> 00:54:19.349 Yeah, we usually refer to what we can call documentary photography. 296 00:54:19.580 --> 00:54:27.409 And we cooperate with those photographers that are focused on documenting. Social life. 297 00:54:27.590 --> 00:54:41.480 not the the artistic point of view, but rather documenting what is happening among people. And of course this creates some tension 298 00:54:41.510 --> 00:54:57.339 between scientific and art narration. However, this is a very positive tension and create something more from from this narrative. Yeah. So yes. I don't think that we need to defend science. 299 00:54:57.370 --> 00:55:13.090 This is not an opposition. This is rather something that may create something positive also, if we think that such narrations are referred not only to scientific but also non-scientific audiences. 300 00:55:13.310 --> 00:55:21.720 Yeah, but I would say that. Please remember, documentary photographers are very 301 00:55:22.000 --> 00:55:37.149 useful. It's not a appropriate where? Yeah, but it is all. It is very good to cooperate with documentary photographers, and if they had a ethnography sociology background, this is even better. 302 00:55:38.100 --> 00:55:42.849 Thank you. Now, may I request Rc. To respond? 303 00:55:45.000 --> 00:55:48.419 Arshi Jahan: Yes, of yes. So so 304 00:55:48.530 --> 00:56:01.679 Arshi Jahan: I you mentioned, what can be the alternative approach to this? To the visuals as the counter narrative. So I would like to mention that there is one of 305 00:56:01.680 --> 00:56:29.400 Arshi Jahan: journalism website known as Perry People's Archive of Dur in India that covers stories of millions of rural people in India. So it. This this particular network acts as an archive of as it saves moving past. It's a sort of for journal where they covered the stories of people across communities in rural areas. So it is so when I pay that 306 00:56:29.640 --> 00:56:47.860 Arshi Jahan: not always. you know. You see, visual can be counter narrative when I see that visual can be counter narrative. So I'm basically focusing on the various aspect of life of a person. that these visuals 307 00:56:47.860 --> 00:57:05.929 Arshi Jahan: should or must, you know, cover in order to be a counter narrative. So so in as, for example, one of is this so this so people park. I also rural India that slide. Only I saw that there was one 308 00:57:05.930 --> 00:57:29.849 Arshi Jahan: story where, dull it, women was sharing how manual scavenging is not a shame in this in their you know, in their community, when they people talk with themselves, it's more like it's it's their job in their earning this, but the now it it's it's not something that we will. we would hear very normally, because the it is considered as though. 309 00:57:30.070 --> 00:57:42.190 Arshi Jahan: you know it's it's not a good job, or it's only done by dull it. So these kind of narratives that have that are counter-hygemic. They are only 310 00:57:42.420 --> 00:57:53.479 Arshi Jahan: most of the time they are not being covered by the dominant narratives, or especially in Ngos, that are working with the State actors, it 311 00:57:53.480 --> 00:58:17.999 Arshi Jahan: largely get ignored. So. Yes. So when we are looking at oppressed communities, we need to have alternative approaches of covering diverse aspects of their life. So not not just to, you know, one repetitive narrative of how you know. Oppressed they are. Yes, recognizing the fact and also recognizing the other part. 312 00:58:18.000 --> 00:58:29.300 Arshi Jahan: So basically, community people should take the central position in also, you know, giving them the child to represent themselves, which again becomes a very important part. 313 00:58:29.720 --> 00:58:32.780 Arshi Jahan: So if that uncle and 314 00:58:35.580 --> 00:58:38.210 all right. a 315 00:58:38.830 --> 00:58:42.850 any more discussion we want, or we want to finish this. 316 00:58:44.760 --> 00:58:48.220 It seems we are in a mood to complete it, and 317 00:58:48.230 --> 00:58:53.170 maybe we can have a photograph. Come here. And then, sir. 318 00:58:53.200 --> 00:58:58.869 yeah, visual sociology, are you? You can open your camera, sure. 319 00:59:07.040 --> 00:59:16.259 So I don't have any question. But I wonder I don't know about this type of thing major social value. It is called. 320 00:59:16.300 --> 00:59:25.399 I wonder if we offer a course on visual sociology, for example, at Undergrad, or if you want to bring it in the curriculum. 321 00:59:25.660 --> 00:59:39.390 how should we contact this type? Of course, visual sociology in our classrooms? Thank you. Can I just answer that you know you can find standardized modules and visuals. 322 00:59:39.480 --> 00:59:45.109 and I'll just give one example about how to use visual 323 00:59:45.190 --> 00:59:47.959 strategy visual as 324 00:59:48.110 --> 00:59:49.790 a weapon of the reach. 325 00:59:50.140 --> 00:59:55.170 You know, I mean, this is, you know, in the media studies, this is a common knowledge. This is like 326 00:59:55.710 --> 00:59:58.109 media study is one on one that 327 00:59:58.350 --> 01:00:01.730 there's a huge bias in Media. 328 01:00:02.000 --> 01:00:03.709 There is a representation 329 01:00:03.720 --> 01:00:06.890 that represents corporate and state interest. 330 01:00:07.350 --> 01:00:10.629 There was a journalist who went to Palestine. 331 01:00:10.850 --> 01:00:12.570 and what she did. 332 01:00:12.910 --> 01:00:17.200 She bought all this. This was before Mobile phone the way back. 333 01:00:17.300 --> 01:00:29.859 What she did. She bought cheap cameras, very, very cheap cameras, and distributed these candidates among Palestinians juveniles, very young, 10 year old, 12 year old. 334 01:00:30.140 --> 01:00:41.059 And what she asks that you take whatever comes to your mind, whatever you want to photograph, do that collect it. And then she came back. And 335 01:00:41.510 --> 01:00:46.730 so this is absolutely what you are hearing the narrative 336 01:00:47.100 --> 01:00:57.979 of the repressed. Now, of course, I understand the ethical issues. We are dealing with minors. Modern universities would require you to take all kinds of 337 01:00:58.500 --> 01:01:05.970 omissions. Third party, you know, absolutely. But you see it. Some of those 338 01:01:06.150 --> 01:01:15.979 I sit on those ethical communities. They are part of the sculpture and instructors. Don't forget that, so they are not on this side of the victims. 339 01:01:16.010 --> 01:01:19.900 They are not on the side of the victim. Sometimes they have to break the rules. 340 01:01:20.200 --> 01:01:24.080 If you don't bring the rules. you can't be 341 01:01:24.670 --> 01:01:28.119 so. I think that that example 342 01:01:28.290 --> 01:01:30.050 shows us very clearly 343 01:01:30.080 --> 01:01:46.749 that how you can use. And now, can you imagine what you can do with mobile phone? And this is being done. This has been done, so one danger is falling into the trap of Populism. That, of course, the right to in media is very active. The State corporate 344 01:01:46.790 --> 01:02:03.450 propaganda. You know the whole advertising industries. But then you also look at, you know, writers or filmmakers, you know, making people. I had a long conversation with Mira and Ia. You know, when she came to give some courses in Abu Dhabi 345 01:02:03.900 --> 01:02:08.820 that the first feel she made here in a big way, Salam Bombay 346 01:02:09.360 --> 01:02:17.220 that created a huge interest. Of course, you know, people knew about slums in Bombay, the largest clubs in the world, and so on. 347 01:02:17.250 --> 01:02:26.679 But the visualization from the movie, and that that was like the grandfather of later on the movie that got the Oscar and all that. 348 01:02:26.780 --> 01:02:33.989 But that set in nutrients. So there are many, many examples I can think of from the 349 01:02:34.120 --> 01:02:37.739 from and there many other examples from. 350 01:02:38.490 --> 01:02:48.040 So it plays a very effective role. And I remember teaching a whole course, not as part of the course, of course, based on Michael Moore's movies. 351 01:02:48.170 --> 01:02:55.320 you know, and that's an example of comprehensive humidity that they can drop on many of the shortcuts, on 352 01:02:55.350 --> 01:03:05.430 on American society based on my, he works and the students who had no idea about what America was all about. They saw the other side of the American Society 353 01:03:05.440 --> 01:03:10.480 that went, you know, completely unreported. 354 01:03:10.660 --> 01:03:21.130 That's not the far-based news that the American victims of 9 over 11 didn't get covered in America, they were taken to Cuba. 355 01:03:21.260 --> 01:03:24.030 So here's no one knew that honestly. 356 01:03:24.290 --> 01:03:37.259 and Michael Moore exposed that to his visual effort in his movies. So there is a huge deal of potential that need to be realized. So I go back to Manuela's talk yesterday. 357 01:03:37.390 --> 01:03:39.810 and she said that Eurasia 358 01:03:39.940 --> 01:03:45.660 is one of the issues that we have to fight with, and these are the examples of in Asia as we can 359 01:03:45.740 --> 01:03:50.409 go back to, and you know, inlive in them to visualization. 360 01:03:51.250 --> 01:03:58.869 Thank you very much. What you mentioned about this technique to give the photo cameras to the participants 361 01:03:58.930 --> 01:04:04.919 is a great example of the research technique which is called photo voice. 362 01:04:05.030 --> 01:04:17.990 And this is very often used in participatory visual research. When you ask local communities to create visuals by themselves. So our 363 01:04:18.020 --> 01:04:45.869 perspective was a different one. It was. The researchers created the the visuals. However, there are very many projects when the the local community creates it. And then it is really those participants. participants centered. Yeah. And this is only one example of visual research technique and somehow connecting it to your question. There are very 364 01:04:45.870 --> 01:04:58.509 many other visual research techniques that are well established in sociological methodology. This is, especially for the elicitation interview. 365 01:04:58.580 --> 01:05:11.219 This is a so-called working with video when people walk together in some places, and this is recorded on the camera, and later we can also 366 01:05:11.220 --> 01:05:33.009 watch this together and discuss it together. This photographic observation, this is analyzing secondary data that came from media that came from social media especially, and so on. So there are very many courses of visual sociology. 367 01:05:33.080 --> 01:05:44.329 No, no, there are also quantitative ones. However, there are usually a qualitative focus, but there are also quantitative 368 01:05:44.380 --> 01:06:09.979 kinds of analyzes. For example, when using when analyzing a huge amount of visual data and doing some such statistics in it. Yeah. yeah. So so, of course. if some of you would like to implement visual sociology courses at your your universities, I can also give you some suggestions. 369 01:06:10.360 --> 01:06:18.500 So with this remark, I think we should. We should close this session. Thank you very much for both the presenters. Rc. 370 01:06:18.680 --> 01:06:26.400 Very, very early morning. You are preparing this, and for us it was okay. It's a 371 01:06:29.180 --> 01:06:35.869 and thank you for being here as well. So shall we have a photograph right here. Why not you? Come? 372 01:06:41.710 --> 01:06:49.949 Yeah, yeah, yeah. 373 01:06:51.060 --> 01:06:53.409 Yeah. Come here a bit closer. 374 01:06:54.050 --> 01:06:56.200 Yeah. I also give my 375 01:06:56.400 --> 01:06:57.500 camera. 376 01:07:00.830 --> 01:07:01.490 Yeah. 377 01:07:01.610 --> 01:07:05.880 So the visual as well physical. 378 01:07:07.260 --> 01:07:17.009 Arshi Jahan: I will also take one picture. We'll share this with you as she thank you 379 01:07:17.170 --> 01:07:29.090 would have your. I don't have your email, but we might be. Yeah, we'll find it. Please say Hi to root Mini and for us, sure that I met her yesterday only on the occasion of Eid. 380 01:07:29.280 --> 01:07:43.500 Okay, you you open your to. Okay, very good. Thank you so much, sir. Thank you for your feedback. Wait for a while, because our police friend also want to have one photograph. 381 01:07:43.600 --> 01:07:46.229 Thank you very much. 382 01:07:47.460 --> 01:07:48.370 Option. 383 01:07:48.510 --> 01:07:54.320 Yeah, yeah, with the visual and physical both. 384 01:08:00.520 --> 01:08:02.859 Thank you for coming to our session. 385 01:08:03.630 --> 01:08:12.080 And thank you for all to join this. Yeah, thank you. 386 01:08:12.130 --> 01:08:15.350 I will be happy to meet you, you are, see? 387 01:08:15.680 --> 01:08:18.000 Arshi Jahan: Sure, sir. Sure, thank you so much.