WEBVTT 1 00:00:00.001 --> 00:00:12.699 Ana Heras: So good morning, and welcome everybody to our session. 2 00:00:13.380 --> 00:00:18.619 Ana Heras: We will first go with the acknowledgment of the country. 3 00:00:19.050 --> 00:00:23.969 Ana Heras: and in doing that we are acknowledging also 4 00:00:24.370 --> 00:00:33.190 Ana Heras: the diverse peoples on earth that are continually being dispossessed of their land. 5 00:00:33.370 --> 00:00:35.380 Ana Heras: culture and freedom. 6 00:00:36.170 --> 00:00:43.300 Ana Heras: In 7 00:00:59.230 --> 00:01:10.170 Ana Heras: so with this acknowledgment of the coordination as the sovereign people where you're sitting at today 8 00:01:10.620 --> 00:01:18.639 Ana Heras: and in Argentina, in the location we are at the candiest people. We open our session for today. 9 00:01:19.920 --> 00:01:24.840 Ana Heras: I will need the next slide with the presenters. 10 00:01:25.480 --> 00:01:34.960 Ana Heras: or else I will need an alia to put up this slide with the presenters and alias in the 11 00:01:43.870 --> 00:01:45.050 Ana Heras: okay. 12 00:01:49.170 --> 00:01:54.680 Ana Heras: So I will need this slide with the presenters, please. 13 00:01:54.940 --> 00:02:00.019 Thank you. 14 00:02:01.540 --> 00:02:02.780 We have to go back. 15 00:02:03.260 --> 00:02:16.339 Ana Heras: Yeah. Which one do you want 16 00:02:16.630 --> 00:02:26.800 Ana Heras: up to 15 min to explain what they are sharing with us today? 17 00:02:36.160 --> 00:02:40.779 Ana Heras: And so we'll start with the first paper 18 00:02:40.840 --> 00:02:48.599 Ana Heras: for our session called, why do we need the visual understanding educational practices, using visual data and methods 19 00:03:21.300 --> 00:03:23.179 Ana Heras: they are presenting online. 20 00:03:24.640 --> 00:03:25.810 Ana Heras: We will 21 00:03:25.870 --> 00:03:27.580 Ana Heras: great. Thank you. 22 00:03:30.100 --> 00:03:34.079 Ana Heras: I will let you know when you are close to finishing. 23 00:03:37.530 --> 00:03:45.030 Okay, good evening. Everyone. Thank you for having me today. And I'm just really happy that I found this room 24 00:03:45.460 --> 00:03:53.070 today. I'll be presenting on 3 studies from Canada that examined children's use of digital technology. 25 00:03:54.910 --> 00:04:04.790 I will share a brief introduction, describe the 3 studies that include visual elements and consider what they tell us about children's digital lives. 26 00:04:04.860 --> 00:04:12.290 Additionally, I will talk about some of the advantages and disadvantages of using the different methodologies in these projects. 27 00:04:15.350 --> 00:04:39.439 As technology continues to pervade children's lives both at home and school, it becomes integral for research to explore how parents and children are negotiating and conceiving technology in relation to children's learning, especially in our studies situated in Canada, where technology use amongst youth is nearly ubiquitous. 28 00:04:40.000 --> 00:04:56.019 For instance, recent statistics, Canada data shows that while there hasn't been much change in how many Canadians access digital technology and the Internet, there are changes in how these things are being used. 29 00:05:11.440 --> 00:05:12.210 Right? 30 00:05:13.680 --> 00:05:15.650 Okay, I don't want them to be here. 31 00:05:16.380 --> 00:05:18.279 Okay, I'm on. I'm 32 00:05:21.920 --> 00:05:44.470 we seek to understand children's use of digital. Technology as a form of capital to advance their own learning, while research notes that middle-class families often provide educational advantages for their children. Other scholars suggest that children can draw on personal resources both tangible and intangible to create learning opportunities for themselves. 33 00:05:44.570 --> 00:06:02.109 While it has been noted that children are quite adept at picking up digital skills and often becoming co-learners in the learning process involving technology. There is little research that considers how children themselves are utilizing digital tech and the roles of families and schools. In this process. 34 00:06:03.650 --> 00:06:22.590 Visual research that includes children in the data collection phase can be more engaging for children and give them some control over what they choose to share with the researcher. Visual methods, such as photo elicitation and digital diaries, can be more inclusive and accessible for children. 35 00:06:22.600 --> 00:06:36.069 Additionally, the literature notes that it's difficult for researchers to analyze the visual data on its own. Without input from participants. the visual cannot substitute the participants voices, but can add to them. 36 00:06:40.480 --> 00:06:58.850 So we are looking at 3 studies, and this is going to be a very brief overview of them. But the photo elicitation study was part of a larger mixed method study examining summer learning inequality, and was conducted in summer literacy and numeracy camps across Ontario, Canada. 37 00:06:59.030 --> 00:07:07.609 The photo elicitation portion portion was conducted in the camps at 2 inner city schools in Southwestern Ontario. 38 00:07:07.720 --> 00:07:22.949 Disposable cameras were sent home with children, ages 5 to 8. Photos were developed, and interviews were conducted with children where the focus was on home literacy practices. But technology soon became an interesting part of the conversation. 39 00:07:23.500 --> 00:07:36.890 In the second study the Ontario Ministry of Education launched a Technology and Learning Fund in 2,014, with the goal to enhance 20 first century competencies and help students become more technologically savvy 40 00:07:37.140 --> 00:07:41.980 robotics, kits were purchased and distributed to every school board in the province. 41 00:07:42.980 --> 00:07:56.679 The classroom video observations were one part of this study for our current project data collection with children, parents and teachers is still in progress in the provinces of Ontario and New Brunswick 42 00:07:56.800 --> 00:08:13.550 for today's paper I'll be focusing on 11 children in the province of New Brunswick. Children used a digital diary. It was called a daily O diary app, and they were asked to include photos in their digital diaries 43 00:08:13.780 --> 00:08:32.180 along with describing their digital technology use for 2 days during the school week, and one day on the weekend, they were asked to answer questions such as, what type of device they were using, what they're doing on that device? Do they consider the activity educational, or are they learning something new? 44 00:08:32.230 --> 00:08:37.570 The amount of time spent on that activity, and if they received help from anyone 45 00:08:41.080 --> 00:08:47.480 when sent home with the cameras, children were given photo prompts related to their home literacy practices. 46 00:08:47.480 --> 00:09:11.770 The prompts that had digital literacy as a part of children's photo. Answers were online. Photos of the library were included as places where children can get reading materials, access to Internet videos and video games, other digital materials, computers and the Internet were included as sources for children to learn new things 47 00:09:12.050 --> 00:09:40.940 and photos of video games were often included things that children did on their downtime things that children said that they were good at What was interesting is when we did the interviews with the children. boys who played video games. the you know the video games with like the storylines at the bottom, though, that reading that they did at the bottom of the screen while playing video games was often the only reading they were doing at home. 48 00:09:41.890 --> 00:09:50.660 Children also indicated that the summer camps provided access to digital technologies in the form of learning apps and newer devices. 49 00:09:50.820 --> 00:10:05.109 It's important to note here that the summer camps were situated in communities that needed them. So the province was targeting schools that had scored low on standardized literacy and numeracy tests. 50 00:10:05.310 --> 00:10:28.140 So the majority of our sample in this study comes from low ses homes at home. The children in the study were using digital technologies to guide their own personal interests, such as looking up things on the Internet to learn about in this case. So you see the picture of the crocodile. The the child wanted to learn more about the crocodile. So they look it up online. 51 00:10:28.370 --> 00:10:36.639 They were not necessarily waiting on parental help or direction, but were securing their own advantages when the resources were available to them. 52 00:10:36.650 --> 00:11:04.429 Also, learning with digital technology was more favorable for child participants. I have this example on here from a child named Owen Pseudonym, where he talked about medio games, so his dad would have him complete math workbooks, and as a reward he would get to play what he called medio games, which is a math video game. So even though both of those activities were getting to him to work on his numeracy. 53 00:11:04.430 --> 00:11:09.039 that the digital part of it was actually seen as the preferred mode of learning 54 00:11:11.210 --> 00:11:29.130 due to the young age of our participants. We found the photos to be a useful focus in the interviews. They were excited to see their photos and tell us about them. The interviews paired with the photos gave us a glimpse into the children's use of digital technology in relation to their home literacy practices 55 00:11:30.190 --> 00:11:57.470 because the cameras went home with students. Parental involvement was inevitable, but children were quick to tell us when the photo was not their idea. For example, you see on the screen a photo from Charlie he took a photo of the school library for a place that he likes to read, and when I interviewed him he said, I didn't want to take that photo in that. An adult in his life had gave him that idea. And so he took the photo 56 00:11:57.470 --> 00:12:18.139 additionally, while we wanted children to have full control of their images. This did result in some children not taking photos for each of the prompts that we provided. We had an interesting interview with Matthew, where many of the photos were things he wanted to show us around his house, and, as he said to us, I mostly took pictures of things that were special to me 57 00:12:20.450 --> 00:12:37.879 in the video recordings we observed classes in low ses and high ses communities. There were classes solely for gifted students, and all classes included students with learning disabilities. Students were quite capable in all of these different settings in their work with robotics, kids. 58 00:12:37.880 --> 00:12:53.599 Their work was often cross-curricular, and older students were tasked with solving real world problems. Mostly we observed how proficient children were in working with robotics, and their increased perseverance and difficult tasks when working with the kits. 59 00:12:57.890 --> 00:13:09.640 Since 20 first century skills and competencies are hard to see in measure, video observations were the best way for us to best capture children's engagement with robotics, kits in the classrooms. 60 00:13:09.650 --> 00:13:33.260 Video observations were a way to review students learning in the moment, and to capture things such as body, language, tone of voice, etc. Video recordings, had the added benefit of seeing nuances and gestures that don't get recorded on paper. These Aha moments and capturing evidence of other indicators of student achievement. 61 00:13:35.480 --> 00:13:51.410 Of course it is important to consider other voices in this process rather than the researchers solely making inferences to help mitigate this. We watch portions of the videos with classroom teachers to get their professional opinions on the lessons we observed. 62 00:13:51.440 --> 00:14:15.369 What were the things they were noticing about. Students work with robots, and what 20 first century competencies did they notice in the lesson. Also, teachers know their students well, so they were able to provide information about students who may struggle with other forms of group work or class activities, but shine in groups when working with the robots, and become the most knowledgeable person in the group 63 00:14:15.410 --> 00:14:24.610 which we see is a form of capital that these children can use to their advantage. One teacher referred to this as giving these students street credit 64 00:14:25.010 --> 00:14:33.320 also focus groups with students enabled us to hear from students themselves and what they thought about robotics use in the classroom. 65 00:14:35.790 --> 00:14:56.570 In the digital diaries we found that parents are mostly dictating time spent on screens and monitoring access. This is not surprising. What was interesting is that children had trouble identifying the learning aspects of websites, videos, or apps, unless it was clearly linked to something they considered a school subject. 66 00:14:56.740 --> 00:15:06.180 Most digital technology used at home was considered entertainment with an overall perception that if it's fun it's not learning. 67 00:15:06.370 --> 00:15:12.840 Our older participants in grade 7 and 8 were more aware that learning can happen outside of the class 68 00:15:13.000 --> 00:15:30.999 and school subjects, but they did not always connect to the skills that they were using in different activities, such as editing a video overall. It is worth mentioning that beyond parental rules about time and access, children are driving their own use of technology and at home. 69 00:15:33.230 --> 00:15:56.359 So far we have found that home and school are largely treated as separate entities by most of our child participants. 2 children who are in private schools have more overlap between learning at school and home. One of these children, my who is in grade 5 chooses to do extra learning at home, using apps provided by the school. 70 00:15:56.700 --> 00:16:00.440 However, most children are viewing school and home separately. 71 00:16:00.890 --> 00:16:04.789 and not choosing to access these apps that are provided. 72 00:16:06.360 --> 00:16:24.049 Also. Children's recollection of school days did not show much evidence of the use of digital technologies in the classroom, besides typing out assignments, rather ipads and computers were mostly used for free time or in learning centers, as Caleb in grade 3 reported. 73 00:16:24.750 --> 00:16:27.160 Analia Meo: sorry, Kathleen, you have 74 00:16:27.350 --> 00:16:28.620 Analia Meo: 2 min. 75 00:16:29.350 --> 00:16:44.050 thank you. So the digital Diaries provide a glimpse into children's lives. It was fun for the children to fill out, and it provided a rapport between the researcher and the child. 76 00:16:44.270 --> 00:17:11.860 In considering the disadvantages some children provided text like responses, so they lacked some detail. They did not always answer all the questions which just highlights the importance of pairing the interview. Also, many of the school days were retroactively recorded, because we told children to follow their school's rules on tech. So if they weren't allowed to record on the 77 00:17:12.080 --> 00:17:25.800 on the device that we gave them to record. If they weren't allowed to pull that out. Then they had to retroactively remember things later. And of course parental involvement happens anytime we send something home with children. 78 00:17:27.510 --> 00:17:48.430 Visual methods can provide a way for research to be more child-centered by actively engaging children in the data collection process. Often they can provide real time or close to it glimpses into children's lives that would be difficult to obtain otherwise, and they can serve as cultural probes into their daily lived experiences. 79 00:17:48.520 --> 00:18:11.030 These methods provide information on the use of digital tech by children at home in school, but they do not provide information such as the context, or the feelings or or thoughts of the child in the moment. So again, I want to emphasize that it is important to pair all these visual visual approaches with interviews of some kind. 80 00:18:11.130 --> 00:18:13.050 That's it. Thank you. 81 00:18:18.360 --> 00:18:25.990 Ana Heras: Thank you, Gulen. We will go with our next presenter soon, Nicole. 82 00:18:27.060 --> 00:18:30.440 Ana Heras: I understand they're in the audience. 83 00:18:34.010 --> 00:18:47.059 Hello! Yes, myself and my co-presenter, Liz Todd will be presenting the next and we will have some limited bilingual content. And I just want to apologize in advance 84 00:18:47.060 --> 00:19:08.959 Ana Heras: for my Spanish pronunciation. And don't worry because our English also needs apologizing. So okay, so so we are going to take turns Liz and I will take turns in in presenting these slides, and every now then, I'll pop pop in with a bit of Spanish. 85 00:19:09.070 --> 00:19:19.229 Ana Heras: Okay? And let me remind you that in total. You have 15 min, and an Alia will be telling you when you're close to finishing up. 86 00:19:19.540 --> 00:19:43.420 Ana Heras: say, 2 min prior to ending. So you get the queue uses, I'll pass over it on to you. Yes, yes, yes, we're talking about participatory visual approaches, enabling insight into the complex in and out of school lives of Children and young People. 87 00:19:43.700 --> 00:19:59.299 We are tunicles from Australia, Australia, and Neil is Todd from the U. K. We're researchers who have undertaken separate projects using visual methods. We both share a commitment to youth and child participatory methods. 88 00:19:59.360 --> 00:20:04.049 Each of us has worked in and with socially and culturally diverse communities. 89 00:20:04.290 --> 00:20:20.609 But we're interested in the different ways that we have drawn upon the visual approaches. And that's what we're talking to you about today. We're talking about how we've done it, and some of the conversations between us. because we've been in dialogue about the theories of representation, agency, and voice, and the ways they inform our work. 90 00:20:30.110 --> 00:20:33.970 Oh, and this, this, this presentation is work in progress. 91 00:20:35.480 --> 00:20:46.349 vizier. lo cavemos i komola vemos Italiado, a Como apprentice, says there is sociiales. 92 00:20:46.380 --> 00:21:02.940 What we see and how we see it is bound up with how we learn to be social beings, and with the ways in which the social world is organised. In other words, seeing is bound up with who we are and how our world operates. 93 00:21:03.190 --> 00:21:12.460 So Liz and I have chosen some concepts to to connect, to to help us to work together across our different different projects. 94 00:21:12.620 --> 00:21:35.420 and we will so show you a few illustrations. They're not all from the particular projects, because both of us have been working with children and using visual and multimodal methods for a while. So what you see here, a child has constructed this image, which is actually a grid, showing how the child is being assessed in the in the area of literacy. 95 00:21:35.420 --> 00:21:52.049 So you can see here that the institution of schooling is helping to construct the child's seeing you know how they are able to visualize themselves as a subject of education and So we see that that is what we mean by 96 00:21:52.050 --> 00:22:05.699 The seeing our seeing is bound up with, not just who we are, but also how the world operates, and that includes how our institutions, how our families operate, how our children's peer social worlds operate. 97 00:22:06.860 --> 00:22:09.650 So now we're going to think about 98 00:22:10.760 --> 00:22:18.420 potentially like potensi Li dares Delon models. They represent Asian represent you. 99 00:22:18.890 --> 00:22:23.790 1, 2, just a much this that 100 00:22:24.460 --> 00:22:26.630 okay. So 101 00:22:27.160 --> 00:22:41.489 umhanes. Fijas Imha Imahenez in moveniento Santo lengua material-edad, Santoro, Laurel's Keshe fuere utilizarre confinement expressival 102 00:22:42.020 --> 00:22:53.320 so the different semiotic modes that we can use to express ourselves and communicate can include still images, moving images, sound and materiality. 103 00:22:53.460 --> 00:23:16.630 and we particularly myself. references. Gunta, Kress and Van Lewin's work on Visual semiotics which has been extended to multimodality, and they point out that each mode has inherently different representational potentials and different potentials for the formation of subjectivities. 104 00:23:16.630 --> 00:23:35.040 so that when we use visual methods and multimodal methods, we are providing the semiotic resources for our participants, or we are opening the door to them, bringing those semiotic resources into the encounter. And these semiotic resources come with different potentials for meaning making. 105 00:23:36.130 --> 00:23:56.930 And what we provided you there was which which we couldn't control it coming on. But it was a little tik tok video that that the children I was working with produced when we actually asked them to produce a drawing image, but they produced a video, and and it had. So this had different possibilities for them that we couldn't see. But they could see, and they they they wanted to do that. 106 00:23:58.200 --> 00:24:07.550 So other other assumptions, children's agency making it visible, Ahencia de Ninja's haciendola visible. 107 00:24:08.890 --> 00:24:20.040 So this is another assumption that we're making is that the sociology of childhood has emphasised children as social actors. So that's our assumption that we're making as well. It's part of how we're thinking 108 00:24:20.140 --> 00:24:28.599 that this theoretical possibility has allowed new questions to be asked in empirical studies, and to which have rendered children's agency visible 109 00:24:29.210 --> 00:24:36.960 children's agency and their sophistication at negotiating and managing their own life. Wheels are often overlooked. and we're trying not to do that. 110 00:24:36.990 --> 00:25:01.870 but revealing what's hidden from adults, view by asking children about their perspectives has been useful for understanding all kinds of things, instructional practices. One of them that's not one of the things I'm interested in I'm interested in all kinds of aspects of children's lives that they can can can tell us. And so I'm trying to kind of render visible that children's agency through the methods we, we're using 111 00:25:03.890 --> 00:25:05.630 another 112 00:25:06.480 --> 00:25:34.969 children's agency complicating the picture. So what is required if we're looking at children's agency is detailed in examination of the network of connections in people's lives and in the different material allities that we're using, the different methods we're using for different materials and the means of their translation through which children's agency is or is not produced. 113 00:25:36.900 --> 00:25:51.720 And our interpretive lens, the way we're looking at it. The way we researchers come to this. And if we're engaging with other adults away, how they're looking at it because we're engaging. If we were, we were engaging teachers, which we're not. But we heard that in the other study, really interesting in parents. 114 00:25:52.060 --> 00:26:01.589 the interpretive lens of the adults inevitably influences particular representations of what children have to say. and this has led us to our certain questions. 115 00:26:01.900 --> 00:26:05.990 and we'll just invite you to think about these questions just one at a time. 116 00:26:06.240 --> 00:26:07.040 Okay? 117 00:26:08.650 --> 00:26:10.320 So the first question. 118 00:26:10.620 --> 00:26:13.889 and just inviting you to think about them 119 00:26:14.100 --> 00:26:24.130 through what connections, materials, and means is children's agency produced when we use visual approaches? So what does visual approaches afford 120 00:26:24.460 --> 00:26:27.400 prejudice, paranoester, reflexion 121 00:26:28.120 --> 00:26:38.710 at rav decay, connexiones materiales in medios is Ahencia de Nino's predecessor? Condo usamos in focus visualis 122 00:26:39.020 --> 00:26:40.020 yes. 123 00:26:40.640 --> 00:27:05.040 another question, how does our involvement as leaders, facility facilitators, framers, interpreters, brokers, gatekeepers, impact on children's agency in this work? So the kinds of the kinds of decisions we've made the way the research decisions, the way we've acted where we've encouraged others to act. What has that done to impact in the agency of children? In our research. 124 00:27:05.680 --> 00:27:11.859 Como impact a Nuestra participation in La Ahensia, Delon's ninth. 125 00:27:14.630 --> 00:27:26.300 If you know, how do our interpretations of children's visual multimodal productions contribute to us hearing or silencing children's voices. 126 00:27:26.710 --> 00:27:42.249 Homo-contribute, Bacomo contrabu Yuyen Nuestra's intpetassiones, Dela's production of visualisation Akayla's Nino Sean is Kuchados or Silencia those 127 00:27:43.750 --> 00:27:45.699 oh, I'm next 128 00:27:48.950 --> 00:27:59.929 so now I'm going to be talking about? the first project, which is the one that I have been recently undertaking, called, How do you connect or comm, or to connect us. 129 00:28:00.240 --> 00:28:13.390 This project is about creating visual representations of children's digitally mediated networks or Kreya represent as Jiones as you ales, dearest deninios. May the others digitalmente. 130 00:28:13.560 --> 00:28:35.680 So as you can see from the illustration, we invited children to create network diagrams, and we provided them with different types of cards in order to do that. These were people, cards, app cards, and emoji cards, and we had conversations with children while they were creating these diagrams. 131 00:28:36.540 --> 00:28:56.440 You can see there some video of the child creating the diagram. So we had video of the children creating the diagrams. We recorded. the the conversation we transcribed that, and we had the the diagrams. So The flexibility of this of this process was one that worked well for the children. But 132 00:28:56.758 --> 00:29:16.830 one of the things we did need to do was to do some research, to make sure that we had a a comprehensive list of apps that children might use, and that we could also provide them with visual representations for their family members and friends which were inclusive of the cultural diversity of The community of children we were working with. 133 00:29:18.290 --> 00:29:32.700 Here, you see. a selection of children's network diagrams. So what's interesting here, compared to a lot of the visual work that it's done with children is that these are not expressions of children's free creativity. 134 00:29:32.870 --> 00:29:59.139 These are, if you like, a more kind of scientific method that children can take up in order to be able to to map their their networks. And of course they are accompanied by the conversations that we're having with the children where we can find out more about their lives and the the the role of the the digital and the face to face in connecting them with other people. 135 00:30:05.020 --> 00:30:19.469 So we got valuable insights from children or perception, as's important as well as ninjas constructing their network diagrams, supported children to share their insights and experiences concerning a number of things. 136 00:30:20.760 --> 00:30:31.029 why, they used particular digital tools in particular contexts for K. O'saran, Eramini era, Meenta's digitals, particularres. 137 00:30:32.230 --> 00:30:38.389 how their relationships with family and friends influence their choices of digital tools and activities. 138 00:30:38.440 --> 00:30:43.410 Como-su, Belacian is in flu, Yaron, in Sioux, electiones. 139 00:30:44.730 --> 00:30:49.189 issues that arose in their digitally mediated interactions 140 00:30:49.270 --> 00:30:53.609 problem as care of courier on and Sue introduction 141 00:30:54.640 --> 00:31:04.720 what they achieved for themselves and others through these activities Kay Benefici's Lagreon, Pada, Ayo's Mismos Iparallos Demas. 142 00:31:06.520 --> 00:31:18.350 And here we just have a little excerpt from one of the transcripts where a child who's a student is Ted is explaining that he's going to make a Youtube channel with 2 of his friends. 143 00:31:18.350 --> 00:31:36.670 And I ask him, Is this going to be for his game play? Because that was my assumption? And he said, No, we're going to make a history channel. So children, children's use of digital tools, and the way that they that they made that part of their social lives was very, very diverse amongst our cohort of children. 144 00:31:39.060 --> 00:31:50.790 And Now Liz is going to give her own commentary on what she took from my project, which is part of our collaborative way of working with each other. So I'll hand over to Liz. 145 00:31:51.940 --> 00:32:15.879 So we started off with a number of concepts, and we invited you and some questions which we invited you to think about. And we just want to just give a bit of a demonstration of some of the conversations that we're starting to have. And one of the concepts that we we presented earlier was was what we see and how we see it is bound up with how we learn to be social beings, and with the ways in which the social world is organised. 146 00:32:15.880 --> 00:32:26.240 In other words, singing, seeing is bound up with who we are and how our world operates. And I wonder what that sets off with you in terms of the research we're doing, but also your own research. 147 00:32:26.370 --> 00:32:36.930 But just to let you know the kind of conversation that so soon I had when I was thinking about Sue's research in relation to this concept. It was a really interesting thing to do. 148 00:32:37.030 --> 00:32:42.970 and I thought one of the things I thought about was that how Sue invites her children to have a conversation? 149 00:32:43.040 --> 00:32:50.920 I don't do that. Well, I do in other research, but in the one I'm going to show you. It's remote for me, and they do some drawings. 150 00:32:50.970 --> 00:33:04.869 But because and as I've written here because Sue invites children to produce a visual diagram, and she's doing it in a conversation she's engaging with the social beingness. I was making up words of those children and they with with her. 151 00:33:04.910 --> 00:33:20.729 And we're seeing different kinds of productions of those social beings, as they they tell you, and they also different insights into their social worlds, like how the different ways of them, using their different digital lives is is to do with their friends or their families in different ways. 152 00:33:20.850 --> 00:33:28.930 But she's giving 1 min. Sorry. All right. Okay, so I'm going to leave that because we want to tell you about my project 153 00:33:28.980 --> 00:33:52.790 so quickly. My project. The Voices project. We gave children an invitation to write and draw answers to 3 questions. And what was there been? A challenge recently? What has been good? What has been important? This is during Covid, and we had a large number of pieces of writing from children, and we engage with about 2,000 children in the North East during Covid 154 00:33:52.790 --> 00:33:59.230 really challenging project. We did all kinds of things, including comics, etc. I'm just going to show you a few of their drawings 155 00:33:59.270 --> 00:34:25.540 and just invite you to think about what you're thinking. So we I these are these. The prompts were sent to the schools, and they, the children did the joins and the joins were sent back to us, but we had the most incredible range of pictures. So what occurs to you in thinking about this, I was drawn into seeing how alone children were. how confused they were about online teaching and learning and the emergency teaching in school. 156 00:34:25.610 --> 00:34:41.120 In this one valuable insights from children about the the one aspect they liked about doing online emergency learning. We're spending extra time in bed. The really, that really vibrant picture here of cooking with their mum and their dad 157 00:34:42.430 --> 00:34:54.219 and digital lives here. Their digital lives here were given incredible detail. So if you see the one on the right that in that detail. He's not just drawn a computer keyboard. All that detail of himself 158 00:34:54.310 --> 00:35:03.249 or herself from that drawing. I'm thinking it might be him. And then the other one is the Xbox of their family, and and detailed pictures of each of them playing 159 00:35:03.760 --> 00:35:14.059 And then one interesting thing was, how children set the tone, and what we asked children, what pictures we should select for the exhibition we were going to have of pictures. 160 00:35:14.110 --> 00:35:25.160 and some child picked this one up because, he said, this is funny. This is a dinosaur trying to eat me up, which, as far as I was concerned, had nothing to do with Covid. But the children thought this was really important to put in the exhibition. 161 00:35:25.730 --> 00:35:55.370 Ana Heras: So our closing thoughts, I'm just gonna put them all there so that you can choose from what to say. Yeah, you you are running out of time. Literally, you ran out of time. So please wrap it up so we can be respect. Okay. So so we we have that slide up there for people to take a photograph of if they wish, or to take a screenshot If anybody would like us to provide them with this presentation. Please come and see us, or message us after the session. Thank you very much. 162 00:35:59.180 --> 00:36:06.689 Analia Meo: Thank you. And your Spanish was great. Thank you so much for the extra effort. 163 00:36:11.930 --> 00:36:22.189 Analia Meo: Okay, great it. Well, now it's a time of Clarence, but then I'm not quite sure if they are the 2 of you. 164 00:36:22.310 --> 00:36:25.060 We're here, Anna. 165 00:36:25.100 --> 00:36:30.799 Okay, it's welcome to the session. This is your time. You have 15 min 166 00:36:33.520 --> 00:36:35.509 again. Danga! B. 167 00:36:35.580 --> 00:36:58.089 Good evening Pennsylvania notches, and that's the farthest that you go for a spaniel. So I'm Clarence, and with me is Vince. He will be talking in a while, and we're happy to introduce our project to you on utilizing visual images in catechatical education in the Philippine Catholic Church. 168 00:36:58.380 --> 00:37:05.550 So we're from the University of Santa to mass in Manila, Philippines from the department of sociology, faculty, parts, and letters. 169 00:37:05.590 --> 00:37:31.620 And we were really excited to answer this question, why do we need the visual. And thank you, Anna and Anna, for organizing this this session. we will be sharing with you our research story, and approaches our visual findings and methodologies, our pedagogical research implications, these are the 3 dimensions whereby you would expect us to share tonight. 170 00:37:31.630 --> 00:37:43.719 So our paper explores the utilization of various forms of visual visual images, particularly in this presentation photos and its relation to catechatical education in the Philippine Catholic Church. 171 00:37:44.150 --> 00:38:09.549 This is drawn from a five-year study of what you call as a national categorical study. Where we wanted to re-examine how visual forms, particularly photos, direct attention to some of our research discoveries. So theoretically it presents an empirical opportunities for using visual images to creatively construct what we know as the Catechatical Ministry Education in the country. 172 00:38:09.840 --> 00:38:30.429 So we argue methodologically that the use of technologies, such as mobile phones, the Internet and social media, actually provided some sense of resilience in the conduct of gathering data analysis and validation, especially amidst COVID-19 pandemic. 173 00:38:30.580 --> 00:38:46.989 So what it promises is the contribution to the uncharter discourse and the use of visual images in relation to the intertwining sociologies of the visual education or lesion, hopefully to provide what we call as a sociology of Filipino Catholicism in the country. 174 00:38:47.140 --> 00:39:09.709 So explorations first part. So our research story started in 2,016, we were asked by the Catholic Bishops Conference of the Philippines to study catechatical Ministry Education. How it is to to to teach Catholic faith the basic. And so this is really an interesting part of the mission of the University of San Anton, Mass. 175 00:39:09.710 --> 00:39:22.210 And so we looked into 5 dimensions, the catechis catechatical leaders, Katechki's catechatical formation program and catechtical human resources. And these are some of the pictures that represent these dimensions. 176 00:39:22.380 --> 00:39:42.710 So what is the state of catechtical education in the Philippines? Well, We already produced a monograph. For this, and you could actually download it for free over our over our website. So you could actually download all the 7 books that we produce. from this project. 177 00:39:43.310 --> 00:39:55.290 So what we, what, what what we will be reporting is is the fact that for Filipino categories the 3 most important strategies that they do and use is storytelling, that your method and question and answer. 178 00:39:55.390 --> 00:40:12.559 and it would be interesting to take note that the materials they use are are fundamentally, you know, basic a blackboarding chalk, Manila paper and storybooks that the Catholic kids are actually relatively old. A 52 years old. Is the average age of the catechist. 179 00:40:12.870 --> 00:40:30.170 and so our observation is that they? They really have, you know, limited resources, and they use traditional ped averages. So for the state of visual research in the Philippines. well, we know. We note that you know Harding, to swear and craze that there is an emerging interest on this. 180 00:40:30.260 --> 00:40:34.089 and we see that there is a value in doing visual methodologies. 181 00:40:34.180 --> 00:40:47.840 And so we looked into the literature and Catholicism and visual research, and we found out that they are very, very limited. There are actually, virtually, no one is really doing it extensively compared to other countries. 182 00:40:47.930 --> 00:41:09.110 And so our observation is that we we really need to do more. You know, visual sociology in the Philippines. And so how did our project respond to this research observations? Our first is that in the development of the design and the approach of our project. We really included creative research approaches through visual sociology 183 00:41:09.110 --> 00:41:34.100 here. you should note that we are conscious that we will be, including that only quantitative mixed method or qualitative, but call it quality creative. So everybody would know know that there's something different about what we're doing. The strategies included visual. And we were conscious it's not just part of it. We're really conscious. We want to to include the visual. And for the for data, we wanted photos to be included as A 184 00:41:34.100 --> 00:41:58.509 of our data. And then for the analysis, we will do. We did quantitative coding, joint analysis, visual analysis, and through Ms. Excel Max ud a. And this May, we were able to produce some visual for the presentation. This is most important, because during covid it has been very, very important that we are able to to make visual representations of our data 185 00:41:58.570 --> 00:42:08.449 and the output where we search primary video and webinars. And so and now turn over to Vince for the discoveries. 186 00:42:10.320 --> 00:42:16.800 Thank you, Clarence, for discoveries, our research findings and insights. 187 00:42:16.960 --> 00:42:43.320 Our question is, what may be sociological in the visual data portraying cathedral education in the Philippines. So I quote Paul's that visual sociology is a valid scientific insight in society that can be acquired by observing, analyzing, theorizing, its visual manifestations. So we have 2 research attempts in doing visual sociology of the Philippine Catholic Church. 188 00:42:43.320 --> 00:43:11.179 So the first one is entitled The Kathakist in all of us a visual sociological narrative, explaining the different callers, creativity and connections of Cathedic and education in the Philippines, conceptualized and analyzed by B. By by Clarence and I. So it visually tells about the vibrant stories of that. The cases in the Philippine Catholic Church, as it's celebrated in 500 years of Catholic Christianity 189 00:43:11.180 --> 00:43:21.650 and visual sociology, the methodological approach, the photos, the line drawings constitute the deep connections among the teaching of our Catholic faith. 190 00:43:21.650 --> 00:43:41.569 So through a raw visual analysis through Mx excel, we were able to identify different sets of callers, creativity and connections. the constructions of photo narrative through a design software. So here's an example of the some few pages found in our research monograph. 191 00:43:42.560 --> 00:43:58.239 So our desire to understand and use visual sociology led to my undergraduate thesis, which is entitled Katakistan-larawan, or a categetical portrait which visualizes Catholicical education practices in the Philippine Catholic church 192 00:43:58.240 --> 00:44:23.239 so photographic Grammar they head by hang enabled me to understand the informing, surprising, and even signifying visual manifestations in the photos, so it enabled me to look into the photos by this process what we call as process of visual analysis from different ecclesiastical territories in the Philippines, by starting a listing and 193 00:44:23.240 --> 00:44:46.439 and grouping the photos, even renaming. It is an example of a file explorer looping all the photos. Then we move forward by understanding the form and style. It's social clarity, catechatical quality. It's social composition and catechetical color through Ms. Excel. So it led to us visually coding of caticical ministry practices. 194 00:44:46.440 --> 00:45:08.539 Using Max Uda, we were able to find different elements through visually analyzing different sets of catechatical ministry practices in the Philippines. So it enabled us again to develop which we call, as in photographics, which is a visual map that highlights our discoveries about the Cm. Rs. Or what we call cathetical education roles 195 00:45:08.540 --> 00:45:35.499 the Ca, the social spaces, the social structures, social formation programs and even social spaces in teaching and learning. So another tool that we develop is a representation is the visual strips. What we call it is highlighting the different elements of what we call them formation, participation, even the elderly. So we were able to identify different elements in the photos. 196 00:45:35.500 --> 00:45:50.470 So another attempt is what we call as visual boards. We utilize the informing visuals to identify the surprising sociological concepts that we discovered. So all of this led to our last attempt to 197 00:45:50.470 --> 00:46:12.040 mit Ctl and push the boundaries of the schwar sociology. The visual research discovery is our solidarity in cathedral education, or what we may call as catechatical portrait in cathedral education, ministry. So our discoveries that solidarity is manifested in different ways in the Church. So the first one is serving hands. Solidarity through shared one 198 00:46:12.130 --> 00:46:36.050 shared service in catechtical education. So this is symbolized by different gestures of hands and across to creatively represent what the what we discovered in the photos. So another one is welcoming hands. Solidarity in receiving cuticases in various categchethical sites. The third one is shaping hands. Solidarity from shared formation experiences 199 00:46:36.050 --> 00:46:43.469 of the Catholic faith, and the last one is creating hands solidarity and teaching and learning creative Cathy cases. 200 00:46:43.470 --> 00:46:46.200 So 201 00:46:46.200 --> 00:46:53.959 Ana Heras: you have 5 more minutes. Okay, thank you so much so. What methodological strategies are project discovered 202 00:46:53.960 --> 00:47:18.239 as instrumental in utilizing vessels? So sociology. So we were conscious that even in the development of the project. We're conscious that the introduction of visual strategies in research design. So the first is the development of visual creative tool which was disseminated across the country to gather data like categatical mystery activities, structures and even teaching aids. 203 00:47:18.250 --> 00:47:42.740 So the use of technologies in the research was instrumentals like the smartphone that in gathering qualitative, quantitative, and our conscious idea of gathering visual data. So the smartphones were a more convenient and efficient data gathering process that were distributed across different churches through assistance of the research partners in the field. Them 204 00:47:42.740 --> 00:48:07.779 so even with the COVID-19 pandemic sharp we were able to gather all the photos that this was me back in 2,020, that the data collection, the retrieval and the preliminary analysis, was conducted them. Then our data gathering of the visuals was this one of 14,741 photos that led to? 205 00:48:07.780 --> 00:48:27.620 We were able to trickle it down to 601 that were very useful in understanding the hypothetical ministry of activity. So we were conscious that all the images that we are going to use was original. really, in the in the field of caticical education. So, as you see the Philippine map, it is 206 00:48:27.890 --> 00:48:47.980 well, the relatively different representations. It's that we can see the different zone. Thisias mean the now that there are representations in different areas in the Philippines. So I quote Harper that digital technologies not only revolutionized how we did research. 207 00:48:48.060 --> 00:48:56.519 but more fundamentally redefined, how images operate in society. So I now turn again to Clarence to end our presentation digit. 208 00:48:57.060 --> 00:49:13.030 So in conclusion, what does this promise are we? Note? 2 implications, pedagogical and research implication. One is the utilization of visual approaches. You see, when we were able to develop the teaching and learning materials. These are the 7 books that we produce, 150 209 00:49:13.030 --> 00:49:29.830 you could see that we incorporated the photos, and also some infographics and some and some info infographics that we thought will fully represent our data. 210 00:49:30.300 --> 00:49:51.019 So there is really a need to update and redesign a categatical formation program and the use of technology in the creation of catechatical learning materials is really very important. we really note, we also note the potent research spaces for visual sociology in the data that we have, such as in our website in the webinars. 211 00:49:51.050 --> 00:49:57.259 in the digital immaterials that were produced through the intervention programs and also online ketchases. 212 00:49:57.350 --> 00:50:09.369 So there is a promise of creative views of photos in telling the research story findings and insights. It's more engaging for our research participants than near paragraphs or statistics. 213 00:50:09.440 --> 00:50:32.179 So thank you. We shall sociology. In conclusion. we need to continue the building of visual sociology in the Philippines, we have to understand and charter the scores of the use of visual images in many dimensions, in order for us to really portray the intertwining sociologies of the visuals, education and religion. There is so much potential 214 00:50:32.410 --> 00:50:39.249 in using visual sociology and understanding the sociology of Filipino Catholicism in the country. Thank you. 215 00:50:43.190 --> 00:50:44.330 Rashes 216 00:50:54.840 --> 00:51:05.890 Ana Heras: our next presenter. I think, she said she was going to share with us her presentation on video. So 217 00:51:05.920 --> 00:51:13.019 Ana Heras: I'm assuming that she's communicating with the technical support to make this happen. 218 00:51:50.420 --> 00:51:58.730 If the the 219 00:52:07.220 --> 00:52:18.760 the Argentina into Lahaniya's I don't know if you in the 220 00:52:18.850 --> 00:52:32.279 the the Durantesa residents yes. office in particular. I hope for Tunisia epistemic us. 221 00:52:38.830 --> 00:52:51.319 the of the 222 00:52:52.170 --> 00:52:58.480 the 223 00:53:15.830 --> 00:53:31.660 Casa to Yo, at the In, the In, the 224 00:53:34.530 --> 00:53:49.110 the 225 00:53:49.120 --> 00:53:59.450 the 226 00:53:59.910 --> 00:54:13.430 Labrador, not to the 227 00:54:13.610 --> 00:54:19.629 Butalo-masha's Los Angeles continuum in Sakhadilo ancestral's. 228 00:54:20.730 --> 00:54:37.470 Ultimately the all the 229 00:54:38.310 --> 00:54:49.990 I Kuwait Kumar'sion, the pulification in the 230 00:54:50.050 --> 00:55:06.179 Ilua-viadiya in a Brazil so we are to Compare to you in the Ikhalilo fres in Taiji. So the co-movisian Maja Yarte condemned Borano and Kansas. 231 00:55:06.840 --> 00:55:17.650 and this in the in like, a the 232 00:55:17.720 --> 00:55:33.340 on the but 233 00:55:33.640 --> 00:55:53.439 the part of the in a little bit of milk and say, Organ is Samoji positive or inter-reciiplomatic, K-saro-jamohen-sinko-simana-hilaquila, the Photo Rafael La Phototeca, Ciada, Guatemala. 234 00:55:53.650 --> 00:56:08.190 in the in the 235 00:56:08.220 --> 00:56:14.490 go in the hell context of societal leprosy to our 236 00:56:14.560 --> 00:56:19.680 a notro hepatio fuel, Isid Guido Hemonico, the largest 237 00:56:20.180 --> 00:56:23.160 heir to the central, and and 238 00:56:57.910 --> 00:57:02.989 Icomo Ari. So he toll project of Paris. Saka Sancho, my lab. 239 00:57:06.100 --> 00:57:13.370 I know Khalilo, Jama. Keep Kid Kid 240 00:57:23.460 --> 00:57:26.050 this the 241 00:57:28.080 --> 00:57:28.760 6 242 00:57:35.570 --> 00:57:37.189 this is. 243 00:57:38.510 --> 00:57:41.350 and the 244 00:57:51.580 --> 00:57:53.260 this. 245 00:58:07.840 --> 00:58:08.940 and I don't want to 246 00:58:14.440 --> 00:58:15.320 you. 247 00:58:19.440 --> 00:58:22.130 This is to you. And 248 00:58:29.550 --> 00:58:32.390 listen. 249 00:58:35.050 --> 00:58:38.620 This. this is something. 250 00:58:40.420 --> 00:58:41.410 this. 251 00:58:43.480 --> 00:58:50.380 so this a this. 252 00:58:54.400 --> 00:58:55.430 and 253 00:58:57.380 --> 00:58:58.930 you 254 00:59:01.670 --> 00:59:02.430 this? 255 00:59:13.020 --> 00:59:13.740 It is 256 00:59:15.760 --> 00:59:17.550 you. 257 00:59:20.170 --> 00:59:20.850 I said. 258 00:59:22.130 --> 00:59:23.430 You can 259 00:59:23.470 --> 00:59:24.930 I, the 260 00:59:33.690 --> 00:59:34.610 of his 261 00:59:48.390 --> 00:59:59.490 or unique Ken Kajikal, significant Yamaro. the the 262 01:00:00.080 --> 01:00:12.980 the the treasure in El Calendar Yumasha. a a silkamino in the 263 01:00:13.000 --> 01:00:15.720 those fruit of Lorraine. 264 01:00:20.940 --> 01:00:21.710 you 265 01:00:28.170 --> 01:00:42.050 in Thehenid Ali, that the Extracurricular. 266 01:00:42.250 --> 01:00:45.800 the 267 01:00:56.840 --> 01:01:10.620 in the the It Perception de la Deferentia in project of her autonomy 268 01:01:10.850 --> 01:01:22.440 in the Kate Hermit and the complementarios, the principal a. And 269 01:01:22.490 --> 01:01:27.740 look your own noise I know as a compartmental process 270 01:01:41.780 --> 01:01:48.350 now, the 271 01:01:49.540 --> 01:02:05.999 in the in the Don't, the cembrile Pasio, and the practical artistic as I Practica Codriana locally stalled. 272 01:02:08.280 --> 01:02:08.980 It's a 273 01:02:10.870 --> 01:02:11.550 this. 274 01:02:20.750 --> 01:02:21.770 I don't want to 275 01:02:47.290 --> 01:02:50.210 Ana Heras: thank you. 276 01:02:51.360 --> 01:03:02.129 Ana Heras: You have 2 more minutes in case you wanted to add anything to what you showed us 277 01:03:29.540 --> 01:03:35.950 Ana Heras: the as we say, I'll start the watch 278 01:03:44.680 --> 01:03:46.099 Ana Heras: so that we are now. 279 01:03:54.920 --> 01:03:57.039 Ayelén Moleón Torres: Yeah. 280 01:03:57.490 --> 01:03:59.300 Ana Heras: no, no. 281 01:04:00.590 --> 01:04:04.630 Ayelén Moleón Torres: I mean 282 01:04:10.420 --> 01:04:11.190 hmm! 283 01:04:19.230 --> 01:04:20.400 Ayelén Moleón Torres: How they 284 01:04:31.160 --> 01:04:32.900 Ana Heras: there you go. Press. Yes. 285 01:04:33.660 --> 01:04:37.710 Ayelén Moleón Torres: alright, that's easy. but thank them. Why not 286 01:04:38.050 --> 01:04:43.349 Ayelén Moleón Torres: one of the 287 01:08:23.530 --> 01:08:29.680 Ayelén Moleón Torres: he ate. 288 01:10:18.740 --> 01:10:20.650 Ayelén Moleón Torres: and so you know. 289 01:11:21.540 --> 01:11:22.780 Ayelén Moleón Torres: and 290 01:13:13.820 --> 01:13:17.459 Ayelén Moleón Torres: so 291 01:13:50.320 --> 01:13:53.559 Ayelén Moleón Torres: E. A. As they say. K. 292 01:14:32.580 --> 01:14:33.930 Ayelén Moleón Torres: Yes, yes. 293 01:15:02.790 --> 01:15:05.540 Ayelén Moleón Torres: and okay. 294 01:15:32.140 --> 01:15:34.140 Ayelén Moleón Torres: yeah. 295 01:15:39.680 --> 01:15:42.770 Ayelén Moleón Torres: But 296 01:16:36.820 --> 01:16:48.280 Ayelén Moleón Torres: E, 297 01:16:48.450 --> 01:16:50.189 Ayelén Moleón Torres: in a few minutes 298 01:16:57.120 --> 01:16:59.280 Ayelén Moleón Torres: they a 299 01:17:10.010 --> 01:17:11.510 Ayelén Moleón Torres: and 300 01:17:33.740 --> 01:17:34.870 Ayelén Moleón Torres: well, I know 301 01:18:16.590 --> 01:18:19.220 Ayelén Moleón Torres: A and 302 01:18:34.720 --> 01:18:38.959 Ayelén Moleón Torres: hey in the practical is and deals. 303 01:18:56.460 --> 01:18:57.740 Yes, yes. 304 01:19:02.180 --> 01:19:07.349 Analia Meo: yes, thank you so much. And then, thanks everybody. 305 01:19:07.430 --> 01:19:09.110 Analia Meo: I'm not quite sure 306 01:19:14.020 --> 01:19:16.320 Ayelén Moleón Torres: the tight, but 307 01:19:17.850 --> 01:19:20.740 Analia Meo: I don't. I don't. I don't. 308 01:19:21.540 --> 01:19:26.989 Analia Meo: Why do you? He is trying to, 309 01:19:27.000 --> 01:19:41.230 Analia Meo: To leave the screen. But meanwhile she's managing that. what I will. It now is. It's time for questions, comments. This is a great session. I've really enjoyed it, for now is, if 310 01:19:41.230 --> 01:20:03.889 Analia Meo: 5 to 6 in the morning in Argentina, and I thought I I couldn't call, and I I did, and it was amazing. Thank you so much. And because we have people from different countries, languages. Thank you for the extra effort. Those who had to managing 2 different languages is a challenge, and that is also an adventure to try to share from different parts of the world. 311 01:20:03.890 --> 01:20:28.590 Analia Meo: All this, every single paper is very interesting in terms of mythological aspects. You share with us different perspectives, visual materials. The challenging of put forward and visual sociology and education is a selection of that. That's something that an it and I, we haven't been doing for a while, and it's amazing to meet up with people who 312 01:20:28.710 --> 01:20:38.109 Analia Meo: and who are doing such interesting stuff in order to to challenge the boundaries of sociology, of education as well. 313 01:20:38.410 --> 01:20:58.180 Analia Meo: And it's great to have also a with her video as well a beautiful piece. It's a it's a different type of format. And we we, we, we thought we any that this is great. We need also to challenge the the ways in which we present and think, and to visually think 314 01:20:58.180 --> 01:21:24.549 Analia Meo: a a. And that's also something very especially about this session. I think of what we could do. If you agree, because we are still far away from you, you you could speak up and ask questions or comments to call it a. You could also it those who are in in online. It would also send questions using the chat 315 01:21:24.550 --> 01:21:30.829 Analia Meo: So I open the floor to questions and and comments for everybody. 316 01:21:31.580 --> 01:21:53.630 Hello! It's to Sue. Here I have the microphone which I can take to people who wish to ask a question. So who happened to be here, including the speakers who wish to ask questions of each other or start a discussion. So If anybody would like the microphone, please, and put your hand up, and I'll bring it to you. 317 01:21:53.750 --> 01:21:55.680 Analia Meo: Thank you. 318 01:22:08.150 --> 01:22:09.430 Analia Meo: Thank you. 319 01:22:18.930 --> 01:22:30.180 Ana Heras: It's hard for us to see, because we're seeing ourselves on the screen. But I'll get started. I have actually many questions, but I'll start with just one 320 01:22:30.410 --> 01:22:53.050 Ana Heras: which is for Vincent and Clarence regarding your presentation. I didn't quite get whether Catholicism is imposed in all schools in the Philippines, or how does that work? And I would need some clarification. This is a clarification question, that is, yes. 321 01:22:54.190 --> 01:23:10.450 thank you. no, it's not being imposed. We have a clear separation of the Church and state as a law in the country. But the Philippines has about 86% Catholic. 322 01:23:10.610 --> 01:23:32.149 and so we have many, many, many Catholics and Catholic schools all over the country, and what is so interesting about our findings is that although there is a separation of the Church and State, the public school system allows the introduction of capitalism. 323 01:23:32.260 --> 01:23:34.809 in public schools. 324 01:23:35.330 --> 01:23:39.800 So anyway, yeah, maybe the term imposed is 325 01:23:39.950 --> 01:23:42.329 Ana Heras: very heavy in English. But 326 01:23:42.380 --> 01:23:51.109 Ana Heras: just to get a sense, because that's a discussion that has been going on in Argentina forever. And so it's 327 01:23:51.160 --> 01:23:53.699 Ana Heras: it's interesting to compare and contrast 328 01:23:53.910 --> 01:24:06.490 Ana Heras: the way in which a certain religion is allowed to get into public schools. In Argentina it has happened the same way, and so I was curious to understand that. 329 01:24:06.810 --> 01:24:36.640 Ana Heras: I do have another question. And this is a logical question for Sue and her partner, which is regarding the way in which you work with the if I understood correctly, you work with audio and videotaping. Did I get that right just to? So I understand. yes, so it's so here. so when we sit down with the children to invite them to create their network diagrams. 330 01:24:36.640 --> 01:24:55.280 we have the camera set up. It doesn't show the child's face. so all we see is the child's hands. as they are. building the network diagram. The value of having that video is, we get to see the process of the child actually creating the diagram in the moment that they're doing it. 331 01:24:55.280 --> 01:25:10.209 which is a dynamic process, because the child, as they're speaking different thoughts will come into their mind, and they may wish to change something about the diagram. So we have that whole process. documented. 332 01:25:10.210 --> 01:25:33.170 And we also recording the conversation with the child. We transcribe that recording to create a a transcription. and we also have the the photographs. Liz's project is a bit different to mine. So I'm going to pass over to her to talk about the different methods of documentation that were used in her project. 333 01:25:33.920 --> 01:25:39.449 Hi, you you you asking only about the videos, is that the one you'd like me to talk about 334 01:25:40.640 --> 01:25:48.369 just to clarify. I I was curious to know, because since I and 335 01:25:48.820 --> 01:26:12.449 Ana Heras: Ajay Lynn Moly, on the last presenter, is working with a social linguistic approach into looking into transcripts. And actually, my question, was a bit more in regards to how you treat the transcripts regarding video and images. But nonetheless, yeah, yeah, I, I, I, I, I, I I I'll I'll pass because we didn't produce transcripts. 336 01:26:13.580 --> 01:26:34.979 So in relation to the analysis aspect we we tend to work across the multiple sources of data simultaneously. So, for instance, one of our questions is related to children's purposes. what? Why? Why do that? What do they wish to achieve 337 01:26:34.980 --> 01:26:44.229 through the different types of tools, digital tools that they use and the different types of interactions that they are participating in. 338 01:26:44.230 --> 01:27:02.669 for that. We really need what the child is telling us through their talk. But we also need the the video in order to be able to connect what the child is saying to the particular types of interactions which they are depicting through their network diagram. 339 01:27:51.190 --> 01:28:10.180 Ana Heras: I'll pass the word on to whomever would like to make a comment or a question. I I have like a thousand things that I would like to say. I'm a talker, as you may see, but in the interest of time, and also distributing the word, I'll pass it on to whomever wants to speak. Say a Custis on knowing list. 340 01:28:13.630 --> 01:28:17.450 We do have someone who is going to ask a question. 341 01:28:18.090 --> 01:28:41.609 Hi, thank you. good evening, everyone sorry I was late. It was difficult to find the the venue. But yeah, I I have a question for our first 2 presenters for the first presenter. Sorry I I maybe I missed the the context. But the the research that that you are doing the first 2 342 01:28:41.610 --> 01:29:06.609 involves children, right? And this is very much needed in the field of a childhood study, especially. I was just thinking comparatively in other rejo. So especially I'm from Philippines. But I'm based in Singapore. But there's a lot of limits on to what kind of research or the participants or the group of participants that we can involve ourselves with. 343 01:29:06.610 --> 01:29:30.729 And maybe it's more of a question about the behind the scenes, right? Like of the research process. of how we can get approval to actually research do research with children. And I'm fascinated about how the field is developing. But we we cannot do it in in Philippines, or I'm also a 344 01:29:30.730 --> 01:29:50.690 researching and using photoesitation in Malaysia. But the Ethics Committee, they always say only 18. And above, you cannot do like you know, you cannot get the perspective of the children so can you please share a bit about that? And based on your experience. And if the others can share also. Thank you. 345 01:29:51.240 --> 01:30:01.459 Ana Heras: I understand that you are posing your question for both Kathleen and Sue and her partner. Is that correct? So that they can all come up and speak. 346 01:30:02.970 --> 01:30:24.970 Thank you for your question. It was different for each study. The first one with the disposable cameras with the young children. Children were in kindergarten, which came Canada's age 5 up to grade 3, which would be about by age 8 or 9. 347 01:30:25.390 --> 01:30:42.770 That was quite rigorous. That was actually part of my Phd research. So there was a lot of back and forth that was in Ontario, in Ontario. I first had to get ethics approval through my university, and then go through the School board. 348 01:30:43.020 --> 01:31:02.120 And so there was a lot of back and forth, and one of the things that was interesting about that study is, we did not want parents present in the interview, but through the ethics process that was something that we had to concede on. And so 349 01:31:02.230 --> 01:31:12.960 in the end I was looking through the data, and I was talking with my Phd. Supervisor. And I'm like, what do I do with these interviews where parents are interjecting. 350 01:31:12.980 --> 01:31:23.190 and it turns out that it wasn't so much a contamination of the data as it was a window into parenting practices. 351 01:31:23.200 --> 01:31:43.510 and so turned it into sort of like looking at it like you would a focus group in how people feed off of each other. So that really going through that whole process really helped me in the subsequent studies, particularly my most recent one, where we're using digital diaries 352 01:31:43.510 --> 01:32:10.729 really knew how to cover my bases when I was applying for ethics. now we're we're We haven't started talking to children in Ontario yet, because it is harder. in New Brunswick. It was more about getting ethics approval through my university and then talking to school district officials and kind of telling them about my research and gaining access in Ontario. it is more 353 01:32:10.810 --> 01:32:25.149 a difficult process to go through a lot more back and forth. So we're still working through that. The other project. Really, we were helped by the Ministry of Education because it was something they were really interested in. 354 01:32:25.370 --> 01:32:43.680 Seen. They were pouring a lot of money into these robotics kits that they were putting in schools, and so a lot of that was facilitated by them, so that one was quite easy in comparison. But yes, you're right. The ethics going through the ethics to work with children, but it is definitely worth it. 355 01:32:45.380 --> 01:32:48.469 Analia Meo: I'm going to translate just a bit. 356 01:33:41.970 --> 01:33:52.409 I think I might say that Liz and I would be happy to chat with you after this session. But perhaps we'll move on and see if anybody has another question that they'd like to ask. Great. 357 01:33:53.040 --> 01:33:54.499 Analia Meo: Thank you so much. 358 01:33:59.750 --> 01:34:03.650 Would anybody who's online like to ask a question? 359 01:34:11.660 --> 01:34:13.670 Ayelén Moleón Torres: No, no, grass. Yes. 360 01:34:32.370 --> 01:34:49.380 I'm wondering whether the conveners of the session would like to make any comments. I'm really interested in your own perspectives on what what you have seen this evening since you had such an important role in putting this session together. 361 01:34:55.080 --> 01:34:58.310 Analia Meo: Yeah, it's okay. Who was that? So 362 01:34:58.390 --> 01:35:23.399 Analia Meo: it was me? Yes, so sorry, because I I only see myself in the screen. So it's really strange. But in any way what we could say. When we decided to organize this session. We have organized this session over the years at A as a as A, and because we didn't find any other session that tried to 363 01:35:23.530 --> 01:35:25.920 Analia Meo: connect or relate. 364 01:35:25.960 --> 01:35:41.520 Analia Meo: Interest in? In a, in, in an, in educational practices, an institution settings and visual sociology. what I found particularly interesting of each piece that they were very 365 01:35:41.799 --> 01:35:56.720 Analia Meo: different. And the first 2 they are related to, and also I I actually, I would say 4 out of 5 of the papers, We are interested in young people on children's lives. 366 01:35:56.809 --> 01:36:15.690 Analia Meo: digital or not digital at school, outside of school, in education. And and I think this is a first session that we have the majority of the presenters focused on young people and children's lives. 367 01:36:15.799 --> 01:36:20.219 We had more papers, but unfortunately they had to withdraw. 368 01:36:21.040 --> 01:36:46.039 Analia Meo: And I think in this, in this sense it's a very interesting collection of different studies, and also a Kathleen, and so at least they share different studies in in different research groups. where you use participatory visual approaches, and which is something that it takes a lot of time. I I'm sure that you said something about that, but it's very time consuming. 369 01:36:47.730 --> 01:36:59.869 Analia Meo: And for me, one aspect that is probably less analyzed in your papers is a fact that How do you use images? 370 01:36:59.940 --> 01:37:08.549 Analia Meo: Because they have been very how you use after I mean Clarence and Vincent. They were right here that they used 371 01:37:08.650 --> 01:37:12.320 Analia Meo: images a lot. even in 372 01:37:12.450 --> 01:37:28.979 Analia Meo: materials. No. pediatric materials, and that was something that for me was very interesting, because it's a there is a whole ethical aspect, and on how we use visual material that we produce in our visual research. 373 01:37:29.030 --> 01:37:32.010 Analia Meo: So that's something that I I would like to ask 374 01:37:32.059 --> 01:37:38.400 Analia Meo: it to the majority of you. if you publish your images. 375 01:37:38.540 --> 01:38:07.710 Analia Meo: it currents and V, and they were very explicit about it. Yes, we produce a lot of images, and we use it in different ways, even in pedagogic material. I'm not quite sure how Kathleen and so on, at least, if they use the images because they have many images with kids, many of them. You cannot see the kids. and others. You do so. How do you manage? Because one of the problems that we have when we do visual research is 376 01:38:07.719 --> 01:38:22.130 Analia Meo: how we deal with images in a context where a ethical accountability, ethical committees and ethical procedures. are tighter, and and they demand quite a lot 377 01:38:22.160 --> 01:38:40.560 Analia Meo: a from researchers and research participants, and sometimes they could be quite They could be an obstacle to make visible aspect of your research. That is as important as the analysis of of the text of the voices of participants. 378 01:38:40.889 --> 01:39:04.809 Analia Meo: So that's something that I would like to ask to the majority of you who work with them people, and that you publish your articles and your analysis. But I don't know how to how you deal with all the visual materials and in publications, for instance. And I'm going to translate this a bit to not that, yeah. 379 01:39:39.690 --> 01:40:04.390 Analia Meo: And related to this is that who owns the images? Are the researchers, the owners? Or are the kids a every time you publish an image. 380 01:40:04.390 --> 01:40:16.890 Analia Meo: It paid per me so or no, but there are so many. This is just one tiny aspect, but I think that is quite interesting in terms of the challenges that we have as 381 01:40:16.890 --> 01:40:35.970 Analia Meo: a visual researchers, or at least researchers who use a visual material 382 01:40:36.050 --> 01:41:04.290 Ana Heras: is. 383 01:41:04.320 --> 01:41:11.179 Ana Heras: and the images are images of the very 384 01:41:12.220 --> 01:41:28.929 Ana Heras: it's. It's very quoted. And in the sense that it's it's inside people's houses and insights, people's lives also, with showing their police the belief systems and their practices. And these are very sensitive 385 01:41:28.980 --> 01:41:50.659 Ana Heras: issues that I am sure that talks about with people with whom she works. So what I'm trying to say that even though get a Cls piece is not will with children. There are questions about how to relate with images in the ethic aspects of the work. 386 01:41:50.860 --> 01:42:12.849 Ana Heras: and don't say there's only 5 min left, but we invite you all to keep in touch later after the session, but we'll pass it on to people whether they want to make comments or maybe pose a that we can answer at some other point. 387 01:42:13.090 --> 01:42:35.339 Yeah, this is Liz from Newcastle with Sue, the presentation. The second presentation. I just wanted to say something about what we've done with the images. We didn't have photos of children. We had their drawings, and when they made the drawings there were several times that they were told, and it was written as well and in different ways. 388 01:42:35.480 --> 01:42:40.999 both to not have to take part if they didn't want to, but also, if they did take part, the drawings would be used. 389 01:42:41.020 --> 01:43:01.790 and would be distributed to a range of different audiences. So we've put them in our reports. I've got a couple of them with me, the reports with me, and people want to see how we did that And then we also put them into recently into an exhibition, a traveling exhibition going around schools and libraries and community centers. 390 01:43:01.790 --> 01:43:23.569 And we asked other children to help us decide which images should be put in to the exhibition And and then, whichever like place they went to, we tried to select the images that were more likely for that area of that barrier. So that's how we how we dealt with it. We we have taken photos, and there's different things on that. We'll either 391 01:43:23.990 --> 01:43:26.140 get the explicit 392 01:43:26.410 --> 01:43:49.450 signature of the family and the child and the parent, but also our schools. There's a bit of a kind of dodgy kind of area in that quite often the schools in the Uk the children sign. No, I think parents sign right from the beginning of the year. Any photos taken in the premises can be used for anything we want to use it for, which is not a good idea. But 393 01:43:49.470 --> 01:43:51.680 that's what happens in the Uk schools. 394 01:43:51.970 --> 01:43:59.470 Quick. A very big problem 395 01:44:00.120 --> 01:44:01.410 and state. First. 396 01:44:01.780 --> 01:44:05.230 are you going to translate first. 397 01:44:05.330 --> 01:44:06.250 Anna? 398 01:44:06.780 --> 01:44:18.999 Ana Heras: maybe we can do the translation later. Just a quick comment. Now, now, I'm starting to realize, you know, for this 5 year project on cathedral ministry. 399 01:44:19.130 --> 01:44:40.020 Believe it or not. We went through an ethical process. You know, ethical process, it's really painful, right? So we have prepared all the all the the consent ascent for children. We went through. The entire process is provided by the the law and the Ethical Board, and then, when we got the the approval. 400 01:44:40.020 --> 01:45:04.819 then we have to make sure that the photo elicited are are, with all the consent forms. And what have you And they take off really the fact that they are allowing it to be as shown. You know their faces. And what have you? Primarily because of the nature of the ritual? The C. That you know, being in cathedral education is really a public ritual 401 01:45:04.860 --> 01:45:18.950 in our country. And so but I think I would want to end by saying that all those photos that we present during the data of validation, and if ever their photos were selected. 402 01:45:19.400 --> 01:45:22.410 their feedback was, it was an honor for them 403 01:45:22.510 --> 01:45:28.460 to to have their photos be part of the entire report. And I think this is something that 404 01:45:28.470 --> 01:45:37.130 those of us looking into the visual ethics part would have to think about the cultural dimension of this 405 01:45:37.140 --> 01:45:46.990 Filip, those love taking photos. Well, when I was doing my dissertation and my adviser was in the Philippines. 406 01:45:47.060 --> 01:45:54.019 he was surprised because it's the children who approach him. And they were asking, because I have my camera. They asked 407 01:45:54.150 --> 01:46:23.889 me to take their photos. It's not me, you know, taking the he. There's such a dynamics. And and and if if only you will be in a Philippine, a community, we always take photos everywhere, and and we show it and and share it. And so maybe there's something that we have to to think about more. You know how, what, what really is political about this ethical control, and what maybe is moral and more. I mean, there are so many things by which we could. We could. you know. 408 01:46:23.890 --> 01:46:47.779 think about this process. But yes, even in the Philippines we are going through this process of ethical procedures, and that if you are able to get it right we are able to produce it, just like in the visuals of hypothetical modules. And I would say that we had generally good feedback about such representations. Thank you. 409 01:46:53.960 --> 01:47:10.019 Well, I'll just briefly. I just. I pixelate the faces, and I I give that guarantee to the children. and any identifying information. So if they're wearing a T shirt with their city name, it gets pixelated as well. 410 01:47:14.150 --> 01:47:27.840 Ana Heras: Thank you. I think we are at the end of our session. And as I said before. there is several different themes that we can 411 01:47:28.420 --> 01:47:39.019 Ana Heras: keep on commenting and working on, and if there were interest in pulling up with this conversation, we can do so via email. 412 01:47:39.190 --> 01:47:51.070 Ana Heras: part of the theme. Thank you very much for chairing. You've done a brilliant job, and it's been very hard to do that. So thank you. Everyone's clapping here. Well done. 413 01:47:51.130 --> 01:47:53.039 Ana Heras: we the end 414 01:48:19.520 --> 01:48:30.180 Ana Heras: put forward in the other sessions we conducted in years past in this context and other contexts 415 01:48:30.180 --> 01:48:45.759 Ana Heras: of academic and community exchange. And those topics I will name them just for the sake of closing up and finishing up, but not to close it in the sense of not discussing them, but just to open them up. 416 01:48:45.910 --> 01:48:54.359 Ana Heras: These are, from my point of view, what we just discussed, the ethics involved in the work we do with images. 417 01:48:54.750 --> 01:49:18.119 Ana Heras: the second topic is regarding what a couple of people named multi modality. which entails being knowledgeable of several different perspectives that need to be put together in order to explore the different dimensions and material 418 01:49:18.230 --> 01:49:24.500 Ana Heras: details that each media can bring into our research. 419 01:49:24.710 --> 01:49:30.719 Ana Heras: The other topic, I think that was interesting for me to see today is. 420 01:49:30.800 --> 01:49:39.200 Ana Heras: how do we make visible the position of the people doing the work with other people. In other words. 421 01:49:39.330 --> 01:49:41.080 Ana Heras: how do we 422 01:49:41.180 --> 01:49:48.830 Ana Heras: make visible researchers positions when we enter the work with any community we work with. 423 01:49:49.110 --> 01:50:00.000 Ana Heras: and this not only means in terms of when we do report our findings, but also in the day to day basis in working with people.