Virtual Reality (vr) is widely purported as an effective strategy for learning practical skills across disciplines such as medicine and sport, but it has yet to be fully exploited in relation to education. Learning how to engage pedagogically with students calls for sophisticated and nuanced relational skills, but opportunities to practice these with ‘real’ learners are often hard to access. This is especially so for students who are learning how to enact relational pedagogies with infants in early childhood education settings (ece) through sensing encounters. To address this lacuna, the authors co-designed and trialled a prototype for a vr game scenario that simulated ‘real-life’ presence with a virtual infant to explore its potential for learning relational pedagogies based on observable features of presence. The authors videoed the vr screen as cohorts of ece students and teachers interact with the prototype simulation and/or observed their peers. The authors found that learners quickly became sensorially engaged once they had mastered the technology. Their application and attitudes towards important features of relational pedagogies were keenly evident through these engagements – on and off the screen – with opportunities for future development identified.
This article offers a means of analysing social networking, visual dialogues of emojis, gif s (images in the Graphics Interchange Format), embedded images, videos, and url s (Uniform Resource Locators). Doing so addresses these often overlooked and undervalued forms of visual communication, suggesting a unique means of gaining insights into their use within online interactions. Utilising a Bakhtinian methodology, the author extracts excerpts from her research, situated within Facebook, to demonstrate a Bakhtinian genre analysis, a framework that the author contends is adaptable to multiple social networking spaces. Highlighting emojis, gif s, embedded images, videos, and url s as integral components of online communication, an emphasis is placed on how the text dances with the visual, presenting a nuanced framework for such an analysis. Consequently, an argument is developed for the significance of visual dialogues in contemporary online spaces, and the need for researchers to better understand these dynamic forms of communication, offered through Bakhtinian dialogism.
Film making provides a tool for Indigenous peoples of West Papua to tell a story, consolidate community collective memory (solidarity), support human rights advocacy and assist trauma healing. Moreover, films raise critical awareness among Indigenous Papuans in relation to the outside world. Film making allows Indigenous voices to be seen and heard by others beyond West Papua. So, film is an important media tool with the potential to enable vulnerable Indigenous communities to produce knowledge, and tell stories about life and culture from their own perspectives. It also supports Indigenous West Papuan communities to document human rights abuses and to advocate for their human rights in the international arena. Film making therefore provides an important medium to expose the oppressive realities of Indigenous peoples’ lives in in West Papua, so often distorted by the propaganda of the occupying Indonesian military. This article explains the context of film making in West Papua. Next it shares some personal experiences of film making in West Papua before sharing three approaches adopted by Indigenous West Papuan filmmakers. These film making approaches empower Indigenous communities to tell their own stories and support their own decolonization goals.
In recent years, school building policy in New Zealand has emphasised the development of flexible learning spaces (fls). Through deliberate design choices, flexible learning spaces are intended to promote student-centred and collaborative teaching practice, creating an innovative learning environment which is adaptable and future-focussed. However, this intended practice is not always realised. This article draws on data from a study examining the practice of seven English teachers working in a flexible learning space in one New Zealand secondary school. Using Lefebvre’s spatial triad of conceived, perceived and lived space, the author will argue that elements of the learning space are imbued with layers of visual symbolism, highlighting the tensions between the rhetoric and the reality of innovative practice in flexible learning spaces. While the policy intent of the flexible learning space is made visible through elements of its design, the use of the space by teachers and students indicates that their visual interpretations of these elements can serve to reinforce teaching and learning practices that flexible learning spaces are designed to disrupt. These findings highlight that teachers require increased spatial competence and critical awareness of visual learning space elements to maximise the potential of fls for innovative teaching and learning.
How can school-weary youth regain faith in their abilities and their own future? The film discussed in this article is a critique of compulsory school’s inability to mediate knowledge and self-confidence through practical experiences. We meet two young boys who describe their schooldays as a time of little self-accomplishment and little joy in learning. Being given the opportunity to participate in the practical relation between themselves, the materials, the tools, and the customers at the car workshop Midtun Dekk, they now have experienced performance accomplishment and developed self-efficacy. They both emphasize how this workplace has changed their lives and their attitude towards themselves, and they both express a sincere gratitude to the company manager who gave them trust and responsibility. This article will highlight some of the conditions that may have contributed to their positive development. The determinative experiences of the boys combined with the power of visual communication makes it also necessary to discuss some of the considerations to be made in the process of presenting research through a research film. The author wants to ask: How much is it acceptable to edit in a research film? Can too much intervening change the result from argumentative reasoning to propaganda?
Misinformation is accidentally wrong and disinformation is deliberately incorrect (i.e., deception). This article uses the Pedagogy Analysis Framework (paf) to investigate how information, misinformation, and disinformation influence classroom pedagogy. 95 people participated (i.e., one lesson with 7-year-olds, another with 10-year-olds, and three with a class of 13-year-olds). The authors used four video-based methods (lesson video analysis, teacher verbal protocols, pupil group verbal protocols, and teacher interviews). 35 hours of video data (recorded 2013–2020) were analysed using Grounded Theory Methods by the researchers, the class teachers, and groups of pupils (three girls and three boys). The methodology was Straussian Grounded Theory. The authors present how often participants used information, misinformation, and disinformation. They illustrate how the paf helps understand and explain information, misinformation, and disinformation in the classroom by analysing video data transcripts. In addition, the authors discuss participant perceptions of the status of information; overlapping information, misinformation, and disinformation; and information communication difficulties.
This editorial explores education as a beautiful risk and its embodiment in the Association of Visual Pedagogies (avp) Twitter Conference. The conference aimed to co-construct visual pedagogical provocations and engage participants through Twitter. The authors formed a diverse organizing team and leveraged their strengths in technology, pedagogies, global networking, and organization to create an invitational dialogue. Twitter was recognized as a powerful tool for professional networking and accessible resource for conference participation. The call for visual pedagogical provocations generated diverse responses across educational sectors, fostering connections and expanding visual pedagogy possibilities. The conference showcased various visual forms, challenging conventional notions of pedagogy. It inspired a community of practice, with participants sharing artistic, informative, and thought-provoking contributions. This editorial concludes by sharing a video compilation of selected provocations, inviting readers to explore the transformative potential of visual pedagogy.
Bee Movie is a short film that invites questions for conversations on visual ethics. The viewer is invited into a world of circular, tragic and absurd questions concerning what a filmmaker, an abstract writer, a journal editor, and a film viewer ought to do when observing the apparent reality of a bee’s circular attempts to escape a pond. As a filmmaker and abstract writer, one does not want to tell the viewer and reader how one feels about this bee, bees, insects, ponds, water, life, death and circles. And one feels obliged not to explain the context through which the film came to life as the bee was engaged in efforts that might be narrated as lifesaving but also as another complex of efforts entirely. As an open image, without our textual dissection (or, at least, with a dampening of that dissection to an abstract and with a few questions and challenges), we regard Bee Movie as inviting questions about the ethics of the use of images as pedagogy. Whatever we thought about whether and how to share this film, we find ourselves in 359 other relationships, and always back again to what we assumed might be the starting position.
This article offers perspectives into some of the key intersections between ethics in representation and game design by showcasing an extended ten-minute version of the presenters’ original video about the provocation of visual ethics in gaming, first shown at the summit ‘Re/Sponse-able Visual Ethics.’ This version particularly divulges further detail into the ludic and congruent real-world dynamics that come into play in coding and facilitating both the game’s system of rules and mechanics as well as the player’s immersion in its game world. Topics principally addressed included the relationship and function of violence in procedural-based game activity, and game developer intentions or responses to their chosen subjects and themes embedded into their game. While the video and its topics primarily aligned to the presenters’ respective disciplines, it is still a valuable platform to instigate new or expand existing avenues of research into the relationship of ethics and gaming.
This article explores the use of video as both an interview technique for data collection and for research dissemination. Attention is given to ways in which video interviews gathered as part of the Maraea community research project were reframed in the development of a virtual reality experience. Maraea is a research project conducted between 2017–2020. A comparative methodology was used to gather knowledge on indigenous-health-practitioner-led community-based solutions from New Zealand, Australia, Canada and the USA that focus on whānau rangatiratanga / family self-determination. Although the video interviews have been disseminated through an official Maraea website, the authors explored ways to reframe or (re)experience the stories being told. An immersive virtual reality (vr) prototype was created to explore the potential to bring the user / learner / audience closer to the narrative, to the practitioner telling their story and therefore to the practices being shared.