The second, thoroughly revised and expanded, edition of The SAGE Handbook of Visual Research Methods presents a wide-ranging exploration and overview of the field today. As in its first edition, the Handbook does not aim to present a consistent view or voice, but rather to exemplify diversity and contradictions in perspectives and techniques. The selection of chapters from the first edition have been fully updated to reflect current developments. New chapters to the second edition cover key topics including picture-sorting techniques, creative methods using artefacts, visual framing analysis, therapeutic uses of images, and various emerging digital technologies and online practices. At the core of all contributions are theoretical and methodological debates about the meanings and study of the visual, presented in vibrant accounts of research design, analytical techniques, fieldwork encounters and data presentation. This handbook presents a unique survey of the discipline that will be essential reading for scholars and students across the social and behavioural sciences, arts and humanities, and far beyond these disciplinary boundaries. The Handbook is organized into seven main sections: PART 1: FRAMING THE FIELD OF VISUAL RESEARCH; PART 2: VISUAL AND SPATIAL DATA PRODUCTION METHODS AND TECHNOLOGIES; PART 3: PARTICIPATORY AND SUBJECT-CENTERED APPROACHES; PART 4: ANALYTICAL FRAMEWORKS AND PERSPECTIVES; PART 5: MULTIMODAL AND MULTISENSORIAL RESEARCH; PART 6: RESEARCHING ONLINE PRACTICES; and PART 7: COMMUNICATING THE VISUAL: FORMATS AND CONCERNS.

Chapter 18: Using Drawing in Visual Research: Materializing the Invisible

Using Drawing in Visual Research: Materializing the Invisible

Using drawing in visual research: materializing the invisible
Philippa Lyon

Introduction: Contexts and Theoretical Considerations

Why Drawing?

Drawing is as fundamental to the energy which makes us human as singing and dancing. (Berger, 2007: 109)

The idea that Berger alludes to here is that drawing has a peculiarly innate, primitive connection with what makes us human. It is often this tacit belief in the universality and democracy of drawing as an activity that propels researchers to turn to it for insights into human experience, perceptions and behaviour. In an era where visual methods have acquired a new urgency, this chapter explores the possibilities and limitations of drawing as research technique – frequently, but not necessarily, manual, ...

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