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 42: Revisualizing Data: Engagement, Impact and Multimodal Dissemination

Revisualizing Data: Engagement, Impact and Multimodal Dissemination

Revisualizing data: engagement, impact and multimodal dissemination
Dawn Mannay


Contemporary culture can be defined as ocularcentric (Rose, 2016), for we are surrounded by visual and multimodal materials in our everyday lives that both represent and create our understandings of social worlds. Consequently, the field of visual studies is continually expanding, and it has much to say about the use of images and creative artefacts in research, whether these are found images, researcher-initiated materials or participatory productions (Pauwels, 2011). While there is significant attention to the construction and analysis of visual images, arguably there is less interest in dissemination. Where the sharing of images is considered, this is often in relation to ethical debates around ...

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