Survie cellulaire : discussion 126 

Polanyi (1966/1983) describes how our experiential knowledge is tacit, meaning that it is silent if we do not find a way to express it. In the context of education and educational research, we need to better understand others’ and our own experiential knowledge. During this study, I found embodied photos and video to be key in making sense of touch interaction with physical and virtual materialities. I also found that artistic forms of exploration, such as manipulating photos and creating collages, contributed to developing an understanding of others and my own sense-making in interaction with different materialities.

Haptic visuality is a foundation for the discussion in this section. It describes how previous experience of tactile and haptic perception can trigger visual feedback and create an illusion of tactile and haptic experience (see Pusch & Lécuyer, 2011, p. 57). It is also central in the discussion to use theory that describes how visual experience is dependent on and relates to our memories and our interrelated senses (see Rose, 2016, p. 34). MacDougall (2005, p. 3) describes how photos are images of the body behind the camera – that photos “refer back to the photographer at the moment of their creation.” I relate to this in the context of this study;

however, I prefer to call them embodied photos. The reason is because all the photos in this study were taken by subjects with an embodied mind with a handheld camera. In addition, I prefer to refer video captured in this study with a headband camera as embodied video (this could also be video from a handheld camera or camera attached to other parts of a person’s body). When I used a headband camera, the camera recorded my interaction with the children, the digital technologies, the materials, and the environment.

I found my own embodied photos to be important in studying and reflecting upon my own sense-making process in interaction with physical and virtual materialities and environments in Case 2. My photographing, sensing, and reflecting helped me understand how tactile and haptic experiences bridge the physical to the virtual, as described in the section 6.1.1.

The camera became a tool I used over a period of time (3–4 weeks) when I moved in outdoor snowy terrain and photographed tactile snowy surfaces. These embodied photos have been part of my study since the winter of 2017. My photography was not a planned part of my data collection for exploring the virtual picturebook app; instead, it was a natural outgrowth of my a/r/tographic exploration. My attention was drawn to photographing snowy surfaces and environments while moving on and through the environment and touching the material in different ways. This illustrated how tactile feelings of virtual materialities of snow were

determined by particular patterns of experiences and feelings I had with previous touching of cold surfaces. However, I did not include these processes as data in Case 2, simply because it did not become clear to me that this had been a valuable part of my data collection and analysis process before the article was published (see Søyland & Gulliksen, 2019). However, I was reflecting on the material paradox of virtual realities over a long period of time, I was writing notes based on these experiences, and I stored the photos systematically by date.

Embodied photos have also played a role in my study of the ECTE students and children’s touch interactions with different materialities. During interactions with others, the materials, digital technologies, and the environment, I have been closely involved in the joint explorations. In these instances, I was present and part of these moments of engagement and sense-making, as I was observing, positioning myself in the room, and searching for the right angle aiming to make good compositions while taking photos. The photos can be understood to be “frozen moments” where I have sensed and recorded something related to the aim of this study through my embodied involvement with these contexts. This is in line with Pink (2015, p. 125) who describes digital technologies such as cameras as part of the ethnographer’s embodied mode of engagement. It is challenging to describe what I sensed, exactly why I found these moments that I froze valuable, and in what way my haptic visuality was important in those moments. As shown in Figure 21, it was a moment where I was close up observing how two children and their ECE teacher explored the material and materiality with their senses, using their hands and light from flashlights. This was a moment I understood to be a joint exploration filled with curiosity and exploration of the material affordances. However, for me, this photo was also a reflection of how children use their hands when they hold a touch device, and it made me question how a touch device can trigger similar curiosity of materiality and how children and adults explore digital technologies in joint explorations. The camera was a part of me directing my attention and my senses in those instances, and the embodied photos became an integral part of my reflections on how physical and virtual materialities facilitated processes of sense-making.

Thus far, I have described my own embodied photos; however, this study also included the children’s photos (Case 3) and my co-authors’ photos (Case 1). In the first case, we did not use video in the data collection, but we three a/r/tographers with our three different embodied minds were present during the interactions and photographing. In the analyses and discussion, these different views and perspectives were essential as a form of data triangulation. In the third case, I also included the children’s “participatory photographs” (Clark, 2014, pp. 200–203;

Holm et al., 2019, pp. 316) in the analysis. The children’s embodied photos provided me with nuances in how they moved and what they were occupied with. Their photos furnished me with information about the body–mind behind the camera in interaction with the environment and others in the room. When I studied the children’s photos, their “frozen moments,” my haptic visuality in conjunction with my memories from our joint interaction, and explorative setting were important in developing an understanding. I connected the photos to my own past experiences, emotions, and imaginings as well with what I had learned from my study of embodied cognition theory. Including children’s views and experiences through photos in a research setting such as this is what Clark (2014, pp. 200–203) describes as a mosaic approach.

I found the children’s embodied photos to be fruitful in gaining a deeper insight into sense-making and materiality. In future work and similar research settings, I will definitely consider having the participants’ photos play an even greater role.

Figure 21. Two children and their ECE teacher (in the middle) exploring a material (loofah sponge) with their hands and a light from flashlights. Photo by Lovise Søyland.

I will now delve into making sense of embodied video. I also found the headband camera to be a useful device for studying both my own and the children’s touch interactions in the different settings. It captured nuances in how I moved, my breath, where I looked, sounds of movements, and, for example, how the children and I explored the surroundings together. An example of this is how the embodied video provided me with information about the children’s feet while moving at a high pace, and how I followed their movements toward a virtual object in the physical environment. Their movements and the sound of their movements provided me with information about their engagement and how they were eager and excited to explore and touch an object. Another example concerns when I analyzed the embodied video from my own exploration of the picturebook app. In this process, the embodied video made me more aware of my own sensory experience than I would have been without it. In studying the embodied video, I could follow and reenact my own movement like when I moved my body in the physical room in interaction with the virtual one. I could study small details, such as how I moved my body and my head “when the virtual snow slowly fell down.” I studied how I held my breath for a second when I was immersed in the snowy sky, and how I made an almost inaudible sound when I was impressed by the beautiful experience of the virtual snow. The headband camera captured aspects such as speed, movement, and framing, and the sound of my moving body in interaction with the virtual environment, while I was moving in the physical one. This is in line with how Harwood and Collier (2019, p. 54) describe how such cameras can provide information in a research setting. The embodied video furnished me with nuanced information from the settings, and became an important part of my analysis. It is difficult to express exactly what I sensed and understood. But it was about studying small details that were hardly visible or audible but still important in developing an insight into interactions, such as a child’s eyebrow moving, or sounds of excitement communicated through breathing, a giggling sound, or a child slowly moving one of his fingers in the direction of a material artifact. Thus, embodied photos and embodied video provided me with important information of tactile and haptic experience in the different research settings. In line with Pink (2015, p. 168), the photos and video clearly illustrated the significant role of touch and tactile ways of knowing. I especially found that the “frozen moments” of embodied photos provided me with information about the embodied mind behind the camera in an intimate, entangled moment of a situation. The embodied videos were close to my own sensory experiences of movement and sound, in interaction with the environment, children, materials, and digital technologies. These made me aware of details that I did not sense during the actual interaction.

During this study, I found collage making to be a reflective process to make sense and express understanding of touch interactions with virtual and physical materiality (Figure 22).

Figure 22. A collage of my reflections on tactile snowy surfaces.

Collage by Lovise Søyland.

This is in line with how Scotti and Chilton (2019, p. 360) describe collage making as a way to conceptualize ideas and reflect upon them. In examination of the picturebook app, my attention was drawn to my own tactile and haptic experience of physical snowy terrain and to my emotions while being immersed in and surrounded by snowy forests. My collage making was primarily a part of my reflective process; it was not my attention to share this with a viewer.

Nevertheless, I think they contain information about my reflection and my understanding of materiality that can be experienced by a viewer. Figure 22 is a collage of my reflective process of the tactile feeling a snowy surface can give, which was part of my process of learning how we bridge our understanding from the physical to the virtual. As shown in the figure, what I did in the making process of this collage was to add colors such as pink to create a warm–cold contrast to the white snow and to the texture of the frozen branches covered with snow.

This was part of highlighting my tactile feeling of the materiality. I used a color tool in the Procreator app to drop colors into the texture of the background. I also cut out parts of the

photo, and adjusted light to make a contrast that was soft and not too sharp between the snowy texture and the background. The organic texture – the branches covered with snow – aroused positive feelings in me, such as feeling safe, and association to a nest represented something protective. During the examination of the app, good emotions related to being surrounded by a snowy forest, and more ambivalent feelings such as being inside a dark forest emerged. My collage making was a reflection of the emotions and feelings of being immersed in a virtual environment and how the materiality initiated emotions in me. This was connected to my past experience, and I also explored these feelings while moving in the snowy terrain. Figure 23 is another example of what I did in the collage making process.

Figure 23. A collage as an expression of my experience of moving through the virtual forest and being surrounded by the dark. Collage by Lovise Søyland.

This collage is composed of different photos. The dark field in the foreground was added to create a contrast to the house and the snow in the background of the collage. It was a reflection of the ambivalent feeling of coming out of a dark forest. I created this contrast between dark elements and the little house to explore the feeling of having to rush out of the forest before it grew dark and to get inside of the safe and warm house. These collages were exemplary representations of my tactile and haptic knowledge of materiality.

The arts-based methodology – a community of knowledge where it is recognized that research processes can have the same qualities as artistic processes – gave me the courage to work with artistic processes in this study. Some of my processes were planned, such as photographing while interacting with children to document moments of sense-making. Others emerged intuitively during my quest to make sense of the phenomena of physical and virtual

materiality. ABR methodology is increasingly being recognized in educational research (Leavy, 2019, pp. 6–9). I suggest that multiple ways of knowing, such as sensory, imaginary, and emotional processes like collage making, should also have broader recognition in educational research. Working with the artistic process based on the empirical material has been the foundation of this dissertation. An artistic approach to handling the audio-visual empirical data has been productive for me as an a/r/tographer as it has allowed me to use my senses, subjectivity, and emotions in developing understanding of both my own and others’ sensory experiences. These are qualities that Bresler (2006) highlights as being necessary in ABR. The ABR methodology gave me an opportunity to study the tacit and sensory in children’s experiences. I think this is crucial in a time when the sense of touch has largely been neglected (see Jewitt & Leder Mackley, 2019, p. 92) and the sensory and emotional have been downplayed in children’s educational settings (Mangen et al., 2019, p. 242). I believe it is essential for the educational research field to continue to take advantage of and develop artistic forms of explorations in both analyzing and expressing understanding of sensory experience.