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Visual Methodologies: An Introduction to Researching with Visual Materials

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And, as she repeatedly points out, it is impossible to spend too much time looking at the images you are going to interpret. But Glitch Feminism – which is brilliantly written – kind of just sidesteps those analyses and starts from a life – a body, Russell’s – the formation of which has been inextricably affected by the many other bodies she’s encountered online. The Cyberfeminism Index is big: over 800 entries (though the book is pleasingly lightweight and floppy, as Mindy explained, because it’s printed on newspaper print).

You want to look at the composition of the image and this is going to involve looking at its content (what it actually shows), its colour (because colour has meaning and it is described in terms of saturation – high, vivid or low, neutral – hue - the colours actually used – and value – where low is dark and high is light) and its spatial composition. Subsequently she led the ESRC-funded project 'Smart cities in the making: learning from Milton Keynes', which explored a wide range of digital interventions in MK and how they intervened in the social geography of the city. And no mention, textual or visual, of the Patwin tribe who lived on the land when the Spanish arrived. We fall into the trap of ‘auteur theory’ – the idea that “what is most important about a visual image is what its maker intended to show”.Those books are also about a city being invaded (New York), this time by an actual alien (you know what I mean), and the alien is both convincingly real in terms of the story and clearly metaphorical: white, tentacular, extractive, plugging into bodies and minds to render resistance useless.

The latter theoretical stances led to the essentialization, ‘entification’ and objectification of the concept/phenomenon. This text serves as a resource to understanding visuals as both material objects and tools of meaning making. Existing chapters have been fully updated to offer a rigorous examination and demonstration of an individual methodology in a clear and structured style. Subsequent chapters each examine a visual method in detail and assess the method s strengths and weaknesses. But the most exciting, startling and perceptive critics of visual images don’t in the end depend entirely on a sound methodology.

Chapter 11 is mechanical and provides very detailed instructions regarding how visuals should be obtained and documented. Rose situates visual culture as its own field, which is practice is very similar to visual rhetoric. This Second Edition provides a critical introduction to the study and interpretation of visual culture. The strengths and weaknesses of each method are discussed in relation to a detailed case study, as well as to the more general issues outlined in the introduction.

Her interest in the intersection of digital technologies, visuals and urban spaces was sparked by an ESRC-funded project with Monica Degen and Clare Melhuish a decade ago, which was a two-year ethnographic study of computer-generated images and their role in the architectural design process.When I’ve given various talks about the digital visualisation of new urban development projects, it surprises me how many people mention The Line – and not in a good way (see too the comments made about its YouTube promotional video). Hoelzl and Marie work through a very productive definition of digital images as images that are co-constituted with software; Rubinstein and Sluis explore the networking of photos; Mackenzie and Munster coin the useful term ‘invisuality’ to refer to the algorithmic analysis of the vast banks of images collated by social media platforms; and Beller points to the political economy driving those same platforms.

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