Excited to be presenting here later in the year.
Excited to be presenting here later in the year.
Collecting a few quick thoughts, ideas and references, starting with a ‘sign’ above a ‘door’…
During a Minecraft ‘virtual models’ discussion session, I noticed that a player had placed a sign above a door. It read ‘this is not a door‘. Asking why he had placed this particular sign here the player, <Castaway112>, simply insisted, ‘because it’s not a door’. Another player, <yoloface23jr>, repeated this assertion and, after my own comment that ‘so, everything is not always as it seems in Minecraft…’, we moved on elsewhere in the game and in our discussion. I wish I had pursued the issue further, but I didn’t.
Here, months later, returning to this screenshot of door (the ‘not-a-door’ door) provides me a ‘way in’ to thinking about representation. Recalling this sign now I am reminded of this image by Rene Magritte called ‘The Treachery of Images’.
Of course (of course?) it’s not a pipe – it’s a picture of a pipe; a representation. Similarly, <Castaway112>’s door ‘n’est pas une porte‘; a number of other possible (imagined) responses could be…
“It’s not a door, it’s a picture of a door.”
“It’s not a door, it’s a Minecraft door.”
“It’s not a door, it’s pixels on a screen.”
“It’s not a door, it’s a sign.”
“It’s not a door, it’s some writing about a ‘not-a-door.”
Each of these possible answers return to the idea of representation, albeit from different directions (I’m resisting saying ‘layers’ as layers don’t feel very rhizomic). Throughout this project I have considered issues of representation; how I am representing the lived experience of others, how different ways of collecting and representing data have implications and, specifically, how comic strip transcription can represent a scene differently to a textual transcript.
Deleuze and Guattari’s (1980) rhizome as an ‘image of thought’ has underpinned my thinking, itself a representation of a way of thinking about stuff (and one which includes itself). This has led me to, increasingly, exploring and representing my own thinking visually. For instance, in the following panel from a longer comic strip I use text and images to explain the idea of approaching the club’s soundscape as a rhizome, as an alternative to pursuing a more linear, chronological reading (or ‘listening’). Nick Sousanis’ ‘Unflattening’ (2015), which challenges ‘the primacy of words over images’, helped me to consider using images to explore metaphors of thought.
Also in relation to the the soundscape of the club and considering the challenges of representing (and, in particular, visualising) sound, I have producing a number of visual representations (or non-cartographic, composite maps) of the club’s sound, drawing on John Cage’s (1969) anthology of unconventional music manuscripts.
Here I was also recently inspired by Jon Dean’s recent presentation which included his representation of a particular soundscape, performed simultaneously verbally and through composite sound. I must also credit Diane A Rodger’s recent talk on underground comic strips as part of #focussheffield – in particular her drawing of ‘Rivelin Valley’ in Sheffield helped me to consider how a drawn composite image of a place can effectively represent a location in a particular way.
— Chris Bailey (@mrchrisjbailey) January 28, 2016
So, what is this door that’s not a door? It’s likely that I will never fully know what it represented for the player. But for me? I suggested at the beginning of this post that it was a way in: an introduction. But equally it could provide a way out: a conclusion. Whatever it is, for me, at this point, it definitely represents the challenge of representation.
Cage, J. (1969) ‘Notations’ Something Else Press, New York.
Dean, J. (2015) “Submitting Love?” A Sensory Sociology of Southbourne. Qualitative Inquiry. 1-7.
Deleuze, G. and Guattari, F. (1980) A thousand plateaus: Capitalism and schizophrenia
Magritte, . R (1929) ‘The Treachery of Images’: https://en.wikipedia.org/wiki/The_Treachery_of_Images
Rogers, D. A, Blog here: https://missytassles.wordpress.com/
Sousanis, N. (1995) ‘Unflattening’. Harvard University Press, London.
This short post was written for the blog for the Literacy Research Centre at Lancaster University, following my recent presentation there.
During my recent LRDG talk I shared data from my ethnography of an after-school Minecraft Club in comic strip form. Here I will briefly elaborate on how comic strips came to form an integral part of this project. My adoption of the comic form was not a case of me bringing an existing skill to my project; rather it arose as a need that emerged from the project itself. I use comic strips in two main ways: as a form of transcription, and as a means of exploring theory.
Comic Strips as Transcription
My first use of comic strips followed the funeral of a virtual horse. During their Minecraft play, children role-played a funeral for a horse that had ‘drowned’. This was captured using video (in the room) and a screencast of my screen (in the game). When I attempted to produce a multimodal transcription of this episode, using text alone, I felt that my written output did not represent the nature of the events I had observed; it felt like a reduction of what I had seen. As I gradually added visuals to my written account I realised that I was creating a form of comic strip. Rethinking my approach to transcription led me to produce around 25 more such comic strips, based on episodes from the club, identified by me and the participants.
Comic strip transcripts have been used by others (Plowman and Stephen, 2008). My particular take on these combine visual data relating to the on- and off-screen action seen in the club, alongside the children’s speech and additional scene-setting comments. The ‘Horse Funeral’ comic uses mainly on-screen visuals, whereas some of the other comics draw more heavily on action in the room; an additional example of this technique can be found in Bailey (2015).
Comic Strips as Methodology
My use of comic strips spread beyond transcription to the development of my methodology. The pages below begin a longer exploration of Deleuze and Guattari’s (1980) image of thought, ‘the rhizome’, using my own staged screenshots from the game itself. The rhizome was fundamental to my methodological approach, which I called ‘Rhizomic Ethnography’.
Where Minecraft screenshots felt insufficient, I turned, nervously, to pen and paper. Drawing did not come naturally, however the process helped me both to exemplify and expand my thinking. This chimes with Sousanis’ (2015) assertion that such techniques can lead to an ‘unflattening’ of ideas. The act of drawing pushed me well beyond my own comfort zone, also giving me an unexpected emotional attachment to the ideas I was seeking to explore.
These comic strips were produced with the help of the application Comic Life: https://plasq.com/apps/comiclife/ios/
Bailey, C.(2015) ‘Free the Sheep’. Literacy, Early View[online]: http://onlinelibrary.wiley.com/doi/10.1111/lit.12076/full
Deleuze, G. and Guattari, F.(1980) A thousand plateaus: Capitalism and schizophrenia. Bloomsbury Publishing.
Plowman, L. and Stephen, C.(2008) ‘The Big Picture? Video and the representation of interaction’. British Educational Research Journal, 34 (4)541 – 565.
Sousanis, N.(2015) ‘Unflattening’. Cambridge. Harvard University Press.
My Literacy article about children singing around their Minecraft play is now online in the journal’s early view section: http://onlinelibrary.wiley.com/doi/10.1111/lit.12076/full
I was recently pleased to be invited to contribute to a Massive Open Online Course (MOOC) called ‘Exploring Play’, created by Sheffield University and hosted by Futurelearn. What was initially proposed as a written contribution turned into a short video segment. Whilst initially (internally) reluctant about appearing on video, I figured that I needed to overcome this aversion – partly as I had actively relied on my participants allowing me to film them, and also as it provided an opportunity to showcase some of the visual data I have collected during my Minecraft research.
I named my contribution ‘The diversity of social play in a Minecraft club’. This drew upon three examples of the children’s play (in fact, the same three examples present in a recent poster – below) in order to act as an overview of the kinds of play the children engaged in during the year-long Minecraft club that I ran last year, as a means of exemplifying the kinds of activities that are possible in such contexts. My contribution formed part of week five’s focus on virtual world play and, aware of the negative press that is often generated around such pursuits, I suppose I also saw this as a good opportunity to dispel the myth that video game play is necessarily isolating or anti-social – not by arguing a point but simply by presenting examples of children’s creative play that arose in and around the game.
The comments generated during the course this week have been brilliant, and these alone have convinced me of the value of MOOC participation, both as a contributor and a learner. There are currently more than 125 comments posted in the discussion thread related to my video, from a wide range of participants from different backgrounds (academic and non-academic), from across the globe. As a means of broadening engagement with my research, therefore, it has been excellent. The MOOC’s open nature, and its wide focus on play in general (rather than on virtual play specifically) means that the video has been seen by many people for whom videogame play was an unfamiliar or even negative concept, with a number of the comments reflecting that their own views had been challenged or changed by what they had seen. Some were even quite emotional about the content of parts of the video, and the (very) few voices dissent were considered, considerate and open to discussion (the polar opposite of the usual comments stream I have seen on many other online sites, in fact!).
You can view the course (and my small contribution in Week 5) by signing up (for free) here: https://www.futurelearn.com/courses/play/2/