Photographs are commonly taken of children in medical and research contexts. With the increased availability of photographs through the internet, it is increasingly important to consider their potential for negative consequences and the nature of any consent obtained. In this research we explore the issues around photography in low-resource settings, in particular concentrating on the challenges in gaining informed consent.

Video data has now become the most common form of data for educational researchers studying classroom interaction and school culture. Software protocols for analysing vast archives of video data are deployed regularly, allowing researchers to annotate, code and sort images. These protocols are often applied by researchers without reflection or reference to the extensive philosophical work in film and media studies. Without exception, this research treats the video image as movement-image or picture, a recording of ‘raw data’, indexical of a (...) given time-space relationship. In this article I situate this kind of research within the history of scientific cinema, drawing on Deleuze's books on cinema, as well as his ideas on colour and figure from The Logic of Sensation, to propose an alternative way of analysing video data. One of the central claims of Deleuze in Cinema 2 is that the time-image reconfigures bodies as expressions of force – the body becomes a ‘shock of forces’. I argue that such an approach allows us to study the student body as less a phenomenological organism with built-in ‘I can’ cognitive and motor capacities, and more an indeterminate crystalline contraction and expansion of intensity. I present an example of how to study classroom video data as time-image, and explore the implications of such work for education research. (shrink)

This article is concerned with developing a philosophical approach to a number of significant changes to academic publishing, and specifically the global journal knowledge system wrought by a range of new digital technologies that herald the third age of the journal as an electronic, interactive and mixed-media form of scientific communication. The paper emerges from an Editors' Collective, a small New Zealand-based organisation comprised of editors and reviewers of academic journals mostly in the fields of education and philosophy. The paper (...) is the result of a collective writing process. (shrink)