Classroom Video Data and the Time-Image: An-Archiving the Student Body.
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...
| Publicado en: | Deleuze Studies Vol. 9; no. 3; pp. 318 - 337 |
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| Formato: | Artículo |
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Edinburgh University Press
Aug2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=108720882&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 108720882 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 17502241 2Q70 jtl: Deleuze Studies issn: 17502241 maglogo: N pubinfo: dt: Aug2015 vid: 9 iid: 3 pid: 2327 pub: Edinburgh University Press artinfo: ui: 108720882 10.3366/dls.2015.0190 ppf: 318 ppct: 19 formats: fmt: @attributes: type: P size: 1MB tig: atl: Classroom Video Data and the Time-Image: An-Archiving the Student Body. aug: au: de Freitas, Elizabeth su: Classroom activities Educational technology Videos School environment Science films Deleuze, Gilles, 1925-1995 sug: subj: Classroom activities Educational technology Videos School environment Science films Deleuze, Gilles, 1925-1995 keyword: archive cinema classroom research movement-image sensory-motor body student body time-image video data ab: 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. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Deleuze Studies is the property of Edinburgh University Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Deleuze Studies holder: Edinburgh University Press dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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