Collecting information via time-lapse photography is nothing new. Scientists and artists have been using this kind of data since the late 1800s. However, my research and experiments with time-lapse have shown that great potential may lie in its application to educational and social scientific research methods. This article is part history, part research method, and part methodology. As I uncover the science and art of time-lapse and sort through theory and practice from a number of fields, I share these findings, collect my own time-lapse data, and pose new queries into the use of time-lapse data collection for qualitative and social research. IntroductionIn beginning my doctoral studies, I set out to become a better teacher of future educators. I wanted to examine my teaching in action. I naturally thought to video record my class sessions for playback and reflection. After hours spent on processing video to review just 10 minutes of my teaching, I realized that it was not a timefeasible method of data collection for my purposes. I also realized that video would not necessarily answer the questions I had about my teaching. I was interested in exploring my teaching behaviors as they were revealed over time. I also realized that I became quickly distracted during the task of watching observational video. I had to watch the video many times in order to answer the questions I had about my teaching, and even then I had difficulty sorting details from overarching themes and patterns. As I planned to study my teaching over time, I began to think about other techniques I could use to speed up the process of observation and analysis, and I rediscovered a lesser known photographic data collection technique that has not yet seen its full potential as a research tool -time-lapse photography.Time-lapse photography consists of sequential photographs taken at a set interval (i.e. one photo every second, one photo every 24 hours).
The term curation was once only utilized by museum professionals. Currently, the term seems to have been borrowed by aesthetically-minded persons looking to collect ideas or objects. Through a detailed account of one curatorial process, this article aims to convey the richness of context, the depth of connection, and the promotion of new ideas classically associated with curation. Drawing on these methods, the author begins to develop an outline of curation as a transferrable methodology, useful for exploration of aesthetic works as they related to sociocultural histories. As an exemplar collection of artworks, illustrations of Lewis Carroll’s Alice’s Adventures in Wonderland provide content to explore the depth and breadth of curation as a methodology.
In her influential work Metafiction: The Theory and Practice of Self-Conscious Fiction, Waugh (1984) loosely categorizes literary metafiction on a sliding scale of four metafictional Acts. Through repeated readings of Alice's Adventures in Wonderland (Carroll & Tenniel, 1866) and study of all of Wonderland editions across time, I noted that artists move the book across Waugh's scale of Acts through the visual narrative of illustration. In the essay that follows, I trace the development of metafiction in Wonderland by curating (Persohn, 2018(Persohn, , 2021) a collection of illustrations across time that demonstrates turning points and exemplars of how the book has evolved from the simplest forms of metafiction in Carroll and Tenniel's first edition to radical metafiction in more recent illustrators' works. This evolution evokes ontological questions about the thin distinctions between fiction and reality. Keywords Metafiction • Patricia Waugh • Alice's Adventures in Wonderland • Illustration • IllustratorsPatricia Waugh (1984), in her influential work Metafiction: The Theory and Practice of Self-Conscious Fiction, loosely categorizes metafiction on a sliding scale of four metafictional Acts. From fictionality as a theme and an act of role-play, to reader involvement in the story, to 'cut ups and fold ins' that acknowledge the hand of the work's creator, to radical metafiction wherein the only remaining boundaries between fiction and reality are the material confines of the printed book, Waugh's Acts provide a structure for understanding metafiction as a construction of a fictional Lindsay Persohn, Ph.D. is an Assistant Professor in the Literacy Studies program in the College of Education at the University of South Florida. Her research is focused on stories through work in the areas of public scholarship, arts-based qualitative research methodologies, children's literature and illustrations, and, in particular, Alice in Wonderland. Lindsay is the host and producer of the podcast Classroom Caffeine, an audio podcast series designed to connect education researchers and teachers. She teaches literacy courses to graduate and undergraduate students.
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