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Research Methods for Cultural Studies

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chapter 7<br />

Analysing Visual Experience<br />

Sarah Pink<br />

prologue: a story from the field<br />

I arrived at David and Anne’s house one morning in autumn 2005, to interview<br />

them about the community garden project David was involved in. I was<br />

ready with the tool kit of a contemporary visual researcher: digital video and<br />

stills cameras, audio recorder, and pen and notebook. My research involved<br />

photography, audio-recording our interview and collaboratively exploring the<br />

garden site with David on video. It also led me to attend closely to the visual<br />

elements of the project itself. When I interview people about their experiences,<br />

projects and passions, they usually pull out visual images with which to tell me<br />

stories about their lives. So I was not surprised when David began to narrate<br />

the story of the community garden project in spoken words, interjected at<br />

times with Anne’s comments, written word-processed documents, drawings<br />

and plans through which the local residents had visualised their ideas about<br />

the garden, and printed photographs. I was gripped by the story and this was<br />

partly because it gained my attention through multiple media. The combination<br />

of spoken words and visual images provided me with multiple ways to<br />

start imagining how the garden already was, how they planned to create it and<br />

what it would feel like when it was finished. This was not simply visual imagining<br />

since our discussions of the garden included plans <strong>for</strong> a ‘sensory’ area<br />

with sweet smelling plants and <strong>for</strong> a brickweave path – a textured route<br />

through the garden that, although it could be represented visually in photographs,<br />

would also be a haptic experience, felt underfoot by those who<br />

walked in or through the garden.<br />

Be<strong>for</strong>e I photographed David and Anne, we discussed the composition of the<br />

image. Since the choice of a brickweave path <strong>for</strong> the garden was a key issue at<br />

that moment in time, we agreed they should be holding the photographs that<br />

illustrated the type of path they hoped <strong>for</strong> (Figure 7.1). David’s communication

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