Summary

Visual and screen-based research practices have a long history in social-science, humanities, education, and creative-arts based disciplines as methods of qualitative research. While approaches may vary substantially across visual anthropology, sociology, history, media, or cultural studies, in each case visual research technologies, processes, and materials are employed to elicit knowledge that may elude purely textual discursive forms. As a growing body of visual and screen-based research has made previously-latent aspects of the world explicit, there has been a concomitant appreciation that visual practices are multisensory and must also be situated within a broader exploration of embodied knowledge and multisensory (beyond the visual) research practice. As audio-visual projects such as Lucien Castaing-Taylor and Véréna Paravel's Leviathan (2013), Rithy Panh's S-21: The Khmer Rouge Death Machine (2003), and Margaret Loescher’s Cameras at the Addy (2003) all demonstrate, screen-based research practices are both modes of, and routes to, knowledge. These projects also demonstrate ways in which screen-based visual research may differ from research exclusively delivered in written form, most specifically in their capacity to document and audio-visually represent intersubjective, embodied, affective, and dynamic relationships between researchers and the subjects of their research. Increasingly, as a range of fields reveal that the incorporative body works as an integrated “perceptive field” as it processes sensory stimuli, visual and screen-based research practices will fulfil an important role in facilitating scholarly access to intuitive, affective, embodied, and analytical comprehension.