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Christian complicity in colonialism and the need for truth telling and reconciliation with Indigenous peoples have been a central focus of academic theological research shared at the Canadian Theological Society in recent years. Many Canadian churches have offered official apologies and made formal commitments to right relations with Indigenous peoples. This paper considers the experience of "people in the pews." Taking a diffuse visual art installation of white ceramic feathers as a starting point, it traces the contours of how local congregations in the Anglican Diocese of Ottawa are engaged with truth and reconciliation intellectually, emotionally, and actively. It names the need to bridge the gaps between academic theology and lived theology, and official church statements and everyday practices in congregations. It invites academic theologians to consider the questions: To whom are we listening? Who is listening to us? [ABSTRACT FROM AUTHOR]

Donation-based crowdfunding platforms invite people to tell stories of unmet health needs in a hybrid form—using both words and images—but research to date has not addressed the role of visual practice in this setting, in any detail. In this Photo Essay I present an art installation responding to this gap and informed by empirical data from a three-year study of medical crowdfunding in Aotearoa New Zealand. Through a feminist new materialist lens, and connecting to scholarship on visuality and the gaze, I used the medium of stained glass to evoke and connect the experiences of both campaigners and audiences. I briefly discuss the design process, alongside reflections on the role of graphic medical imagery in an assemblage of witnessing; on disability, shock, and the economic function of voyeurism; on non-normative bodies and subjectification through the gaze; on biases in audience recognition; and on paradoxes of intimacy and distance through digital technology. I highlight that both the content and the context of images have a role in shaping the ‘response-ability’ of networked publics to the suffering of distant others; in the case of medical crowdfunding, with significant consequences for healthcare access.

This Photo Essay seeks to visualise the room-homes of the residents in one of the largest semi-public nursing homes in Athens, Greece. Unlike in other facilities, residents are given the opportunity to intervene in their individual rooms, to change and fill the space with objects from their past lives and the houses they lived in, such as furniture, curtains, carpets, computers, crockery, or flowerpots. They also bring and live through photographs of their previous lives. I focus on the room-homes people create in this nursing home, the worlds they build. I conceive this visual ethnography as an account of the process of ‘house-ing’ (Biehl and Neiburg 2021, 540), ‘charting how forms and figures of dwelling constitute the house as a sensorial archiving machine of sorts, shaping affective pasts and the stories and trajectories of tomorrow’ (2021, 544).

This paper examines the study space preferences of college students in their respective university colleges. The study utilized principles of visual ethnography to collect participatory photographic data. Student participants completed three tasks, a demographic survey, participant-supplied photographs, and an exit interview. We recruited from the Colleges of Architecture and Education and Human Development 60 participants who captured their preferred study spaces in their colleges and adjacent areas through photographic evidence. Grounded theory and qualitative coding were applied to analyze and create preliminary code themes from the visual and textual data to further evaluate student study preferences. The authors discovered that there were differences, and sometimes similarities, of space availability between the colleges, patterns of semesterly inhabiting behavior and transient movement, and organic ability for collaboration. [ABSTRACT FROM AUTHOR]

This article investigates the lived experiences and roles of children under Boko Haram's two factions. Unlike case studies of Islamic State "cubs," children in Boko Haram have been neglected in the literature. Filling that gap, this article analyzes more than thirty videos and photograph sets from the two factions. Visual ethnography is utilized to examine material depicting children in both "staged" and "unstaged" roles in Boko Haram, and in ways to maximize impacts on viewers. The four main activities of the children in videos and photographs include combat and training with weapons as well as participating in Islamic education; gathering for prayer; using technology to create media content, including filming battles; and, in the case of the Chibok schoolgirls, being filmed as hostages or, eventually, as loyal members. The videos of the Chibok girls also reveal how children are gendered in Boko Haram. Child soldiers is an issue at the forefront of the paper's framing. Given the depictions of children in our data, we move beyond labeling child soldiers as all those under eighteen and differentiate between those under fifteen and those between fifteen and eighteen years old. [ABSTRACT FROM AUTHOR]

This paper shares a practice‐related rendering of Katherine McKittrick's conceptional notion “a black sense of place” by reflecting on visual practices adopted in my research project, “Everyday Things: Visualising Young Black Adults’ Experiences in White City”. In this article, I advance a black sense of place to be a conceptual lens that is capable of zooming in and out of the embodied perceptions and practices of resistance routinely created by Black people. I link black senses of place with the audio‐visual motif of “the rose that grew from concrete”. This motif acts as a metaphor, for the ways of being that Black people practice in overcoming the struggles of anti‐blackness. Providing snapshots of audio‐visual practices advanced in White City, West London with a kinship collective of young Black adults, I explore how black senses of place may be visually attended to through a combined methodological adoption of visual ethnography and photography. [ABSTRACT FROM AUTHOR]

This article presents a three-step process of collecting, deconstructing and reconstructing family photos in ethnographic research investigating the sociocultural aspects of behaviour patterns in family apartment buildings. The first author conducted the study for her Ph.D. thesis in architectural design, supervised by the second and third authors. As an architect, the first author created a photo collage sketchbook, combining various representational techniques of her profession with family photographs. While observing the family apartment building and trying to understand the “gecekondu” where the participants lived before the family apartment building, the researcher realised that the interviews were insufficient, and this problem forced the use of a photo collage sketchbook. To synthesise ethnographic knowledge, research started with obtaining family photos. After extracting and grouping, the deconstruction process began. Deconstructed layers are then reconstructed by using various architectural representation techniques and text. This photo collage sketchbook has helped us understand various aspects of the family apartment buildings related to architecture and culture. While doing this, the sketchbook prepared with visual contents combined with short notes represents the data collecting, organising, analysing, interpretation, knowledge-making, and presentation stages. In working with a photo collage sketchbook, obtaining family photographs and overlapping the photographs and interviews’ narratives appear challenging. Therefore, collective interviews have been a critical move to compare and verify the memories recalled by the participants. While interviewing, it is vital to show the photos to every participant from a particular age group because they contribute differently to the photo components because of the place experience. So, this study is not about a set of instructions or tools but experiences about the process or approach to constructing ethnographic knowledge.

The practices of traditional and faith-based healers in low- and middle-income countries in Africa and elsewhere have come under intense scrutiny in recent years owing to allegations of human rights abuses. To mitigate these, there have been calls to develop collaborations between healers and formal health services to optimise available mental health interventions in poorly resourced contexts. For various reasons, attempts to establish such partnerships in a sustainable manner in different countries have not always been successful. In this article, we present findings from the Together for Mental Health visual research project to showcase examples of healer–health worker collaborations in Ghana that have been largely successful and discuss the barriers and facilitators to establishing these partnerships. Data reported in this article were collected using visual ethnography and filmed individual interviews with eight community mental health workers, six traditional and faith-based healers and two local philanthropists in the Bono East Region. The findings suggest that successful collaborations were built through mutually respectful interpersonal relationships, support from the health system and access to community resources. Although these facilitated collaboration, resource constraints, distrust and ethical dilemmas had to be overcome to build stronger partnerships. These findings highlight the importance of dedicated institutional and logistic support for ensuring the successful integration of the different health systems in pluralistic settings. [ABSTRACT FROM AUTHOR]

This article focuses on the Hungarian Two-Tailed Dog Party (MKKP), which can be defined as a joke party. MKKP uses humour to criticise the corruption flourishing around the governing party Fidesz as well as its simplified and racist form of political communication. However, MKKP's critical stance extends to Hungarian politicians and the political system in general. This visual ethnographic research focuses on the activities that MKKP organised during national days in Hungary between 2017 and 2022, which included a space launch, a peace march and an alternative national day celebration on 20 August. The events can be defined as parody performances. The field material is complemented by a semi-structured interview with the party activists. MKKP's humour is critical and revealing in nature, aiming to expose the powerholders' agenda. However, instead of ridiculing, MKKP's humour is primarily corrective and supportive. As such, it has the potential to alleviate polarisation. In MKKP's activism, creativity and cynicism exist in close proximity to one another. Humour also functions as a powerful antidote against simplified populist truths that rely on fearmongering and enemy images. In a hybrid regime, absurd humour can be used to reveal the inherent absurdities of the political reality. MKKP has occasionally succeeded in entering the state-controlled public sphere. During recent years, the party has started to address societal matters more seriously, without abandoning its roots as a humour party. [ABSTRACT FROM AUTHOR]

This article presents a three-step process of collecting, deconstructing and reconstructing family photos in ethnographic research investigating the sociocultural aspects of behaviour patterns in family apartment buildings. The first author conducted the study for her Ph.D. thesis in architectural design, supervised by the second and third authors. As an architect, the first author created a photo collage sketchbook, combining various representational techniques of her profession with family photographs. While observing the family apartment building and trying to understand the "gecekondu" where the participants lived before the family apartment building, the researcher realised that the interviews were insufficient, and this problem forced the use of a photo collage sketchbook. To synthesise ethnographic knowledge, research started with obtaining family photos. After extracting and grouping, the deconstruction process began. Deconstructed layers are then reconstructed by using various architectural representation techniques and text. This photo collage sketchbook has helped us understand various aspects of the family apartment buildings related to architecture and culture. While doing this, the sketchbook prepared with visual contents combined with short notes represents the data collecting, organising, analysing, interpretation, knowledge-making, and presentation stages. In working with a photo collage sketchbook, obtaining family photographs and overlapping the photographs and interviews' narratives appear challenging. Therefore, collective interviews have been a critical move to compare and verify the memories recalled by the participants. While interviewing, it is vital to show the photos to every participant from a particular age group because they contribute differently to the photo components because of the place experience. So, this study is not about a set of instructions or tools but experiences about the process or approach to constructing ethnographic knowledge. [ABSTRACT FROM AUTHOR]

Historical re-enactments have become an increasingly popular topic in academic debate, as some scholars argue that re-enactments allow participants to critically investigate history and its representations. As a pastime dominated by men, most literature on war re-enactment and gender, however, has emphasized the subordinate position of women and the reproduction of conventional gender roles. This paper focuses on two European women re-enactment groups that challenge this understanding: Die Flakhelferinnen in the Wehrmacht of Nazi Germany and the Army Nurse Corps of the United States. Based on a visual ethnography of their Instagram combined with fieldwork in the Czech Republic and Belgium, I analyse the strategies these reenactors use in the remediation of the 'invisible' histories of women in the armed forces during WWII. The analysis demonstrates a complex negotiation between historical notions of 'femininity', contemporary identities, and Instagram's affordances in the remediation of gendered pasts. [ABSTRACT FROM AUTHOR]

Routier is the self-designation employed by Senegalese men driving decades-old vehicles overloaded with mostly second-hand items from Southern Europe to be sold in West Africa. This activity involves navigating a constellation of overlapping politico-administrative, socio-economic, cultural and geographical borders. Building on the concept of borderscapes, whose plasticity and aesthetic qualities allows us to interrogate diverse border universes, this essay visually explores routiers border( ing) enactments and contingent meanings. By seeing like a routier, the piece seeks to feed an on-going debate not only on how to depict borders writ large but also on how certain groups of people embody, see and are seen by contemporary borders. [ABSTRACT FROM AUTHOR]

Visual material in the form of video, still images or drawings can show parts of embodied learning that text cannot. Research ethics requirements pose a challenge in terms of making younger students' multimodal learning visible, as the informants need to be anonymized, and this raises the challenge of how important information, such as gaze and facial expressions, can be shown. The ethical requirements exist to protect underage students, and to contribute with a scientific basis for teaching, practical and feasible methods are needed in which the students' communication can be illustrated while ensuring their protection. This paper explores how empirical data from studies involving younger students can be presented so that learning can be visualized while respecting ethical guidelines. The reasoning regarding the methods presented in the paper can also be useful overall for the anonymization of visual ethnography studies, in which the interest is to present empirical data from video recordings so that embodied learning can be made visible. [ABSTRACT FROM AUTHOR]

Built on visual and running/walking ethnography, this article analyzes visual traces left on remnant danwei walls in postsocialist China. The article considers danwei walls as yiji (remnant traces) that serve as loci of political memory and as a medium to host other visual traces by a variety of different actors. Drawing on a range of concepts from cultural studies and visual ethnography, the article provides a close reading of these traces, treating them as important historical documents and examples of how human actors interact with the built environment during China's postsocialist transformation. The article is built around three case studies, each of which captures different stages of the physical decay of the danwei as represented in the materiality of the walls in varying states of (dis)repair and the different nature of the visual traces local actors have left on them. The analysis of traces—understood as signs on the walls as well as the walls themselves—reveals a story of the ways in which humans interact with a very specific part of China's built environment at a moment of transition and of how relationships between these human actors change in the process. The article provides a reading of visual social phenomena, contributing to the understanding of signifying practices in postsocialist urban China. [ABSTRACT FROM AUTHOR]

This article explores the intersection between smartphones and audio-visual-sensory ethnographies. The text opens with a brief introduction addressing the possible consequences of the growing spread of smartphones for the practice of ethnography. It then proceeds to reflect on some theoretical assumptions that underpin work in the area of digital visuality before finally unpacking the terrain of smartphone ethnography. The latter is address along three main dimensions: the smartphone as an object of research interest, as a mediator and as an assistant. Addressing these areas one by one the contribution looks first into the culturally situated meaning of smartphones and how this can be studied; it then explores its possible role as a producer of new forms of collaboration and participation; finally, it investigates the potential of smartphones to function as multimodal research assistants (allowing also for a decentring of our senses and awareness). This article constitutes a call for an expanded ethnography able to respond to the expanded set of mediations that make up lives in contemporary (post)digital habitats while responding to established visual research methodologies. [ABSTRACT FROM AUTHOR]

The persistent Afrophobic attacks on black African immigrants in South Africa since the 1990s alert us to a new cultural watershed. Just when the country had done away with apartheid, the black-on-black attacks reified the emergence of a new cultural crisis. This article reflects on the emergent cultural identities enabled by practices of black-black violence. It takes conflict cultures as a frame to discuss Afrophobia in the context of new identity consciousness. This is achieved through a critique of Neill Blomkamp's District 9 (2009), a film where racial antipathies are supplanted with a nebulous culture of aversion. Theorising this scenario as a euphemism for struggles with post-apartheid cultural reorganisation, the article suggests conflict culture as a theory that can account for incomplete identity transformation among all races of the South African nation. [ABSTRACT FROM AUTHOR]

The lightness of the filmic device, the versatility of the researcher-cinematographer, the principle of non-intervention on the observed reality and the experimental character of the ethnofilmic approach constitute, on the one hand, the expression of a scientific resourcefulness that allows ethnofilmic research to be carried out with limited financial means. On the other hand, this sobriety of gestures and means can be considered as the most appropriate methodological strategy to describe and represent reality. Based on a comparison of two professional documentary production experiences—one for television, with considerable means and using a semi-industrial logic; the other relying on self-production, with limited means and according to a craft logic—the relationships between the restitution of reality, the organization of work and the technical means employed are analyzed. The analysis shows that frugality makes it possible to control the means of production and thus to achieve a certain autonomy at work. The article defends the idea that autonomy and the limitation of means contribute to a faithful representation of the observed reality.

This review article examines how different types of communication technologies, from the specialized medical to generic social devices, influence belonging and sociality among deaf and hard‐of‐hearing (DHH) people. The emphasis is on DHH adolescents and young adults who may be impacted differently across countries, given state‐specific policies regarding the status of sign language and deaf education, and based on different availability, affordability, and accessibility of communication technologies. We introduce different perspectives on deafness, ranging from pathological to cultural, a heuristic on which we build to explore DHH socialities as complex and evolving. We then analytically review ethnographic research on how cochlear implants impact DHH people's belonging to the "deaf world" and/or the "hearing world," and how they navigate between these worlds. Then we move on to technologies such as text messages and social media, which enable DHH people to extend their socialities beyond local communities. Belonging is a fluid phenomenon, and technologies which are in a constant process of innovation and development may influence it in complex ways. We argue that to explore questions of belonging, identity, and sociality among DHH people, and how they are shaped by technologies, (visual) ethnographic methods are particularly productive. [ABSTRACT FROM AUTHOR]

This article describes the changing linguistic landscape on the North Shore of Vancouver, British Columbia, Canada, during the first three months of the COVID-19 pandemic. I present an account of the visual representation of change along the area's parks and trails, which remained open for socially-distanced exercise during the province's lockdown. Following the principles of visual, walking ethnography, I walked through numerous locations, observing and recording the visual representations of the province's policies and discourses of lockdown and social distancing. Examples of change were most evident in the rapid addition to social space of top-down signs, characterised mainly by multimodality and monolingualism, strategically placed in ways that encouraged local people to abide by social-distancing. However, through this process of observation and exploration, I noticed grassroots semiotic artefacts such as illustrated stones with images and messages that complemented the official signs of the provincial government. As was the case with the official signs and messages, through a process of discursive convergence, these grassroots artefacts performed a role of conveying messages and discourses of social distancing, public pedagogy, and community care. [ABSTRACT FROM AUTHOR]

This paper proposes a tripartite model describing the lexical categories across different registers and levels of formality in the Cantonese language in contemporary Hong Kong: (i) native Cantonese words, (ii) Sino-Cantonese words, and (iii) Anglo-Cantonese words. Examples of authentic Cantonese use were used to illustrate the histories and etymology of key lexical categories and sub-categories as found in the city's linguistic landscape. As a sensitising device, the proposed classificatory model highlights the role of lexical borrowings in the constitution of contemporary Cantonese lexis, whilst decentring a primarily Mandarin-based approach to research and practice. Given the authenticity and omnipresence of Cantonese use across spoken and written modalities in contemporary Hong Kong, this paper argues that there is much scope for disambiguating and systematising the place of Cantonese lexis in the local Chinese language curriculum. In this regard, the case of Chinese language provision for ethnolinguistic minority learners with Chinese-as-an-Additional-Language (CAL) needs in post-handover Hong Kong is put forth to call attention to the utility of this descriptive model in mitigating against the learning and pedagogical issues associated with the disconnect between the curriculum and authentic language use, as well as linguistic disintegration. [ABSTRACT FROM AUTHOR]

The purpose of this article is to study museum educational situations, where 5–7-year-old children encounter abstract art, from a new materialist perspective. The children visit an exhibition curated by me, where abstract modernist art is mediated, with an emphasis on multisensory experiences and experimentation. The visits were recorded with stationary and action cameras. By focusing on material–relational situations, I investigate how learning takes place when the children engage with the museum educational setting. A girl asks a surprising question that challenges the takenfor-granted beliefs about what art can be. The children break rational and logical patterns by creating abstract art, and “aesthetic-intuitive order” takes place in the compositions. A child and an adult relate differently to the agential “teaching matter.” Embodied and material pedagogy with abstract art indicates how “making sense” of the world is not only done in verbal and logical ways but also by experimenting with bodies and senses with teaching matter.

This visual autoethnography aims to understand how the significant event of moving house forces us to consider the materiality of our lives and the intimate relationships we have with our belongings. Situated at the intersection of anthropological studies on the home and materiality, this study looks at the ways these fields interact to reveal new conceptions of responsibility over the social life of things. Using autoethnographic methods, this research is embedded in my personal embodied experience of moving house, with particular emphasis on the sensory and subjective elements of this process, as highlighted through photographs and descriptive vignettes. This study delves into the decisions behind whether we keep, throw away, or pass on our things, interwoven with discussions around our moral obligations to the material lifeworlds of our stuff. It explores how our possessions reflect our relationships, our heritage, and ourselves.

This article relies on a visual ethnography with young people between 13 and 20 years old. Young people were asked to make visual collages of fictional social media accounts, which are used in this article to analyse the signification of “good” and “bad” reputation in digital youth culture. It explores how reputation is performed visually and aesthetically in digital youth culture. The aim is to contribute to the critical study of digital reputation, it formulates an ethical critique on how the signification of digital reputation has formed alongside values and beliefs that support the growth of platform capitalism, rather than assigning a reputational value and rank responsibly. I conclude how the signification of digital reputation is not only conformist and essentialist but also meaningless. The banality of reputation argues that, in the context of popular social media, there is no real or substantial information made available to distinguish between a “good” or a “bad” reputation, except for stylized banality, a stylistic focus on lifestyle and commodities. The point is that reputation should not be banal and meaningless. Many important political and institutional decisions in a democracy rely on the evaluation of reputation and critical assessment of the information upon which such evaluations are made. Although platform capitalism has made digital reputation meaningless, it is in fact an essential skill to critically orient oneself in digital societies.

The purpose of this article is to study museum educational situations, where 5–7-year-old children encounter abstract art, from a new materialist perspective. The children visit an exhibition curated by me, where abstract modernist art is mediated, with an emphasis on multi sensory experiences and experimentation. The visits were recorded with stationary and action cameras. By focusing on material–relational situations, I investigate how learning takes place when the children engage with the museum educational setting. A girl asks a surprising question that challenges the taken for- granted beliefs about what art can be. The children break rational and logical patterns by creating abstract art, and “aesthetic-intuitive order” takes place in the compositions. A child and an adult relate differently to the agential “teaching matter.” Embodied and material pedagogy with abstract art indicates how “making sense” of the world is not only done in verbal and logical ways but also by experimenting with bodies and senses with teaching matter. [ABSTRACT FROM AUTHOR]

Copyright of Maguaré is the property of Universidad Nacional de Colombia, Departamento de Antropologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For more than a decade, virtual mobility functioned as an add-on to a physical mobility and served as an inclusion strategy for Higher Education Institution in providing equality for diffable students. However, it has become the foremost option in time of the Covid-19 pandemic. This article describes the author’s effort of remodeling the physical cultural exchange program into a credit-based virtual mobility. The aim is to provide an international constructive learning process of capturing students’ own as well as other customs and ways of life into a video or photo collage using Visual Ethnography methods. The program was attended by 51 students coming from 6 countries. They were grouped in 11 small groups for which each was assigned a supervisor. In this program, the virtual and distant learning techniques were combined for delivering lectures, while blended learning technique was applied for live sessions. Participants’ discussion and collaboration were mediated through agreed ICT-based tools within the group. In addition to lectures, a synchronous Focus Group Discussion (FGD) was held once a week to monitor student tasks and progress on their final project. The assessment was based on participants’ engagement throughout the program and performance on completing the assigned tasks. The drop-off rate achieves 18% in which participants from Timor Leste contributed the highest rate due to the Internet connectivity issues. [ABSTRACT FROM AUTHOR]

This review of Trading Zones: Camera Work in Artistic and Ethnographic Research edited by a number of researchers who also contribute presents the book in its methodological and artistic variety and in relation to other fields. While firmly situating itself in human-centered anthropological practice, at the edges it brushes against media theoretical frameworks it hardly engages. Contributions explore the possibilities, limitations and challenges the presence of the camera offers for research and creation, all the while focusing on topics such as ethics and human action. The book is an important contribution to visual ethnography and points toward ways anthropology can be used creatively in the arts. It also offers an impressive intersection of possibilities through the many examples described, illustrated and hyperlinked. It will be especially useful for those that seek immediate applicability.

How do children (aged 6–12 years) understand and make use of a digital tool that is under development? This article builds on an ongoing interdisciplinary research project in which children, social workers (the inventers of this social innovation) and researchers together develop an interactive digital tool (application) to strengthen children's participation during the planning and process of welfare assessments. Departing from social constructionism, and using a discursive narrative approach with visual ethnography, the aim of the article is to display how the children co-construct the application and contribute with "stories of life situations" by drawing themselves as characters and the places they frequent. The findings show that the children improved the application by suggesting more affordances so that they could better create themselves/others, by discovering bugs, and by showing how it could appeal to children of various ages. The application helped the children to start communicating and bonding when creating themselves in detail, drawing places/characters and describing events associated with them, and sharing small life stories. The application can help children and social workers to connect and facilitate children's participation by allowing them to focus on their own perspectives when drawing and sharing stories. [ABSTRACT FROM AUTHOR]

This article draws on the research and practice developed during my doctorate and fieldwork in Japan. In this work, I consider the implication of using the critical religion approach and the visual ethnographic methodology for critically investigating what is commonly labelled as religion and its representation as observed in Japan with particular reference to my fieldwork in Tohoku. I begin by reviewing the concept of religion in Japan, in particular the character of the idea and the use of the critical religion approach. I continue with an analysis of ethnographic filmmaking, focusing on cases that inspired my visual ethnographic filmic approach. I discuss how the two methods informed each other, creating a visual ethnographic technique founded on the critical religion approach as well as sensory, participatory and creative ethnographic filmmaking methods I developed and applied to my documentary, Tohoku Monogatari—A Story from the Northeast of Japan. With this article, I contend the necessity of a critical approach to the representation of religions which could be achieved with what I named the critical visual religion approach. [ABSTRACT FROM AUTHOR]

Observing blending of realities, daily life and gameplay in location-based mobile games is challenging. This study aims at observing this blending by targeting a vast number of images (N = 2432), which have been taken during gameplay of a well-known game, Pokémon GO. Images were collected from social media communities of Pokémon GO players in Twitter, Facebook and Instagram, and analysed using visual and online ethnography. To keep the sample size manageable for analysis, the images were collected only from Nordic Pokémon GO player communities in eight cities during 2016–2018. The findings show that the blending of daily life and gameplay is observable from the shared photos especially from the augmented reality screenshots which is why in this article the context of gameplay, both outdoors and indoors, in Pokémon GO is described in more detail than in previous studies. [ABSTRACT FROM AUTHOR]

Copyright of Przegląd Pedagogiczny is the property of Kazimierza Wielki University in Bydgoszcz and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)