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Data presentation. Oral presentations. Visual and virtual turns:contemporary forms of presentation in criminological research
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Data presentation
Data can be processed and presented in a number of ways in criminology, just as it can in social research more generally. The best way to present data depends on the audience, the methodological approach to the data collection and analysis, and the overall purpose of the research. Whether the approach is qualitative, quantitative or mixed methods, a number of considerations should be taken into account as the data is presented in the text. Tables, graphs, charts and figures are often used to enhance clarity and accessibility. Other techniques include the summarizing of findings and using stories, which can include the use of quotes and observations edited from field notes and transcriptions. Moreover, since the establishment of the visual turn in social science, images and extracts from media sources appear more regularly in criminological research. During the write-up, the researcher should think about where the data can be best placed in the document; for instance, in the main body of the text or an appendix. How best to weave together theory, analysis and data in the text – which is essential if the argument is to make sense to the reader – also requires careful thought and refinement in drafts. Whilst analysing the data and organizing thoughts around it, many choose a thematic approach, which is often also the best way to begin the process of presenting the data in the research. Thorough introductions to data processing and analysis can be found in Matthews and Ross (2010) and Chamberlain (2013).
ORAL PRESENTATIONS
Criminological research often involves oral presentations. These can be extremely daunting experiences. In a similar way to written work, there are a number of useful guiding principles and techniques the researcher can adopt during the process. The essential aspects to focus on as an oral presentation is planned are what the researcher wants to achieve from the presentation and how best to communicate this to the audi- ence. An audience is different to a readership – the former can only hear the talk and read the slides in real time. It is therefore extremely important to be clear and concise in order to communicate the points and the overall argument effectively. Sometimes it is worthwhile handing out the paper the talk is based on. Whilst keeping in mind
the overall purpose of the presentation and the audience, brainstorming is often a useful way to approach the topic. This involves randomly noting down the key points the oral presentation covers. This can be followed by a process of organizing, where the presentation is drafted as the researcher thinks about structure and what is to be said in each section. This includes the preparation of any visual aids such as PowerPoint slides, handouts, etc. Summarizing the presentation’s key points con- cisely and clearly in an appropriate way that can be presented or distributed (on a notepad or notecards) is the next stage. Finally, rehearsing the presentation is impor- tant, if possible in front of an audience, which will give the researcher the opportunity to practise the approach and the timing and receive feedback. Timing is very impor- tant: don’t try to fit in too much because this will only result in panic and a rushed presentation. On the day of the oral presentation, be sure to check the ICT and any other equipment needed in the allocated room.
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VISUAL AND VIRTUAL TURNS: CONTEMPORARY FORMS OF PRESENTATION IN CRIMINOLOGICAL RESEARCH
Two important trends in criminology in recent years are the so-called visual and virtual turns (see Carrabine, 2012; Yar, 2013). Both criminology and ethnography methods have been explored in previous chapters. This section briefly discusses these developments in criminology and offers some key examples in the context of writing up and presenting.
As Carrabine (2012) suggests, our mediatized culture is saturated with images of crime, something that calls for the further analytical and presentational use of the image in criminological research. Indeed, media analysis in criminology is not new. Various examples can be found that analyse TV and film (see Campbell, 2016; Linnemann, 2016; Wakeman, 2017 for recent examples). However, criminological researchers now increasingly draw on images that they have both retrieved and produced – distinguished as natural or contrived/elicited data – as part of research projects conducted in various environments. This is evident in the growing use of photographic methods and the presentation of photographic material in texts. Notable examples from the field include Carrabine’s (2014) historical work on criminology and photography, Young’s (2016) groundbreaking book on street art and graffiti, Kindynis’ (2017) images of recreational trespass and Linnemann’s analysis of police trophy shots in the USA (2016).
In many ways, the increasing use of visual methods and forms of presentation in criminology has occurred in conjunction with the advancement and enhanced acces- sibility of various information and communication technologies, particularly the internet, since the inception of user-generated content and participatory networking
online and the widespread use of high-grade cameras and handheld devices. Consequently, there is often a strong relationship between visual and virtual meth- ods. This is clear in the recent work of scholars who have analysed images derived from social media: Hall and Antonopoulos (2015, 2016) on the supply and demand of illicit pharmaceuticals online, Wood (2018) on Facebook fight pages, and Vitis and Gilmour (2017) on the ‘dick pic’ phenomenon and female resistance to online har- assment are just some examples of this new approach.
Taking the production of images in criminology a step further into the domain of the audio-visual is David Redmon, a criminologist and documentary film- maker who has produced films alongside his written work. Redmon’s documentary film Mardi Gras: Made in China (2005) and his accompanying book Beads, Bodies, and Trash: Public Sex, Global Labor, and the Disposability of Mardi Gras (2014) follow the commodity chain of Mardi Gras beads and the different mean- ings attached to them as they move through space and place, from production in China to consumption in New Orleans. These are exceptional examples of his developing body of work. The production of images in criminology can also be seen in a number of plays commissioned by arts and criminal justice organiza- tions. One example is Key Change, an award-winning play commissioned by Open Clasp Theatre Company (2016) and devised with inmates of HMP Low Newton, a women’s prison in England. The production aims to use the power of the image to represent prisons and prison life and to give a voice to those who have served prison sentences. Furthermore, illustrative presentations including graphic novels (Morris, 2012) and comics (Stephens Griffin, 2015) can be used as ways of creatively communicating research findings, analysis and theoretical explanations to an audience.
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There is no space here to offer a thorough discussion of the processes involved in
presenting all the types of research briefly outlined above (see Kara, 2015 for a prac- tical guide). Instead, the purpose has been to draw the reader’s attention to different and emerging ways of presenting research in criminology. It is important to point out that if the researcher plans to present visual data, careful consideration of the format- ting, quality and placement, as well as copyright issues and ethical issues, are of utmost importance. In terms of copyright and ethics, approval should be sought for the use of images, or alternatively images should be appropriately anonymized before they are published (see Carrabine, 2015). However, to reiterate an earlier point, when considering an alternative method and form of presentation, seek guidance and approval from supervisors or editors beforehand.
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