scholarly journals On the Ground, Documents on My (Pandemic) Walks

2021 ◽  
Vol 8 (2) ◽  
Author(s):  
Kiersten Latham

The pandemic has led us to a multitude of activities we have not done before. For me, this included hour-long walks around my new neighborhood every day, rain or shine. Before the pandemic, my “walks” were directed, as my goal was to get to work, not “have a walk.” Now, these walks are an integral part of my thinking—to both clear my mind and to learn. I listen to podcasts, audiobooks, and sometimes nothing at all. I have taken to very intentional looking on my walks, noticing the details on the houses, dreaming of what they might look like on the inside, watching the weather change and the plant life die and emerge again. I have also been noting the signs that pop up from my unknown neighbors in the form of yard signs, chalk drawings, flags with notes, unintended detritus, snowmen (and women) and artworks. I look down a lot now as well. I notice what is at my feet. I am endlessly fascinated with sidewalk documents. The obvious ones are wonderful, such as children’s drawings and little fairy (and dinosaur) scenes. But the cement stamps have really captured my attention. What stories do these sidewalks have to tell? What follows is a set of collages, documentation of documents I found on the ground during my pandemic walks—from the plant world, to the fairy world, to the seemingly mundane world of cement pouring. What emerged became a colorful and telling assortment of stories, both made up and real.

Symmetry ◽  
2018 ◽  
Vol 11 (1) ◽  
pp. 26 ◽  
Author(s):  
José Domingo Villarroel ◽  
María Merino ◽  
Álvaro Antón

Young children love drawing; this is without question. Besides that, drawings are also of interest to scholars and educators, since they seem to provide food for thought regarding children’s conceptual development during their early education. Different approaches are taken when it comes to analysing children’s drawings but insufficient attention has been given to the issue of the spontaneous depictions of symmetrical motifs in young children’s drawings. This pictorial phenomena might not go unnoticed by parents and teachers but the fact is that the scientific community has no reliable data regarding how children under 8 naturally draw symmetrical patterns to express themselves graphically. Accordingly, the present study analyses 116 drawings undertaken by children between 4 and 7 on a well-known natural issue in early childhood such as plant life. Pictorial motifs displaying both cyclic and dihedral symmetries were found in the pictorial sample under examination and the data gathered is put in perspective with the gender and educational level variables. The results of the study show that symmetry, particularly, dihedral symmetry, is a very common pictorial practice in the sample and, also, that the occurrence of symmetrical motifs displays a relationship with the independent variables considered in the study.


2018 ◽  
Vol 10 (4) ◽  
pp. 1000 ◽  
Author(s):  
José Villarroel ◽  
Alvaro Antón ◽  
Daniel Zuazagoitia ◽  
Teresa Nuño

2021 ◽  
pp. 016502542110316
Author(s):  
Claire Brechet ◽  
Sara Creissen ◽  
Lucie D’Audigier ◽  
Nathalie Vendeville

When depicting emotions, children have been shown to alter the content of their drawings (e.g., number and types of expressive cues) depending on the characteristics of the audience (i.e., age, familiarity, and authority). However, no study has yet investigated the influence of the audience gender on children’s depiction of emotions in their drawings. This study examined whether drawing for a male versus for a female audience have an impact on the number and type of emotional information children use to depict sadness, anger, and fear. Children aged 7 ( N = 92) and 9 ( N = 126) were asked to draw a figure and then to produce three drawings of a person, to depict three emotions (sadness, anger, fear). Children were randomly assigned to one of the three conditions: they were instructed either to draw with no explicit mention of an audience (control condition) or to draw so that the depicted emotion would be recognized by a male (male audience condition) or by a female (female audience condition). A content analysis was conducted on children’s drawings, revealing the use of seven types of graphic cues for each emotion. We found numerous differences between the three conditions relative to the type of cues used by children to depict emotions, particularly for anger and fear and particularly at the age of 7. Overall, children used facial cues more frequently for a female audience and contextual cues more frequently for a male audience. These results are discussed in terms of their implications in clinical, educational, and therapeutic settings.


2021 ◽  
pp. 204361062199583
Author(s):  
Thaís de Carvalho

In Andean countries, the pishtaco is understood as a White-looking man that steals Indigenous people’s organs for money. In contemporary Amazonia, the Shipibo-Konibo people describe the pishtaco as a high-tech murderer, equipped with a sophisticated laser gun that injects electricity inside a victim’s body. This paper looks at this dystopia through Shipibo-Konibo children’s drawings, presenting composite sketches of the pishtaco and maps of the village before and after an attack. Children portrayed White men with syringes and electric guns as weaponry, while discussing whether organ traffickers could also be mestizos nowadays. Meanwhile, the comparison of children’s maps before and after the attack reveals that lit lampposts are paradoxically perceived as a protection at night. The paper examines changing features of pishtacos and the dual capacity of electricity present in children’s drawings. It argues that children know about shifting racial dynamics in the village’s history and recognise development’s oxymoron: the same electricity that can be a weapon is also used as a shield.


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