Josephine Wilson

Previous studies of Virtual Reality (VR) in aged care settings have demonstrated that the benefits can be multiple, including improved social connection and engagement and reduced social isolation in later life. However, there remains a lack of widespread uptake of VR in aged care facilities. This prompts an important question: Given the potential benefits, why is there such poor engagement in VR by aged care facilities? The aim of this qualitative study is to investigate the experience of introducing VR into an aged care facility. Our innovative approach supported care staff to introduce VR into aged care facilities. Fieldwork diaries and focus group discussions were used to document experiences of introducing VR, including the obstacles, challenges and benefits and the adaptations to aged care environments that were required to accommodate new VR activities. Thematic analysis of the data revealed that VR can be an important medium to support the wellbeing of older residents. However, our findings also indicate that there are significant challenges associated with introducing VR, including substantial costs in time, money and institutional resources and attention. This study concludes that, to be successful, VR requires substantive care and relational resources from both staff and residents that are only visible when paying attention to the contextual adjustments required to introduce the technology to a new setting. This suggests that other research on gerontechnologies would likely also benefit from further attention to the role of the broader social context – including care and relational resources – in ensuring their successful design and implementation.

This article draws on crystallization, a qualitative framework developed by Laurel Richardson and Laura Ellingson, to show the potential of using sociological narratives and creative writing to better analyze and represent the lived experiences of loneliness among older people living in Australian care homes. Crystallization uses a multi-genre approach to study and present social phenomena. At its core is a concern for the ethics of representation, which is critical when engaging with vulnerable populations. We use two case studies from research on loneliness to illustrate an application of crystallization through different narrative types. To supplement our sociological narratives, we invited author Josephine Wilson to write creative narratives based on the case studies. Josephine was awarded the prestigious Miles Franklin Literary Award in 2017 for Extinctions, a novel exploring themes such as later life and loneliness. By contrasting the two approaches—sociological and creative narratives—we discuss the implications of crystallization for qualitative research.

This article proposes an expansive conceptualization of gerontological research by engaging with a ‘live gerontology’ that combines sciences and arts to better understand and represent aging and its diverse meanings and contexts. Borrowing the sociological concept of ‘live methods’, we argue that gerontology can benefit from a ‘live’ approach – not only methodologically, but also conceptually. To guide pathways between artistic and gerontological fields and frame its practices and outcomes, we suggest four propositions for a live gerontology: 1) using multiple genres to artfully connect the whole – interweaving micro, meso, and macro levels to contextualize aging within various sociocultural milieus; 2) fostering the use of the senses to capture more than just what people say – what they do, display, and feel; 3) enabling a critical inventiveness by relying on art’s playfulness to design/refine instruments; and 4) ensuring a constant reflection on ethics of representation and public responsibility.

To apply and experiment with a live gerontological approach, we describe collaborations with an award-winning writer and an illustrator. The collaborations drew on qualitative data from a study on lived experiences of loneliness in long-term care through ethnography and interviews with residents of two Australian facilities. The writer explored participants’ accounts as creative stories, which were then illustrated. Motivated by an ethics of representation, we aimed to represent findings without othering or further marginalizing participants. The creative materials offered more than appealing representations, shining new light on the intricate nature of aging, loneliness, institutionalization, and gerontology research and practice.

This article proposes an expansive conceptualization of gerontological research by engaging with a "live gerontology" that combines sciences and arts to better understand and represent aging and its diverse meanings and contexts. Borrowing the sociological concept of "live methods," we argue that gerontology can benefit from a "live" approach-not only methodologically, but also conceptually. To guide pathways between artistic and gerontological fields and frame its practices and outcomes, we suggest four propositions for a live gerontology: (1) using multiple genres to artfully connect the whole-interweaving micro-, meso-, and macrolevels to contextualize aging within various sociocultural milieus; (2) fostering the use of the senses to capture more than just what people say-what they do, display, and feel; (3) enabling a critical inventiveness by relying on arts' playfulness to design/refine instruments; and (4) ensuring a constant reflection on ethics of representation and public responsibility. To apply and experiment with a live gerontological approach, we describe collaborations with an award-winning writer and an illustrator. The collaborations drew on qualitative data from a study on lived experiences of loneliness in long-term care through ethnography and interviews with residents of 2 Australian facilities. The writer explored participants' accounts as creative stories, which were then illustrated. Motivated by an ethics of representation, we aimed to represent findings without othering or further marginalizing participants. The creative materials offered more than appealing representations, shining new light on the intricate nature of aging, loneliness, institutionalization, and gerontology research and practice.

Swiss-Icelandic artist Christoph Büchel’s contribution to the 2019 Venice Biennale was the hull of the boat in which over 800 refugees drowned off the coast of Lampedusa in 2015. Re-christened ‘Barca Nostra’ (Our Boat), it was located on slips at the Arsenal, near cafés and bars. Because of the decision to exhibit the boat without accompanying interpretation, most visitors were blind as to the significance of this disturbing object and its relationship to the deaths at sea of refugees. This article sets out to inquire into the concept of critical distance, and dramatizes my own attempts to frame a response to the modes of exhibition and reception at work in the contemporary field of performance art.