The process began by using the instruments to explore areas in school where the children thought they might have felt odd or sensed ‘oddness’.
However, the children rapidly became more curious about what the instruments could ‘do’, recording unexpected and unusual aspects of the building.
Becky and the children focused on what happens when humans, spaces, objects, textures, sounds, and apparatus interact; and what actions, feelings and sensations arise.
The instruments generated different movement and gestures, required different relationships between children and, also a different physical ‘contact’ with the surface of the school.
The groups became ‘shared, collective rolling bodies’ that moved across the usual segregation of space and time in the school day.
For example, when using a cable ‘endoscopic’ camera, one child had to operate the camera while the other aimed and poked the lens, so they became one human/technical camera form.
Some children were especially drawn to the stethoscope and perhaps how it enabled them to be alone in listening.
The tools weren’t always used conventionally. The children were led by how they might move and perform with them, not simply what they could see or hear with them.
The ‘professional’ and special nature of the instruments seemed to help the researchers attend differently to things.
The listening instruments offered ways of ‘touching’ the surface of the environment’ (Shaw & Holmes 2019).
The sound instruments used vibration to understand the surface of school as something oscillating, where the children and the building mutually affect each other.
The cable camera dipped into recesses and holes, but these were not experienced as ‘hidden insides’- but rather the folds of the shared surface.