Notes on a lecture by Claire Booth, a PhD student, Wednesday, 31 May 2017

Claire is undertaking a PhD study in connection with the Yorkshire Sculpture Park on the subject of Happiness and Well-Being.

Claire is a graduate in anthropology at degree level (undergraduate), and completed a Master's degree in Art and Design. She is particularly interested in how human centred design can connect. Claire's research is tying these social relations with interactive artworks to get meaningful experiences for participants.

A number of suggestions for helping to plan a research project were provided by Claire.

When considering a new artistic research project, the first stage is to try to conceptualise the project as a whole and some kind of framework needs to be constructed. In her case, she has used a number of sources that have come about since the early 80s, for example the "Happiness Turn" recognised in psychology, and the subsequent "World Happiness Report" that has been annually issued over the past few years. Indeed there is now method for General Practitioners in medicine to prescribe certain social activities that can improve happiness, known as "Social Prescribing", for their patients, such as for example to visit places like the Yorkshire Sculpture Park.

Another interesting source might be "The Museum of the Mind", and the Happy Museum. Also of use is "The Promise of Happiness" a book by Sara Ahmed.

The research aims:

• To study the emotional impact of visits at The Yorkshire Sculpture Park.
• Is happiness and well-being constructed at the Yorkshire Sculpture Park?
• To provide qualitative research project.

The research design:

• defines components and elements
• the site
• the stakeholders
• the focus
• the players, and resources

Within the research there will be various levels, layers and registers of experience. Claire likes to call this the multiplicities of experience.

Research methods:
moving beyond observation, you need to get more interventionist participation to measure experiences and not just behaviour. As an observing participant, but also a participant observer, Claire is performing different roles as a researcher and often feels that there is an "in between" space that she is existing in.

Much of her work is about getting people to talk more about their experiences on an individual level. The theory that she has been focusing on our for example:

• The Spell of the Sensations by David Abraham (1996) a detailed discussion on the work of Edmund Husserl and Maurice Merleau-Ponty.
• The Perception of Environment by Tim Ingold (2000) and Making (2013)
• A Single Day's Walk by John Wiley.

With regards to Claire's question of how she is carrying out research, she has looked towards the theory of "Action Research". This is a method of democratising the research process. See the book "Participation Action Research" by Cahill (2007). This provides the action research cycle, similar to the one mentioned by Alysia Grassi at the previous week' s lecture.

In considering collaborative methods, these are traditional and qualitative. For example

participatory diagramming through face-to-face interviews.
Mapping through questionnaires (hardcopy, paper version)
storytelling through online questionnaires
making activities through participant observations
journalling through activities such as workshops and walking.

The "validity" of research in all cases is based on rigourousness, reasonableness, triangulation, case analysis, referential adequacy, credibility, transfer ability, dependability, conformability (see the book by Stringer, 2010)

• Consider also the context during planning.
• Environment
• Creative research/design problem
• Define clearly who are the stakeholders.
• How can you understand their experience?
• And finally what is your own position with regard to all of the above?

Conclusions:

Again a very useful lecture by a practising artist and anthropologist, with distinct connections to some of the work that I have been exploring. The above framework of suggested sections and titles of the research process are valuable for my own essay. I need to consider these carefully and how they interrelate with my own work, aims and objectives.

Observation in Research, lecture by Alysia Grassi, University of Huddersfield, Wednesday 24th of May.

This will particularly useful lecture aimed at discussing alternative ideas in observation and using 'observation in research' practice.

The objective of all academic research in the creative arts is either qualitative or quantitative. Questions that are asked in this domain are:

• what is the observation?
• What type of observations is being performed?

Observation is concerned with what people do and how they interact. Consider it as systematic viewing, which should be done as an iterative process, and never in isolation.

When considering observation for either qualitative or quantitative research, one must be able to describe 'what it is' that is being carried out. The documentation and recording should be targeted together with the analysis, in relation to the research question, - which equally has to be adaptable.

The general difference between participant observation and that of structured observation is that participant observation is qualitative, whereas structured observation is generally quantitative.
Concerning 'participant observation', it is possible to use the Internet to mediate and record. Whereas with structured observation videography may be employed. These kinds of observational methods can be considered as both primary and secondary research, particularly for example when a video can be post-analysed.

The ethnographic technique has been used in anthropology studies for many years. It takes place with the informants responding and being observed, within their own natural habitats. In sociology, it is not only about watching human behaviour, but also through 'talking' to the informants to discover their own interpretations, through the use of direct one-to-one interviews, social media and other activities.

Key elements of observation in research include:

• living within the context that you are studying, for a long time (and in the case of sociology this can mean an immersion for greater than 18 months)
• as an observer, one needs to have participation in daily routines with the observed
• by using everyday conversation is a technique to record responses from those being observed.
• Recording observations contemporaneously, such as through audio-video recording and field notes.
• Using the tacit and explicit information in the analysis and the writing. (See DeWalt and DeWalt, 2001, and further discussion on tacit and explicit knowledge, see Michael Polyani).

When planning for observation in research, decide the position that you wish to take as an observer. This could be one of four combinations and can be best articulated through a quadrant diagram as follows;

Other things to consider are:
Time:

• observation is time-consuming!
• Manage and plan time carefully therefore
• capture and analysis of data takes patience
• spending lots of time with the subjects is also critical
• vary the times of observations, with variants through the day, through different weekdays, weekends, months and seasons.

Reasons for observational research:

• different types of data can be collected.
• There is less risk of those being observed "acting."
• it should be a two-way process, and consideration should be given continually to responses, as it helps a researcher form questions.
• It provides a wider understanding.
• Sometimes observational research is the only way.

The method of observation can, however, be subjective. The behaviour of the observer may affect what is being observed.

Proper preparation is essential. 

• It is essential to document the purpose, the role of the observer, any ethical questions and their appropriateness.
• Make sure that the recording technology is fully working, with plenty of battery time available and even backup methods to ensure a focused and fruitful period of recording.
• Make sure that any permissions that are required are properly sought and documented from any stakeholders and gatekeepers.

Try a pilot phase of recording first. The final method can then be adapted.
Once in the field, try to think about the big picture/but small detail.
Consider Spradley's nine dimensional of "How to Observe".
The general routine should be;
observe-think and reflect-observe-think and reflect-observe-think and reflect, and so on.
Consider responses concerning goals, feelings, space, actors, activities, objects, acts, events and time.

Furthermore, consider potential errors and biases. Generally speaking, errors occur through:

•  lack of understanding [usually through not enough time being devoted to the observation].
• Overfamiliarity [often occurs through having too much time].
• Drift. [This is a danger when researchers get bored or change points of view].

Biases occur, again quite often, through a lack of time.

• Preconceptions are incorrectly drawn upon. 
• There may be subjective results or even influenced.

All in all, make sure one takes detailed notes about the environment.

• The size and feel of the location, the room or environment in general. 
• What objects already reside within it? 
• What are the potential distractions for both the Observer and the observed? 
• What is the temperature in which the observations are being carried out? 
• Are there any unusual or intermittent smells or noises or other ambient disruptions?

And finally, when writing up your responses, there are some interesting lessons to be learned from 20th-century creative writers such as John Debbion and Hunter Thompson amongst others, and sources of reference can include books such as "the Rum Diaries", "Fear and Loathing in Las Vegas", "The Hells Angels" et cetera.

Basically, all of these observational texts are written in the first person.

Conclusions;

I found the lecture particularly engaging, but a little bit disappointed that the timing of this talk was rather late on during the schedule of the overall course, as much of its content may have been useful during our own research in previous modules of the MA study. However, I do appreciate that the lecturer may simply have not been available to provide this input at an earlier opportunity, and so I am grateful that we have been able to gain;

•  a very solid insight into some practical and field-tested methodology. 
• Much of Alissia's work and presentation showed me different ways of thinking and conducting physical / "in-vivo" research.
• It is vital to begin to analyse and measure responses, public opinion and hence value. 
•  It is essential for me to carry out such research as part of my major project.

Some ideas and thoughts about recent discussions with Dr Bailey & Richard Mulhearn and my approach.

I had a very useful conversation after the usual weekly lecture last Wednesday, and Dr Bailey provided good feedback on my current blogs and reflective diary.  The use of diffractive reading is a useful technique which I should build upon.

In thinking about the conversations, it seems that a Reflective Essay is going to be the likely output of my work for the deadline of 18th/19th of July, for the bulk of my major project.

The peculiar and strange discovery of "my old self" in the book by Helen Macdonald (2006) called "Falcon" and the photograph found on page 198 should somehow be incorporated. But thinking about my explorations, the theme of the Peregrine and different points of view, and how different temporalities can be linked must all be carefully weaved together.

Essentially, I'm beginning to form the opinion that my written submission can consist of three parts;
the blog,
a story or narrative (possibly a book?), Which can contain creative writing,
and the academic Reflective Essay for the context building.

Rowan recommended that I looked at the work again of Tim Ingold, and in particular the book "Lines" (2007, latest addition, 2016). Also, for a source of narrative style and story building, consider the work of Siebold, and positions of perspective-hunting. Write out the narrative of exploration and the hunt for research.

Another source of narrative creative writing is the work of Ian Sinclair; his work in the borough of Hackney "the red Rose Empire" is useful to understand layers of reflective creative writing. The inner voice. And in my case use the inner voice and the voice of the Peregrine?

A further discussion with Richard Mulhearn last week provided more useful references for me to pursue, including work by Mark Dion, who has written a section for the recent publication by Whitechapel Gallery in their series entitled "Documents of Contemporary Art: Animals" edited by Filipa Ramos (2016).

The work I have been undertaking in the study of Daan Paans, and his method to use, or reuse of material, such as that of the artist Albrecht Dürer is particularly useful. I can apply this in my own case now, as a range of different "scientific materials" to create a series of speculative drawings perhaps?

In essence, this would take the form of: archive, study, inventory; all focused and documented together as an overall essay as a reflective inventory of my experiences.

Conclusions:

• further research for the work of Siebold needs to be undertaken and verified.
• I have ordered Tim Ingold's "Lines: a Brief History" and expect to receive this in the next few days.
• I have also ordered "Documents of Contemporary Art: Animals" on Richard's recommendation, as this is a rich source of many excellent essays and articles from a cross-disciplinary selection of academics and artists.

Reflections on last week's 1:1 tutorial with Dr Juliet MacDonald (19th May)

I opened the discussion by explaining that I had experienced some exciting moments during my research which were particularly unusual! In constantly looking for connections (what I believe to be an essential component of making and finding understandings in creative art). My book review of Helen Macdonald (2006) "Falcon" had already given me connections to Huddersfield through a picture of the late Harold Wilson, and a photograph of him holding a dead Peregrine in the early 1970s.

Imagine my complete surprise when continuing reading Macdonald's book, and on the very last page, there seems to be a picture of a commuter walking through a London underpass, in 2005, with some graffiti on the wall to his left on the wall to his left. Now the fact that I was working in London (with Sun Microsystems) in 2005 is a small coincidence, but the underpass in the photograph is at the London Bridge railway station, which was some 150 yards away from my office. On closer scrutiny, the commuter in McDonald's picture is indeed me! I must've used that railway underpass very regularly on my way to the London office, multiple times a day in fact while commuting from the city centre to my customers at Canary Wharf (Barclays Wealth, Barclays Capital, Barclays Retail, HSBC and others). So while the photograph in itself is a more than incredible likeness to me, there is indeed plenty of evidence to suggest that it truly is me.

Photograph of a hooded Gyrfalcon and Me!, 2005 at London Bridge. (MacDonald, H. (2006), p198.)
Photograph by James Macdonald. 

Quite astounding!

Juliet asked me if I could remember the artwork in the underpass, and while it is evident from the photograph. (I recall at the time I was under a lot of pressure with two massive projects, hence my rather downtrodden demeanour, again providing some corroborative evidence). There is only a very vague sense of identification with the scene in my mind now, which when passed every day, might have been taken for granted at the time. Nevertheless, it is highly possible that some kind of subliminal message through the image may have been planted in my mind. Now, some 12 years later, it seems that my quest for falcon's and the Peregrine, in particular, have led me into some temporal twist of fate.

Perhaps if anything, (as Juliet pointed out) there may have been a repressed wish going on in my head at the time to simply fly away from the circumstances that I was in.

I'm a little ambivalent in my thoughts about contacting Dr Helen Macdonald to try and establish irrefutable proof that the commuter in her book is indeed me. There is every likelihood that it is, but equally, there is worry that I have already created possibilities. These possibilities are something that I'm already interested in and reflect the work of photographer Daan Paans and writer Iain Sinclair around the concepts of myths. The myth in itself is incredibly powerful, and sometimes when they exist or emerge, they are best left to develop through their own germination.

Juliet explained to me that she had very kindly bought Helen Macdonald's "H is for Hawk" (2014) and had also placed an order for the book "The Peregrine" by JA Baker (1967). I am delighted that Juliet is clearly engaging with my project far beyond the level that I would expect to have done. I'm already rather humbled and immensely grateful.

I explained to Juliet that Helen Macdonald's "Falcon" was written some eight years earlier than "H is for Hawk" and published in 2006. This first book is much more of a history of the relationships between falcon's and humans, and I was prompted to purchase it on the back of reading Macdonald's more recent Samuel Johnson prize winner.

While the book "Falcon" is clearly a reflection on Helen Macdonald's absolute love of falconry and the birds themselves, I pointed out that my own engagement with the book "the Peregrine" was not because of any pre-habituated obsession with falconry myself. Indeed, before my commencement of my Master's degree I had very little knowledge about the subject except for a modicum of general knowledge. The reason why I chose the literature was more through serendipity while researching the topic of digital media, and coming across the Hertzog's masterclass. This has already been explained in earlier blogs.

Then went on to explain even more serendipitous connections and lucky circumstance, initially triggered by my module tutor Richard Mulhearn. He suggested that I looked at the work of philosopher and writer John Gray. One of Gray's more recent books of the last few years that was recommended to me by Richard was The Silence of Animals: On Progress and Other Myths (2016).

The first few chapters are absorbing reflections on the development of 20th-century culture, especially concerning the progress of "civilisation" over the last few thousand years. With various discourses and enquiries into looking at the world events and the changes in attitude before the First World War, during the interwar period, and post-Second World War. This is an exploration of how myths develop. The idea of how (and this is mentioned in Gray's text), with sufficient persuasion, people can believe that two and two make five. The first two chapters, with an initial discourse on Aristotle and Plato which then leads on to civilisation emerging, and then ideas about politics and idealism, concerning various writers including Walter Benjamin during the interwar period, and various others in that circle. In particular, there is a reference to more obscure philosopher by the name of Fritz Mauthner (1849 to 1923), who it seems was a reference for much of the work by the more great Ludwig Wittgenstein. Indeed, Wittgenstein probably used the thoughts of Fritz Mauthner for much of his own Tractatus Logico-Philosophicus.

In Mauthner's analysis of language "Contributions to the Critique of Language" Gray explains the Irish poet Samuel Beckett, having read much of his work, identifies that humans, through language, believe in "facts" that are no more than coincidental reason, becoming truth. In fact according to Gray, "the last sentence of Mauthner's  book reads 'pure critique is but an articulated laughter'". Gray, J. (2014).

But coming back to my conversation with Juliet, the reason for mentioning John Gray's book is because the next section, (chapter 3, Another Sunlight) starts off with a passage from none other than JA Baker's "The Peregrine" (1967). It continues on a discourse about Baker's goal, the illusion of freedom, and the author's deep subconscious desire to escape his own world, and enjoy the freedom of flight et cetera.

I recognise that all of this work through my own research activities continually narrowing down to those peculiar temporal and existential ties that I keep finding are no more than coincidental. Yet there is an underlying feeling of tremendous relief and wonderment that I'm able to make these cohesive links. There is a lovely, almost magical quality in the way that things seem to be coming together. The progress provides me with great motivation to continue.

Having explained my difficulty in attempting to read some of Donna Haraway's "When Species Meet" (2008), it was suggested that rather than try to read this full book, it may be useful to read Haraway's "Companion Species Manifesto". This is a much shorter explanation of Haraway's ideas and co-evolving relationships.

We discussed the ideas that I have around rapport and mutual respect and my notions of stripping away all of the superfluous human attributes, sensations and perceptions that we experience, back to just black-and-white images that are interested in just edges and lines as a kind of halfway, mediated communication with hawks. The ideas of rapport and mutual respect are particularly of interest and importance because this is not about a shared vision, but there may be areas of overlap.

My intended output for this project is to submit my edited research blog, but also to provide a more academic research essay explaining my journey. The critical reflective summary contained in the previous model was a good vehicle for articulating my research and conclusions in a reasonably concise way. I recognise that it's unlikely that the whole project will be entirely resolved by mid-July for the first hand in period.  My feelings at the moment are that my work is likely to be an open-ended discussion and exploration that can lead other people (as well as myself) to form and draw their own conclusions or further motivations. A reflective essay supported by research can be written as a sort of narrative, almost chronological in a way particularly with these curious coincidences that seem to triangulate my thoughts as I'm working forward.

Reflections on a guest lecture by the interactive design studio "Invisible Flock".

The following notes are taken from a really useful lecture held on Wednesday, 16 May, provided by Rich Warburton, of Invisible Flock, an interactive design studio, based in Leeds.

The intention of the studio is to embed digital design technology directly into everything that they do. Digital technology is part of the ethos of this group, and their continual question is "how can you incorporate IOT (the Internet of Things) into creative art?

The group is a cross-disciplinary practice of artists and digital media experts including a highly capable computer programmer.

An example of a current project is one called "beta" which is intended to bring business and art and technology together in artistic practice, which is based at the Leeds East Street Art Studios. Its objectives are indeed to embed technology into art practice, but at a softer level to scale up intimacy, that is, to "broadcast emotion".

The group recognised the need for human centred design, after all, it is acknowledged that all people are "actors"!

This means that digital media interactions and ultimately culture are intimately shaped by constant iteration and feedback through audience participation and reception.

One particular area that is being explored in focus at the moment is in doing work for mobile phones. These devices provide a platform "space" of new images visuality and audio.

Art can have meaning through the interruption of daily reality. It can cause a shift in perception that is unexpected. For example, in Berlin, there is an art piece constructed throughout the whole city and is found as small embedded brass tokens fixed into the pavements, the German phrase roughly translates to "stumble stones". These small but noticeable subtle symbols in a way celebrate and remind walkers about the Holocaust. It is both gentle and subtle but is incredibly poignant once a person has engaged in its exploration.

This example can be likened in many ways with the Internet, which is equally accessible but is also an interruptive exchange and experience.

There is this assumed relationship with mobile phones, in that if there is an application that has been downloaded, one of these small "apps" often used as a kind of marketing Dolly, it is apparently expected to work! However, the complexities of different types of operating systems, platforms, software dependencies, hardware versions and so on make it tough for these app developers to have total confidence in the released and published apps effectiveness.

To try and tackle this problem, Invisible Flock of developed a relationship with an Indian software house called "Quicksand", who are specifically developing ideas for mobile phones that are cross-platform and hardware independent.

An example of one of the projects that are already online which cross this boundary into cultural and creative art is called "Duet". The concept of this idea is a digital interaction between strangers, where the mobile phone short message service (SMS) network is used to conduct a year-long conversation between strangers, based on asking one specific question (anonymously of course) and getting a corresponding one answer, between participants per day for a whole year. The results are of course anonymous but are then aggregated and analysed. The need for an immediate emotional feedback loop has been recognised by the writers to keep interest and motivation of the participants to a high level.

What results is a very complex dialogue, through the prism of a simple question. In a sense, it works through illuminating relationships through disparate timescales and intervals. It's a kind of nostalgia and taps into emotion through articulations that would never exist or be there "officially". Therefore this program "Duet", and its concept of just having one question a day and one answer in total anonymity, can be very revealing about human nature. It forces the participants to engage in a dialogue that is entirely anonymous and therefore without the emotional baggage that may be pre-known. The outputs, therefore, seem to be "clean". That is they are tending to be more honest and less contrived as a reflection of intimate human thoughts in our contemporary culture.

An absorbing and stimulating lecture, I felt the presenter had engaged with a deeply sensitive and smart vehicle for exploration of not just the West or isolated cultural facets, that a thoroughly engaging method to start to view the whole global human condition.

Some thoughts on practice / Major project development.

Working through the ideas of stripping out the superfluous detail associated perhaps with human perception and phenomena, the drive towards recreating not just landscape topology, but generally the black-and-white line drawings of what could conceivably be some halfway mediation between human and Peregrine perception. I've been thinking about some of the images that I was able to capture during the Easter holidays at Devil's hole in Jersey, on the more remote North/Northeast coastline. I came across these sheer cliffs almost by accident whilst touring the island with my wife. Imagine my joy when I looked up and saw a pair of peregrines, falcon and tercel, circling above the cliffs. Whilst I was able to take a few photographs using the camera built into my mobile phone, the birds were a little too far away by the time I was able to extract the phone from my pocket. Therefore, I've been left with some nice shots of the coastline and the habitat in which the peregrines live. I later even saw what appeared to be a falcon with Jessies (Falconer's short leather straps), attached to its legs, that appeared to be independent and becoming wild again. At least there was no sign of a falconer and the bird's freedom seemed evident.

 Photograph G.P. Hadfield (Apr 2017), 'The Devil's Hole', Jersey.

After coming home and processing one of the photographs digitally have been playing with the idea of vectorised graphics (through the use of Adobe Illustrator CC), and how I can strip out the superfluous details of colour and yet retain a semblance of edge recognition from the drawings.

Post-production photograph G.P. Hadfield (Apr 2017), 'The Devil's Hole', Jersey.
Digitally rendered with edge line detection. May 2017.

Photograph G.P. Hadfield (Apr 2017), 'The Devil's Hole', Jersey.

Post-production photograph G.P. Hadfield (Apr 2017), 'The Devil's Hole', Jersey.
Digitally rendered with edge line detection and colour removed. May 2017.

At the moment, I still feel that a truly digital shortcut towards recreating the visual images is less likely to work. There is much less sense of expression in the work compared to hand-crafted drawing, even if the drawing is made on a digital tablet. Nevertheless, I need to keep experimenting and reflecting on what seems to be working for me, and that which doesn't and should be abandoned perhaps. I just need to keep going!

Reflections on a short one-to-one tutorial (12th May)

I spent a little bit of time with my module leader on Friday which was very useful to discuss my ongoing work towards the major project. To articulate my aim and objectives succinctly and clearly, I usually create a single page summary. Clearly, this is a work in progress and forms the backbone of current progress and future objectives.

The current format of my aims and objectives are clear as they have been emerging for some time and are now crystallising into firm goals.

However, my academic argument for my project is still a bit hesitant in its language. My tutor pointed out that the work feels orientated towards an environmental discourse, but I am not sure if that is my sole intent. I need to think a little bit more carefully about how I articulate the argument.

What I found encouraging was the comment that it is useful to include in my thoughts and reflections, and ultimately my final essay my own interpretation and cross-referencing with the work of Donna Haraway and her notion of companion species, through reading and researching the book "when species meet" 2007. An interesting concept is that it could be argued as an act of inaccurate translation?

This fits well with my own thoughts about drawing and in particular the act of drawing. The expression of the theoretical framework.

Therefore the argument is critical. The notion of vantage points needs to be incorporated more fluently in reference to speculative realism.

Ultimately what will help me to not only drive forward my thoughts on interpretation and translation but also my expression of these, is the act of drawing itself. I need to immerse myself in drawing for more than I have been doing, and I recognise I have the opportunity to do so now that the previous terms have been completed, and my focus can be committed to the major project.