Showing posts with label Workshop. Show all posts
Showing posts with label Workshop. Show all posts

Monday, 29 May 2017

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.


Monday, 10 April 2017

Thinking about my Critical Reflective Summary, Tutorial on 31st March.

My senior tutor spent some time with me on 31st March, to help to crystallise my thoughts for my critical reflective summary (CRS).  I have waited a couple of weeks to review my notes and allowed some latent learning/digestion to take place.

A number of books were suggested that could be useful for my reading, perhaps not immediately, but certainly, as I draw closer to the major project module after the Easter break.

The books mentioned included:

"In Praise of Shadows" is an essay on Japanese aesthetics by Jun'ichirō Tanizaki, the Japanese author and novelist. It was translated into English by Thomas Harper and Edward Seidensticker. Published in 1933, in Japan, the English translation was published in 1977 by Leete's Island Books.

Also by the philosopher John Gray, "Silence of Animals" together with the book "Straw Dogs".  I have subsequently found the Silence of Animals as a Kindle edition and have now purchased a copy.

I may also consider reading "A Company of Wolves" by Angela Carter?  It appears that this is an interesting twist on the original little red riding hood fable.

There is a further useful reference to the post-human discourse by Rosie Braidotti.  The following publications may provide valuable material;


  • Braidotti, R. (1991) Patterns of Dissonance. Cambridge: Polity Press.
  • Braidotti, R. (1994; 2nd ed. 2011) Nomadic Subjects: Embodiment and Sexual Difference in Contemporary Feminist Thought. New York: Columbia University Press.
  • Braidotti, R. (2002) Metamorphoses: Towards a Materialist Theory of Becoming. Cambridge: Polity.
  • Braidotti, R. (2006) Transpositions: On Nomadic Ethics. Cambridge: Polity.
  • Braidotti, R. (2011) Nomadic Theory: The Portable Rosi Braidotti. New York: Columbia University Press. 


Further sources that are leveraging work around film and perception, particularly the psychoanalytical and the "imaginary signifier" can be gained from the author Christian Metz.

Overall this was a useful tutorial and there is plenty of work and reading for me to undertake during the next few weeks through my holiday period.

I am aiming for approximately 75% of the document to be in written form about the theories, observations and reflections, with around 25% of the document covering my practice.

Sunday, 2 April 2017

Adobe Premier Pro, V.s. Apple's Final Cut Pro. A Workshop with Dr Juliette MacDonald, Friday 31st March 2017

Following a very useful workshop in which Dr Juliet MacDonald compared the feature rich and fully integrated Adobe software suite "Creative Cloud" and its application Adobe Premiere Pro, against the Apple version known as Final Cut (version 7). It was suggested that we should try and avoid Final Cut Pro X (v10), because it seems that the Apple software is taken around the backward step.

Whilst Adobe After Effects is a good software application for animation, transitions and vector graphic imports, there are lots of layers and keyframes to it together with excellent control of title sequences, especially where there are lots of graphics that need to be intermeshed. The product is ideal for short time length videos.

Whereas Adobe Premiere Pro is much better for longer scale movies, simply because longer length clips are handled in a much more user-friendly way.

As a short exercise to get to grips with Adobe Premiere Pro, on opening the application
select "create new project".
Select the [editing] button on top.

Content and footage can now be imported, and it will appear at the bottom left-hand side of the screen. This shows a series of JPEG files
or sequences such as movie files et cetera (.MOV) or audio visual files (.AVI).

Once sequences selected, it can be dragged onto the right-hand pane, which is the "Timeline".
Use the timeline pointer at the top of the timeline area to scrub across the timeline frame.

The top left-hand panel shows the whole clip sequence, and it can be used in order to set your "In" and "Out" frames for your selected clip. (Also as a shortcut it is possible to use [I] to set the in position, and [O] to set the out position).

By using masks to create merged effects within a sequence, this can be a very useful tool. A combination of still photographs animated and overlaid with a moving image is particularly effective.

On the right-hand side of the bottom left panel [which can be navigated to through the shortcut of [~]] provides you with a view of the "Media Browser".

An important principle of Adobe Premiere Pro is that all the source files remain completely intact. That means that all the operations are nonintrusive, and hence our nondestructive. This is vitally important when you are using footage and editing on-the-fly.

To import files into your project, use either the "import" command or alternatively the Media Browser. These are two separate and different ways to perform an operation, something that regularly occurs in many of Adobe CC applications.

Once your raw files are imported, in the file menu, it is possible to create a new sequence. Try various video capture formats and choose the right input and output format depending on the following:
A) the constraints of the video capture
B) the speed and power capabilities of your PC or workstation
C) the intended output/audience/usage of your final film video.

In essence, the Adobe Premiere Pro screen is divided into two areas. On the left-hand side is the workspace or input area, and on the right-hand side is the output area effectively. If one thinks in these terms then the use of this application can become quite second nature and intuitive.
If using the timeline on the lower right-hand portion of the screen, it is also possible to double-click section sequence, which will automatically open the clip onto the left-hand top quadrant workspace area. It is then possible to use various effects of, for example, size, scale, motion position et cetera and a multitude of other effects through the "effects" tab.

Another useful pointer and suggestion when one is using projection mapping, especially with multiple projectors there is an open student free version of the application "Isadora" that many students have found particularly valuable.

Wednesday, 29 March 2017

Thoughts begining to crystalise after further discussions with Dr Anna Powell

After a short review with Doctor Anna Powell on Friday 17th March, I recall discussing some of the recent photographs that I had been taking by using an extended monopod, to capture images from an unusual height.

The extended monopod is approximately six feet in length and when held at my own arm's length,  with a remote camera shutter trigger, I have been able to record images from approximately twelve to fourteen feet above ground level. I explained my conscious choice to do this, despite getting some
strange looks from passers-by who were out walking or exercising their dogs!

Nevertheless, I recognise it is important to let go of how people receive my work both in terms of how it is generated and in terms of my outputs.

However, I also need to recognise and ask myself the question as to how do I engage the prospective  viewer, to ensure that their interpretation of my work outputs are relevant to the subject and context
in which I am trying to research and articulate?

In considering my own work, I explained in brief, that I am trying to join together very ancient philosophical ideas with very new ideas. Together my output is formed through the human act of obsessive observation, and in this case through literature.

In a way I could call this a collision, a collision between ontology, that is speculative realism, with digital media (and in particular digital drawing) together with the literature of the book  "The Peregrine" (Baker, A.J. 1967).

Dr Powell replayed the message I gave, back to me as "living and thinking in the world from a different point of view" which I'm glad to say fits precisely with my objectives!

As an exercise, these objectives properly articulated, intertwined with my methodologies and practice, together with a third area, which is a description of my various interests will become areas of discussion for my critical reflective summary for this module.

I feel well placed in being able to articulate these several points sufficiently over the next few weeks and start to form a cohesive document.

A further conversation with Dr Powell on 24 March helped me towards thinking about creating and maintaining my body of works. This was directly related to the workshop that we conducted around postproduction earlier in the month and explores and expands on the ideas of practice being a series of fitting and finding concepts theories and imagistic references (and often the other way round) of finding and fitting images of the moments.

This reminded me of previous reading that I had recently made regarding Henry Cartier-Bresson, who described "The Moments" of photography.

Images of the mind are equally fleeting, but they need to be recorded and maintained as a body of work develops. In my own case, I think the "where" (that is the location), is not so important, but the "what" is vitally important as content for me to capture and go forward with. The workshops and tutorials with Dr Anna Powell together with Dr Juliet MacDonald have been particularly useful and I'm looking forward to working with them a little more closely in the third semester.

Tuesday, 21 March 2017

Reflections on a lecture by Dr Juliet MacDonald, regarding Adobe 'InDesign' application, workshop #2

The initial overview of last week's activities included a recap on
a) a new document
b) outline of the "work spaces" and panels.
              Format of pages/facing pages.
              Panels:-pages, swatches et cetera.
C) Master pages and their manipulation.

Placing images. [File]-Place = puts the [linked file] onto the workspace Artboard (Remember the file needs to be located in the same file system); Use shortcut [command] plus ['D']

Right click and drag the placement box. [The ratio of an image is constrained in this function]
for an alternative method, use [left mouse button] click to position a full-size version onto the page being displayed.

It is possible to make multiple placements by positioning a range of files through the selection of them in the file open dialogue. [File-place-"select"]

When sending a file to an external printers shop for example, use the file package option to send all the images and links embedded within a single file

Working with colour-swatches and colour pallets.

Drawing with text, boxes and paragraphs/tables;
use the [Windows] tab to select all the panels you need on your visible desktop;
 For example, use "object" and "layout" to make alignments and changes to the visual form.
Another useful tool is to select 'smart guides', which allow for a visible interaction through the movement of your mouse cursor.

"Frames"; consider changing the standard frame of a rectangle or square into a polygon as well as star shapes;

Use the shortcut "W" in order to preview your work as your progressing through a design.

To position page numbers onto various selected pages, use the "Master" page and create a text box where you wish to position your page number. Then in the "type" menu, select "special characters" and then "markers" to the current page number. There is a shortcut for these actions which is "[option], [shift], [command] plus [N]"

In academic documents a "running head" can also be installed onto the master page as well as any preformatted text, together with picture boxes, so that all pages have linked formatting, and can display headers, footers and whatever other design on every single page.

In "layout" it is possible to change the page numbering according to the sections and cover pages required.

When installing videos to PDF documents, use [Windows-interactive-media]
Treat videos like images.

Create a frame first that is quite large in order to accommodate the pixel dimensions of the selected video.
Place the video file within the design document. It will create a submenu and video viewer.
Please note however that Adobe InDesign is happy with the '.swf' and also 'Flash' file formats, and sometimes (but not always!)  '.MOV' files from Apple QuickTime as H264 files.
However, remember it is important to edit videos and be careful with compression as InDesign is very fussy about which type of compression is used.

Click on the ["show import options"] to open the media panel within your display area.
The media panel can be used to create a "poster" within the finished document that shows a specific image frame of the video.
Also remember that with videos, only e-PUB (fixed layout) and Adobe PDF (interactive) formats are available. Clearly, it is necessary to only use fixed formats for academic assessments.

Example outputs;



Conclusions;

  • It is also possible to make transitions within PDF documents and it is possible to demonstrate an elaborate set of transitions. However, it is best to do this on an actual verbal presentation rather than trying to incorporate it into the submitted presentation for academic purpose. 
  • Indeed with regards to academic documents it is probably best to avoid transitions I think.
  • A very useful on-site online web resource is the webpage HTTP:/www.indesignsecrets.com
  • Also there is a wealth of information that Adobe's own website under HTTP://www.helpX.adobe.com


Monday, 13 March 2017

Reflections on a lecture and workshop on the Adobe product "in design" by Dr Juliet MacDonald, Friday, 10 February 2017.

The application InDesign holds its key concepts based on the original trade of mechanical printing. Within this practice, various ways of working, nomenclature and phrases have transcended into digital design.

When considering any form of printing in the digital age, it is important to firstly examine whether the output from your work will be a fixed layout or a dynamic design. A fixed layout is suitable for printed matter whereas a dynamic layout is suitable for digital graphics presented on some form of screen. Further considerations of image resolution and/or the need for scalable graphics comes into play too. With regards to printed outputs, consideration of colour reproduction mechanisms reside within the four traditional inks used in modern printing, which are cyan, magenta, yellow and black often abbreviated to CMYK. In the case of electronically or digitally rendered outputs that will be projected (or presented on some form of screens, such as plasma or more modern variants liquid-crystal displays), the colour management is not through negative pigment manipulation such as CMYK. Instead, it is managed through additive manipulation of colours of light itself, namely the primary colours of red, green and blue. The final essential consideration of the outputs is simply a question of dimensional format which traditionally has been called landscape (that is where the horizontal dimensions are wider than the vertical dimensions), or portrait (where the vertical dimension is greater than the horizontal dimension).

As mentioned previously, Adobe InDesign's origins are based on the idea of the printed book. The format of printing, from the original Guttenberg Press and the subsequent Bibles and books printed from those early machines, were combined reproduction with artworks. Originally such artworks were hand painted or hand drawn such as those which can be found in the book of Kells and other early manuscripts. The ways of thinking about these artefacts have pretty much remained unchanged for over 600 years.

It is only since the end of the 20th century that electronic and digital printing (commencing with any form of growth in popularity, initiated in the early 1980s) emerged with the notion of the digital bitmap to mathematically position dots of ink based on a concept of a matrix or grid. Early pioneers of digital drawing and manipulation together with textual reproduction were born in such software applications as QuarkExpress (particularly for page layout design) and CorelDRAW amongst many others. While these early competitors took emerging market share within the industry, it was not until the American company Adobe began to gain dynamic market presence through the 1990s and into the early 21st-century.

In regards to artists portfolios, being substantially different to traditional format books (which tend to be what is known as "single spreads"), these artists portfolio presentations do not translate quite as well to the digital format. However, as portfolios can now be easily displayed through electronic means, portfolio presentations are now becoming much more popular.

Outputs from the digital context of reproduction are in continual change. For example, some of the myriad styles and formats can be found in
-digital magazines
-digital portable document format (PDF's)
-e-books
-interactive online documents
-web design (through the use of other Adobe applications such as its sister product Dreamweaver).

The fundamental difference of web design is that it requires dynamic layouts rather than fixed layouts, whereas an output intended to be printed as a hardcopy or portable document format is of course of a fixed layout.

Other considerations of printing however still remain the same and include image resolution and the need or otherwise, for scalable graphics together with the document format of landscape or portrait; the printing and presentation outputs of subtractive pigment management through CMYK or additive light colour management of RGB.

We then conducted an exercise to familiar ourselves with the InDesign product. This included a short workshop on how to open new documents and through selecting the various intentional outputs such as printed matter, web-based or digital publishing. Also discussed were the early identification of a language that has transcended from the mechanical printing age, including the phrases such as "bleed and slug". Bleed is simply the extra image overlap which will be cut off from the paper to create a clean edge of multiple copies of paper when presented in a book or brochure format. Whereas 'slugs' are the crop marks and edges which are used as reference points in preparation for the practical cutting or guillotine operations to create the clean edge of books.

With regards to page layouts, the concept of InDesign is to use "frames" which is a very different notion than perhaps the more immediately familiar methods used in word processing.

By using the tool palette within InDesign, one is able to draw frames within a master document to create a fixed and standard layout which can be replicated easily throughout the book. Once an arrangement is established with the frames button, it is possible to then import, or 'link' files and images of text and pictures through pasting. This is usually done by the use of "placing an image" by using the selection of the keys 'command' and 'D' (on Apple Mac devices) or 'control'+ 'D' (in Microsoft Windows systems)

When in the selection mode (and a black arrow is displayed on the screen), it is possible, by double-clicking the black arrow on the particular choice to change such selection into what is known as "direct selection".
To visually check the aesthetic representation of formats, it is possible to insert various online text through generators, or random language, or alternatively, use the built-in 'traditional' printer's method of selection of Latin text commencing with the words Lorem ipsum.

In typographic design, consider the grid concepts as setting the definitions for aesthetic presentation. See the book by  Josef MÃŒlller-Brockmann, a German publication entitled "Grid Systems in Graphic Designs; -a Visual Communications Manual for Graphic Designers, Typographers and 3-D Designers.

References;
Lecture and workshop on the Adobe product "in design" by Dr Juliet MacDonald, Friday, 10 February 2017, at the University of Huddersfield.

Josef MÃŒller-Brockman (1999), "Grid Systems in Graphic Designs; -a Visual Communications Manual for Graphic Designers, Typographers and 3-D Designers. This is now in its 9th edition, 2015 by Niggli Verlag (Publishers), Sulgen, printed by DrÃŒckerei, Kossell GmbH, of Germany.

Monday, 6 March 2017

Post production lecture #2 by Dr Anna Powell; Friday 3rd March

Continuing from the previous lecture, Dr Powell discussed the work by Mark Amerika and his post-production techniques as "remixes", and for example the website www.remixthebook.com

There is an interesting remix entitled "an artist yapping about some art stuff times for" and also the piece "isarhythm."

Some of the concepts were originally developed before remixing by the artist William Burroughs and his original work around literary cut-ups. This was re-presented at various shows in Paris and San Francisco.
I wondered whether perhaps Burroughs's influence may have come from Henri Matisse perhaps? I know that Matisse spent considerable time towards the end of his life using cutouts to re-assemble the art that he had previously painted. With regards to Burroughs, he used text as a form of bricolage, an experimental way of writing that was especially fashionable in the 1960s.

Breaking down this concept into its core elements of texts, they still remain semiotic signs and provide meaning as words in themselves. This helps us to rethink how language works. By shifting the thinking as words, these become triggers for new ideas. Subjectivity comes into play with inter-textuality.

The re-contextualization of concepts therefore begins. A decision-making process is going on, even though superficially there is a perceived randomness to the outcomes at first sight.

See the video by David Bowie and an interview with Alan Yentob which discusses his own musical lyrics work and Bowie's use of cut-ups, particularly during his Ziggy Stardust phase.
http://www.bbc.co.uk/news/entertainment-arts-35281247 

See also https://en.wikipedia.org/wiki/Cracked_Actor

These ideas of intertextuality were developed further by Julia Kristeva and later built upon by Lucy Kimbell and Mark Amerika.

We then conducted a practical exercise where we chose 10 to 20 words from three disparate documents and then re-mashed them together as a creative exercise. The outcomes were fascinating as the brain attempts to make sense from the phrases being randomly pushed together and new ideas start to emerge.

Going back to the origins of some of these ideas, it was the advertising critic and writer Marshall MacCluhan who came up with the ideas of form and content in advertising and started the infamous phrase "the medium is the message".

When we talk about art in the contemporary sense, the form itself tends to connect with the style being presented.
 Whereas the content looks at the media or medium in which the art has been created and therefore relates to the context in which the art form situates itself.
 In this sense, it could be argued that "the message is in the media."

The central idea of these notions is that the material from which something is made of, tells us something about the context through content. This sums up a much deeper communication theory, in that the medium gives a much deeper and practical engagement with some artworks.

In Marshall McLuhan's book "the medium is the message", he changed the title of his second book in 1967 to "the medium is the massage". This was a clever play on words as it makes his original book a far more accessible manuscript to engage with as it can be taken forward in a much more intellectual level. This playing on words to reprogram and change perceptions is how McLuhan (who later suggested that he just made a typo!), can be used as a piece of artistic practice.
The variation of the word;

  • message into mess-age
  • can then be changed to massage, 
  • which in turn can be adapted to mass-age.

This helps to understand the idea of post producing texts by re-conceptualising an original thought.
See the work by Shepard Fairey: The Medium is the Message, - exhibition (October 1999). See https://obeygiant.com/

In this piece, which was a simple graphic design sometimes referred to as the "OBEY" sticker which was exhibited in the six space in Chicago, became a ubiquitous sign that has appeared from everywhere from lampposts to sides of buildings to the gallery exhibition space itself. The graphic design was originally taken from an image of a WWA wrestler called 'Andre the Giant'. And has also appeared in films such as "the Devil's Own" and "Batman" and also is a favourite of skateboarders, as a 'cult' image.

The process of letting ideas and their corresponding images snowball is akin to making something out of nothing. The artist argues that his work is famous "because we want it to be!"

Being critical; however, Shepard Fairey theorised that the idea of his own image becomes overwhelming because his sticker was positioned in so many different places such as skateboards, lampposts, hats of gang members, T-shirts et cetera. Because it is depicted as a simple sticker, it has
become a message to make a mess.

I recall commenting in Anna's lecture that it seems that Fairey had been influenced by the novel "1984" by H.G. Wells.  With a little post productive research for myself, it is clear that he had. See the exhibition that Shepard Fairey had in London, at the "Stolen Space" gallery on Osbourn Street; entitled "Nineteeneightyforia"...


https://www.stolenspace.com/wp-content/uploads/2007/11/Ninteeneightyforia7-1024x682.jpg

The simple face (which can be seen to the right hand side of Fairey's works above) is is not unlike a logo that appeared around the wartime (Second World War) often referred to as the Chad ( found earlier in the 1930s in the UK) or Kilroy (USA version, WWII) logo.

https://s-media-cache-ak0.pinimg.com/originals/c2/07/0a/c2070a5f816f357dfdbc08b1cd736173.jpg

Jasper Johns in 1954 also explored this notion of semiotics & through his work entitled "Flag" (1954): A Process Caused in Caustic, as he called it. The context of this work was based on the time of America's involvement in Korea. It asks the question where do you draw the line between a flag becoming an identity and representation?

https://upload.wikimedia.org/wikipedia/en/thumb/6/6b/
Jasper_Johns_Flag_Encaustic_oil_and_collage_on_fabric_mounted_on_plywood1954-55.jpg/210px-Jasper_Johns-Flag_Encaustic_oil_and_collage_on_fabric_mounted_on_plywood1954-55.jpg


A more contemporary way of thinking about this idea of postproduction is the way that it is used in guerrilla marketing. For example, see 3M's advertisement for their vandal-proof glass where they place what appears to be a huge sum of money between two sheets of their product in a public space and then video various attempts by vandals trying to get access to it!

Taking this idea further, consider "The Exhibition" and try listening to the audiobook of "the medium of the message" by Quentin Fiore and Jerome Agel in 1967. The text was taken and then re-contextualised.  (There is an excellent resource at https://mcluhangalaxy.wordpress.com/2014/07/13/quentin-fiore-the-medium-is-the-massage-1967/)

In the series of programmes that were produced by John Berger, "Ways of Seeing" discussed the ideas of "The work work of art in the Age of Mechanical Reproduction" (by Walter Benjamin) in a more contemporary way. This provides an excellent source for further study. The program opens with the start of the classic film by Russian director Dziga Vertov. (see https://en.wikipedia.org/wiki/Dziga_Vertov)

Berger identifies that "in the painting, there is no unfolding of time". This in itself is an interesting concept.

An interesting exercise worth pursuing would be to take an existing theory or text and then applying some form of post production to it, for example perhaps the re-manifestations of John Berger's "Ways of Seeing" and Marshall McLuhan's "The Medium is the Message", and then re-contextualise it with current notions.

This could become a task to pursue for the next session?

Tuesday, 21 February 2017

Reflections on the photo project workshop with Sebaastian Hankeroot (of the Hague - The Photobook), 20th February 2017.

The purpose of this photography workshop was to help students bring out the 3-dimensionality of photographs, by bringing out light, establishing the correct focus, and removing distractions. By revising the contrast of photographs and combining the activities above, it can create a new expression in the finished works.

It is perfectly acceptable to change an existing "poor" photograph by changing it and refining it. Do not be afraid to do so, simply because you will always have a backup of the original in any event. Creating a sense of three-dimensional's is essential to good photography.

Ask yourself why you originally made the photographic shot? Keep coming back to that question and critically analyse the work that you do.

Before embarking on photographic adjustments it is essential to calibrate the screen on which you are viewing and adjusting the shots. There are a variety of applications on the open market such as "Spider, Colour monkey, or T-one"

It is also important to consider colour spaces that do not exist on the actual screen, but yet we know that the camera can record. CMYK is a very much smaller file size and range of colour space than what the proprietary Adobe RGB pallet is capable of, or is even more, what our own human eye can see.
S-RGB is an even smaller colour space than either CMYK or Adobe RGB; so the lesson learned from this in itself is to simply forget about sRGB as the colour space is so narrow that it is not worth using.

An important tip when calibrating the screens is to use natural light. Do not allow direct sunlight to hit or reflect onto the screen been calibrated. As a rule of thumb, Gamma can be set to 2.2 and White 26.5. By doing this, this, stops extra warm tones appearing on photographs. With regards to colour adjustment within the camera, try a setting of 200 red 150 green, and 100 blue. Within the camera, the output must be consistent!

By adding other colour filters, such as for example in a photo with a strong magenta cast, this can be corrected with a green filter and so on, choosing the complimentary colours of the actual cast.

The story told by your image changes the way that you edit and feel about it. Create enough density in your image before you do anything else.

Like a painter, build up layers of information when composing a photograph in order to to create an illusion. The photograph can then be manipulated by under exposing and then adding exposure (a recent book by Christopher Edwards shows this technique very well). It turns a clearer three-dimensionality to establish curvature and depth. The light within photographs creates atmosphere.

Organise the process and the work! Take these steps seriously so that you are well-positioned for postproduction. For example, the choice of a book cover, its hardness or its softness, its size et cetera; even the smell, makes a massive difference to your output and the finished artefacts.

A practical explanation of Sebaastian's work was then shown;
the first step using Adobe Lightroom, is to create a picture by reducing the exposure of the original image. Generally this should be no more than about 1.25 to 1.3.

Then by using the Lightroom's feature of "tone curve" it's possible to change the shadows in the image, but these should be adjusted gently. It is also possible to change the quarter and half tones as well. It is at this point that it is possible to change contrasts too, and by doing so, the detail of the image can start to be brought forward, and overexposed areas can be subdued.

We then conducted a practical analysis and adjustment of some of our own work.
We started with a piece that Sam had created which was an image of Hull docks, with two people sat on a bench overlooking the run-down docklands. An interesting feature of the image was Sam's capture of a kind of triad which included the union Jack flag on the left-hand side and then the two individuals people. Within the whole frame, the two people looking at the shipyard (which is now redundant), holds some irony in the union Jack flag also being displayed. The inclusion of the two people makes the viewer ask questions. Is it boredom? Probably not, - is it Britishness? Possibly.

Liam observed that there was a lovely low light to the image, and there is a lot going on within it.

  • Do we want to bring attention to the union flag? 
  • There is a misty quality and some "dead space" in the layers of the image, for example the bottom left-hand is a little too dark.
  • By attempting to pitch a triangle, the light on the side of the ship in the centre right of the photograph helps to create the triangle with the people, which is also shown within a portion of focus.
  • There is a tension of banality and unusualness, a little bit like the famous Turner painting of "The Fighting Temeraire".
  • The desire to crop the image is towards the left-hand corner, to place the triangle of the people and ship in a position to retain it.

We then analysed a photo that I had created, perhaps some eight months earlier during the summertime. My intention of this photograph was to create three-dimensional layers by the use of a foreground wall and layers within the landscape and hills beyond. The foxglove provides a link from the foreground wall to the scene and then to the sky. We debated whether this was an important feature of the photo.



Some practical observations of adjustment would be to change the light within the sky area by bringing this forward to emphasise the detail. On the right-hand side of the image, the wall needs to be lightened in order to make a richer engagement.

However the foxglove creates a focus which is a suitable subject. Nevertheless in contrast to the dark area on the right hand side, this dark area becomes a distraction.

The wall itself can add expression to the final print and the fronds of each of the branches on the left-hand side can be brought forward through the appropriate adjustment in exposure and contrast to become more detailed. Before and after effect can be clearly seen.

In the analysis of Tim's work (which was a hot sulphur spring that he photographed somewhere in Italy), there is an interesting juxtaposition of focus which is elusive as to being on the water and the face of the person on the left-hand side. This creates a mystery and it takes a while to figure right what the photograph and image is of. The colours are beautiful and so can be brought out to full effect. There is also a sense of chaos in play; the contrast is interesting too. As Tim said, the smell, that foulness of the sulphur and the misty-ness adds to the theatre. There is a sense of the magical, the person emerging on the right on the left-hand side seems to be coming through the gloom.

There is a good sense of three-dimensional reality in the image. It is balanced, but that may be improved by throwing it off balance? The picture itself is a question. There are no distractions, but it could be enhanced.

In analysing Liams photograph (which is actually an image taken by Natasha), of a person sitting in a pub in Hull; this is very interesting as it is clear from the image, that this is a regular customer who has a particular seat that he always occupies. The subjects gaze is accepting and arguably intimate?
The background is interesting too, for example there is a picture of Linda Lusardi who is appearing in a pantomime poster on the back wall. This helps to place the social context of the photograph and where it is. Perhaps some further detail could help?

Overall the composition is balanced. The viewers eye is drawn to the subject eye in the image through good focus. There is a distraction in the glare on the top right-hand, but overall it is non-judgemental which is a good example of good photography.

Perhaps some visual enhancements can be made through postproduction on the gentleman's coat by under exposing it a little bit further.

When we compared all the photographs we asked ourselves if there were any similarities? It was found that the depth and cropping were necessary on the first two photographs, however on the third and fourth photographs the use of shadows is key to these enhancements here.

If it seems that there are dominant colours of an image, it then becomes a question of density, colour balance and tonality. It is critical to reduce the exposure of an image if useful postproduction is going to be used. The workshop was very useful and seemed to imply that exposure reduction was the most important lesson learned from the activity.

Conclusions


  • Creating a sense of 3D, 3-dimensionality is essential to good photography.
  • S-RGB is a smaller colour space than either CMYK or Adobe RGB; Forget about sRGB as the colour space is so narrow that it is not worth using.
  • By adding colour filters, say, in a photo with a strong magenta cast, correct it with a green filter.  Choose the complimentary colours of the actual cast colour.
  • Narratives of images changes the way you edit and feel about it. Create density in images before any post-production.

Further thoughts;

  • Thinking about layering in my own work, how can I manifest this through the appropriate use of proximity and composition to help form Gesthalt?
  • What are the boundaries of perception an recognition that can be transposed to a Peregrine falcon's sensory experiences?
  • Thinking about the 'deep fovia' found in almost all raptors, how can I apply these thoughts to the drawings I am making?
  • There's much to do, and lots of experiments to take place!

Tuesday, 14 February 2017

Further thoughts the lecture and workshop by Sara Nesteruk (Friday, 10 February 2017) University of Huddersfield.

Thinking a little bit more about the ideas of inspiration and creativity, I recall that one of the questions that Sara posed to us was how do we create our own productive space?

The moments of insight often occurs when we least expect it.

In Sara's case, she referred to a book by Rainer Maria Rilke, in which she gets lots of inspiration from. Ostensibly, within the book, he's asking and pointing out "do not look outside yourself for inspiration, but keep looking inside for it is there that you will find it." For example, Sara randomly picked a page from the book which read;
"I would like to beg you to have patience and consider problems like locked rooms waiting for some translation".

I particularly like the idea of using text to find inspiration, this fits nicely with my own practice at the moment and my choice of using JA Baker's "the Peregrine" (1968), but equally I understand the point that each of us needs to find inspiration from any source.

A further suggestion was made to consider the book "Blink" by Malcolm Gladwell. This is a book about intuition and where we seem to find that component of our lives. Our immediate responses to situations, whether they are spontaneous bringers of joy, or alternatively situations that require some form of problem thinking, are what Gladwell explores. He goes on to say that our immediate responses are usually the most effective.

Therefore quite clearly, when one needs inspiration, the active "doing" provide us with inspiration in itself. In other words, make work for yourself!

On the subject of readings, another recommendation was made called "The Artists Way", which totally encourages the activity of writing, before picking up the paintbrush, or beginning to sculpt or make. This book is useful to help us get "into the zone".

Perhaps in thinking about this, it is useful to step backwards and ask oneself "what do you do when moments of inspiration hit you?".

Maybe, by processing thoughts from elsewhere, new ideas can come forth in entirely different manifestations.

Spontaneity is a vital step. The suggestion of writing before making can be inspired by simply thinking about three separate topics, things, or themes that generally inspire you. In my own case, the three things that inspire me and have full resonance are;
-drawing, particularly with a sketch pad and pencil.
-The drawings of Leonardo da Vinci, and almost all the other great masters.
-Open spaces. And what I mean by that are areas of land that do not have the regular and constant footfall of mankind. The Moors on my doorstep particularly fall into this category.

I also took time out to look at the TED talk created by John Kelly, which was his final video submission to the Royal School of Art, and then further submitted to the TED talks, entitled "Procrastination".

I found this to be incredibly insightful, he absolutely captures the artist's sense of fear of failure through "trying to avoid the inevitable", which is rooted together with the thoughts of being afraid to even finish something, once making has started! This video in itself is sufficient inspiration to simply get started! I think it is useful to make a direct link to it on this blog so that I can repeat it to myself, almost like a daily mantra, particularly when I'm suffering from procrastination.



Monday, 13 February 2017

Inspiration... The battle within! - Reflections on an interesting Workshop, (with Sara Nesteruk, UoH)

Friday's workshop was quite an epiphany; a magic moment for me!  It seems that the more I try to work out a process for my creativity, the more I am led to writing about it. Which is leading me to think that perhaps my real practice is in the writing of it, itself!...

Sara's workshop opened with a suggestion that when searching for inspiration, a first step that she finds helpful is to just start writing.   Write about anything from within!

The first step in the exercise Sara set, was for us to write for approximately 30 minutes, and then to pause, Step 2; go and look at something completely detached from what we have written, write about that, then Step 3; reflectively write up on the whole experience.  

So this is the outcome of these exercises below;

Step 1.  

Just looking out from within and writing my thoughts;

------------------
[A title?] -  Winter

My mind is wandering through the valleys and hills of North Yorkshire. Or a typical English landscape with hills and meadows.

There is a Skylark flying high above, making its usual trill of random notes, which gracefully swishes across the canyons and lowland streams.  How is this tiny creature here at this time of year? – Where does it take shelter from these freezing winds and hailstones?

My heart is racing through the strenuous walk. The breath of my existence is tangible almost, through the vapour clouds that flow from my shivering mouth. My arms are heavy with the coat I wear, but my legs are strong and ready for the remainder of the climb.  Looking down, half way up the mouth of this valley, I see a child’s magical re-assembly of their image of winter. The Snowman seems to beckon me with his branching twig arms towards an unknown liminal space of white nothingness.

The stone wall; that black lichen covered permanence of man's presence thrusts itself through the snow. The black smog of two hundred years of toil and fires from the cities has engulfed the rock and grit so tightly in its grasp. Blades of frozen glass shards of translucent green, wisp and rattle against the base of the walls, the delicate grasses have the strength to endure the coldest of winter days and writhe in unison as flurries come and go.

The Skylark’s sweet tune is fading now.  My arms and hands are cooling in the blustering wind. Time to move.

Walking further on the mud trodden path, now frozen in staccato patterns of sheep foot holes of recent passage. My boots skid across the mesh of open treads, loosing grip, though, being unable to ride the leaf-thin film of wet thawing ice between foot and hardened mud.

The air is thin, my coat blows cold, it’s chip, flap, flap, flapping against my chin and red raw cheeks.  I pull my hat lower.  My head is light and empty of thoughts, just bearly able to make out a distant tune of the skylark.

Far below, the wisp of smoke rises from a remote farmhouse. I imagine the roaring fire within. Big armchairs; a dog lying across the hearth maybe.  
Warmth.  
Warmth is what I need. The cold air is biting me from above and from the end of my fingers, now numb with the grip of the salutation and greeting with Jack Frost.  The snowman looks distantly on at me, with indifferent curiosity.  Why would anyone be out here in this temperature?

We share something in common, that child’s nod to winter, and I.  We are both alone.  Far from anyone to hear us moan or curse this wretched cold.  I’m low and deep in thoughts of nowhere at all.   But then my spirit is lifted again.  The distant call of the Skylark comes back into zone.  Mood lifts and falls, and lifts again like the rolling of the sea.

I must keep going.  Where is my goal? – I have none. It is the journey that is the goal, my likely finishing point will be where I started.

It always is.

I will come full circle, but the warmth of knowing the journey’s nuances makes it all worthwhile. I will make some fire when it’s dark and start again when I have eaten and slept.

But where? Where can I sleep in this cold?


My sleep will last forever, but the journey is just a fleeting passage of time that I must savour.  Sleep will erase so much…
---------------
32 mins.
---------------

It took just over half an hour for me to write that short passage, no doubt influenced by both the time of year and my walk into the studio, and moreover, the quick sketch that I made while killing some time earlier at lunch that day.

 It's satisfying that I can imagine narratives quickly, but the process of drawing from imagination seems so much better if accompanied by writing too.  I'm pleased with this approach and will adopt it more generally.

And then on to Stage Two.  
I spent 15 - 20 minutes in the library, and semi-randomly selected a book by the Getty Museum (a Guercino Catalogue), I randomly found a sketch of a landscape with a sea jetty and stonework, that instantly caught my attention;

Guercino (Ca 1635), Landscape With a View to a Fortified Port. Pen & Brown Ink,
Los Angeles, J.Paul Getty Museum, 85.GA.408. 

Guercino – Sea Scape and Castle (Casa Gennari)
 Guercino’s use of subtle shading that brings out shadows and contours of light makes the line drawing effuse a sense of calm. The promenaders on the jetty are both captured in a moment of work in the foreground, but idle strolling in the mid vista.
The arches under the jetty are suitably void of detail, but provide a structure and scaffold for the drawing to rise out of the calm waters. 

The tower is skewed towards the right, suggesting that the artist was not necessarily directly in front of the drawing (pad or easel), but to one side; therefore unable to immediately see the perspective of the architecture.

The two boats in the centre of the picture are neither tethered, nor in motion, but an oarsman is clearly seen pulling a punt to stabilise the ship as his mate draws a rope towards the bow of the boat.

Under the central archway, the light of the outer sea creates a shadow filled silhouette of a recently arrived skiff. Strangely, though, there is no reflection from the water below the boat, yet there is a reflection of the archway above.  It is evident from this alone that the sketch was made 'in the moment'.


Stage 3.

(5-10 Mins);

Immediate reflections on the above writing:

The image was taken from page 71 of “Guercino, - Mind to Paper”, by Julian Brooks (2006), The J Paul Getty Museum (Catalogue), Getty Publications,  Los Angeles.

The response addresses how my interpretation of Guercino can be articulated from a critical view through Artistic discourse.  While it describes the picture’s contents, perhaps it doesn’t address what caused the original artist to stop his other activities and pause to draw this scene.  It highlights the transient nature of drawing as sketches, through the observation of missing details that speculatively may have been present, but are simply lost in time. The existence of reflections is an interesting theme that in itself suggests a temporal existence which may, or may not be present, or have existed.


The observations of social pastimes are also of interest in the drawing. There are both workers and ‘walkers’ in Guercino's sketch… Time (as in ca. 1635) was being used, but time was also being 'wasted'…
----------------

Conclusions;

In further consideration of the above, there's a strong influence of drawing being a transient, fleeting activity, in some ways, similar to that of traditional photography.  The artist's intentions to capture a moment in time is mediated by what they immediately see and choose to record; so a narrative can be both created through latent imagination or through a particular engagement. How a "scene" is described to 'another' is what is important here to me.   If a sentient being 'could' report through a visual description or narrative, how would they present such a response?

Sara's workshop was really helpful, it's a very succinct way to expand upon imagination and to create that elusive seed of inspiration.

Nevertheless, I have lots more to do, before I can say that I have achieved a level of mastery in this process!

Thursday, 2 February 2017

Creative innovation and entrepreneurialism, working with the BBC, Session 2.

Thinking and reflections on notes taken at the BBC, creative innovation and entrepreneurialism Lecture, Wednesday 2nd February:
This part of the talk provided an overview of the design research and reflective practice together with user experience and design methods conducted by the BBC.
The conference was given by:
 Kelly Lothbrook-Smith, Senior Design Research Consultant;
together with Tina Connolly, Senior UX Designer, CBeebies;
and also Laura Fletcher, UX Designer, BBC content discovery.

Kelly started the lecture by explaining that the "user experience" (UX) is a very overused phrase within contemporary media which just about means anything you want it to be regarding how people perceive things!

Kelly's background is in psychology, having studied the subject through university and as a therapeutic practitioner. She was then invited to join the BBC to assist them particularly with design research on the BBC iPlayer.

The first task but we undertook was a little icebreaker where collectively we were asked to record each of the presenters and their interaction with how they engaged in the simple act of eating yoghurt. This was to (or “intending to”) potentially redesigning the packaging of this product, and to try and articulate how the product taste is better than anything else on the market. From a consumer's point of view, this would include recognising, choosing, buying and consuming this "revolutionary taste experience".

Kelly's explanation of marketing reminded me of a story that I have heard before and the idea that "when it is not yours, don't say that your baby is ugly". In other words, Kelly was touching on the idea of Confirmation Bias. This is a direct link to the psychological concept that there is a tendency to favour information that confirms an individual's belief and hypotheses.

Therefore, it is essential that whenever we are conducting research, it is of particular importance that unedited research results are fully presented. We need to ensure that we never inadvertently inject our confirmation bias into research results.
A phrase that is often used is

"design like you are right…
                           But test it like you're wrong."

Use research as inspiration!
A useful meta name or abbreviation when approaching research might be considered as "what is the P.O.I.N.T.!"
Where;
Problem:         is defined as a problem with the current approach and what it is you're looking to investigate.
Opportunity:  how can we change our approach by using appropriate research?
Insight:          what we know already, how do people behave normally?
Needs:           what are the specific requirements of the research? What are our intended outcomes?
Themes:        through which themes can we engage with the general public or the target audience to carry out our research?
[We then conducted the yoghurt test, where each of the conference speakers individually went through the procedure of selecting a yoghurt, peeling back the lid in various ways, and then eating the contents. This was completed with different ways in which to dispose of the packaging.]

Part one: Research Fundamentals.

1) what do people need?
2) what people want?
(If we think of these as desirables.)
3) can they use the things that we give to them? Furthermore can we "delight" our users, without overwhelming them?
We can conduct research of user experience (UX) usually through the following interventions;
  • User interviews
  • focus groups
  • ethnographic studies
  • diary studies
  • email surveys
  • competitor analysis.
Also, there are further research models that we may choose to use, such as;
UX blueprint diagram; journey mapping; user stories; personas;
analytics review; expert reviews; web surveys; system user acceptance et cetera et cetera.
Research is always useful, but it must always be balanced against:
cost: time; the stage of the project; user availability; the questions that you are asking!
There is a theory by the NN group that suggests that you only need to use five people to test the product to get approximately 85% of the expected failures and answers. If one was to draw a graph of user problems found: versus number of test users, the optimum number of test subjects at 85% can be shown as follows;
See the website HTTP://www.NNGROUP.com/articles/why-you-only-me
Active research is valid only when
  • you are asking the right questions
  • you employ active listening
  • you engage with efficient problem-solving
It is simply wrong to test ideas in silos: however, it is imperative to contextualise things. Beware of Digging into a Rabbit Hole.

Part two: Listening!

One of the fundamental qualities of effective research requires the researcher to be an active listener. Questions, right questions are what is important.
We listen to some examples of radio interviews; some are good, and some are bad! The good ones tend to employ the following steps;
Step one) establish rapport; get down/get up to the respondents level. Talking a secure manner and make the interviewee at ease.
Step two) Ask reasonable questions that are open! Use Rudyard Kipling's classic aide memoir, I had six honest serving men they taught me all I knew, they are what and how and where and when and then finally why and who.
Step three) allow the respondent to go off on tangents and talk about what they want to talk about, but gently give them time to answer.
Step four) steer the conversation back from any tangents they may wander down, steer them through the context as a guide, but do not force answers.
Step five) everything is useful. Record what the respondents have said and how they say it. These sometimes have insights into what the respondents might be thinking, even though, at first, some statements might be confusing.
Step five) be interested in listening. Lean forward and make eye contact. Nod your head regularly, try to mirror the respondent's mood and body language as appropriate. Overall you're trying to convey a sense of warmth and engaged interest.
Step six) replay some of the sentences the respondent has given, this helps with mutual understanding and shows that you are listening. Qualify and ask for further meaning if there is an unusual word that may be used. In this case, only ask "what do you mean by that word XYZ". It is important to ask these questions with a sense of warmth, gentle enquiry. Do not intimidate the respondent by exclaiming "what do you mean by that" on its own, as this can be misconstrued. Ask specifics.
Leading questions that are closed (that is issues that usually have an answer of yes or no) are extremely dangerous as they not only close down respondent if asked to quickly they become intimidating. The interviewee is likely then to give answers that they think you as a questioner wants to hear, rather than their true feelings or desires et cetera.
Keep questions open.
And finally make sure that the languages appropriate to the respondent, regarding intellectual capability, age groups, context, and avoid eccentric or esoteric questioning that might be difficult to understand.

Active listening;
shut out distractions, pay undivided attention, lean forward and observe the respondent body language.
Start with open questions, such as; "tell me about…" Or perhaps "could you explain a little bit about…"
Provide effective prompting; especially when the respondent is stuck for words

Planning;
  • Flow-explain introductions, warm-up, context. A logical order of themes. And on a positive note.
  • Depth-include key prompts and probing questions at the appropriate time.
  • Layout-keep the conversation uncluttered, well spaced, and for written enquiries, make it understandable at a glance.
  • Focus-ensure that the key research objectives are covered.
Make sure you have a plan!

Methods:
Guerrilla Testing: this is a phrase that is becoming more popular, and relates to direct approaches to people when you find them within their natural habitat.
Get into the user's domain, a cafe or the street; into their office's, garages and workplace if it's permitted. Another useful place to find respondents is in areas where they are waiting and don't have much to do, such as stations, bus stations, clubs, queues for events and so on.
Catch people when they're killing time.
It works well when you work in pairs together.
Always give the respondents and incentivisation as a thank you, something simple such as a bar of chocolate or sweetie: but never use this as a bribe to influence.
Guerrilla testing is a good way to get "quick data".

Lab Testing: - this is testing in a controlled environment.
-The best way to achieve "lab" interaction is through the use of multiple cameras, with facilitated prompts. It is necessary to observe respondents in great detail, seeing their manner of address, body language and overall movement: et cetera. Watch their every pause, every utterance. With the proper reflective analysis, a whole brain dump of ideas can come from this work.
Learning should be then applied to future lab tests. Any sessions of lab testing should then include iterations of what has been learned from previous meetings. The objective here is to keep improving the quality of the research.
However in lab environments exercise caution, particularly be on the lookout for "double negatives" or "double positives" which can blind your results. These are often seen when interviews are being conducted where there are additional people, superfluous to the exercise within the room. The respondent is psychologically influenced by what they perceive those other people might want to hear.

Remote Testing: - This is dependent on the technology that is available to you and is often a way of helping a researcher find "the journey" that the user might have when interacting, especially with a piece of software.

There are many models of remote testing that are available on the open market to the researcher such as for example:
  • Userzoom. 
  • Optimal Workshop: 
  • loop 11: 
  • user testing.com: 
  • WhatUsersDo
One of the latest forms of research for visual feedback is a method known as "Eye Tracking" which is a new type of analysis in which users can be critically observed.

Top tips:

Always remember that research is not a test! Any answers are right! There is no right or wrong answer from a respondent.
Silence is golden! Listen to the Focus!
Avoid all bad language! Equally, don't mirror or replay bad words!
Plan! Make a structure.

Good intentions:
  1. Avoid recruiting experts. There will just only tell you a narrow band of answers.
  2. Test small, test early, test often.
  3. focus on what needs fixing (or what needs refining)!
  4. Rotate the order of tasks and questions. This keeps people fresh and stops the effect of priming.
  5. Your prototype's fidelity is what matters, but it is not critical. When creating a prototype, it does not need to be perfect. Anything can be a prototype, providing that it just needs to be representative. It is a model.
    Prototypes can be remade, readjusted and re-formed. Get as much "representation" as possible into a prototype, rather than just features. When using whiteboards or display walls, use colour coded sticky notes to help navigate.
  6. Isolation; be aware that the presence of other people can influence the outcome, even if they don't speak or give answers at the time. People sometimes give answers because they think they "should" choose appropriate solutions, based on social hierarchy and other influences when in the presence of other people.
  7. Never take notes on what people are saying, but take notes on what they are doing!
Where to next?
Note taking: cover key themes and research objectives.
Why does one observe? What people say and do are very often different. Observations actually see what happens in reality, rather than relying on self-description, which is often biased (remember confirmation bias?).
  • Analysis: there is no magic or science in research.
  • Organise your findings and issues into key themes or further research questions to answer.
  • Take
  • Include background details, methods employed and so on.
  • Provide coding: create verbal tags; metadata tags to group research together.
  • Create themes: use the metadata tags of coded data to develop ideas.
  • Theorise: -build a hypothesis to take forward for further work so that new ideas can come out from your research.

And finally…
Always remember accessibility and colour blindness. Always consider the disability discrimination act in your activities, but also bear in mind that there are other motor based limitations, that are sometimes hard to qualify and quantify. For example, consider mums with babies! Invariably they only have one hand free to facilitate tasks if they are carrying a baby!

Thursday, 26 January 2017

Innovation and Ideation. A Workshop with Auntie Beeb...

In this module of creative innovation and entrepreneurship, we were lucky enough to be able to attend the workshop which was held by members of the user experience team at the British Broadcasting Corporation (BBC).

There will be three workshops over the next few weeks, and these will be attended by;
Paul Crowley, Head of User Experience:
Dan Ramsden, Director of Creativity:

The three workshops will cover;
A) ideation; that is, coming up with ideas.
B) testing; validating the ideas and finding assurance through screening.
C) presenting; pitching to customers and selling your idea.

The BBC has always been the front of commercial communication, and as such, they adopt some methods to help them both facilitate and generate new ideas.

A presentation was given and referred to the work of Prof Eddie Obeng, concerning the difference between knowledge and learning.
https://www.ted.com/talks/eddie_obeng_smart_failure_for_a_fast_changing_world
Filmed June 2012 at TEDGlobal 2012

Eddie Obeng: Smart failure for a fast-changing world


Our ability to learn has been outstripped by the amount of knowledge that is available to us. We, therefore, live in what is called a "foggy environment" and this was articulated through a simple quadrant table as follows:

                                   

In this sense, the BBC suggest that the only way to deal with the wealth of information that surrounds us is to what in their words is a mantra for their group which is "run confidently into the fog."

In a way what is being said, is to avoid over-planning. In my case it's about avoiding the Gantt chart and thinking from a fresh point of view;


To have an excellent idea it takes lots and lots of bad ones first. We learn from our mistakes better than we learned from doing something correctly once. The great ideas that have emerged in the last 500 years, in fact in the last 200 years since the Enlightenment, have usually been a product, even a by-product of many many years of struggling failure.

Let's explore the idea of divergences to convergent to divergent and convergent thinking.



We can talk about this as four separate steps.

Start as an "explorer."
engage with the outside world to find stuff that interesting, be a collector but don't judge anything that you've witnessed or collected.

Then become "an artist."
Turn the stuff that you have found into other stuff by combining them. Just create things, but do it without any constraints!

Then become "a judge."
it is in this mode that you critically evaluate your ideas and start to find out through verification and testing what actually works or is likely to work.

Finally, make the step to be "a warrior."
In this step you press ahead regardless with your chosen ideas beating your chest, banging the drum, and selling the idea to everybody come across. This gets momentum behind your idea and starts converting others to your way of thinking.
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We then conducted a short icebreaking session where we were shown a picture of a paper aeroplane, the typical paper dart. The facilitator stated that the next few moments would be spent by the group in designing the best possible way to get those three clean sheets of paper across the room.

Everybody started making paper planes, the typical bear trap. In my case, I suggested to the group that we brainstormed what the actual objective was and how we were going to do it. To get these three sheets of paper as far as possible, we need to compactness tight as possible and also a small surface area that we can. It may have been appropriate for us to only screw up the three pieces of paper into a ball. This would have met the objective, and having seen the outcome of this exercise before, this would have second-guessed the facilitator's demands. But I went one stage further by thinking about the actual objective a little deeper. My solution was to compact all the paper as tightly as possible, and also to reduce the surface area to a minimum, without the use of Sellotape or anything else to hold it together.  The idea gave me the inspiration to simply roll the paper in as tight a formation that I possibly could, and then to tie it into a knot.

Sure enough, this design actually won. It ricocheted off the back wall with a thump, whereas the paper planes fell short, and the screwed up piece of paper while travelling a little further, was unable to hold and sustain momentum. I was well chuffed!

The lesson of this session was the importance of "reframing" the challenge. What does the project need? Really and truly?

The next exercise was what the BBC called the "red ant man". This was a method to reframe your challenge as problems, blockers, constraints and goals.

Step one, define your opportunity by breaking things down into component parts so that the limitations, blockers can then also be broken down.
(I felt this was a similar exercise in the swot analysis, strengths, weaknesses, opportunities, threats: but perhaps with a new name).

Again by using a simple quadrant diagram, one can position the elements as follows;

Goals versus constraints
issues versus blockers

It was pointed out that a "blocker" is something where it is possible regarding overcoming and obstacle or getting inertia and momentum for example. Whereas "constraint" is a continuous limitation that is immovable and cannot be overcome.

We should be asking you "what does success look like?"

For example, if one is to create a website, is that in itself a goal, or is the real goal to reach an audience?

The "five whys" method.

Why is this important

Why is this important

Why is this important

Why is this important

And finally why is that important?

So what is stopping us?



The next part of the method is finding ways that we might reframe the question or a problem and its solution through the phrase "how might we…"


Give our problem a perfect frame for creative thinking, but without suggesting a particular approach. In deconstructing these three words,
"how" invites us to think about many solutions
"might" suggests that there are many possibilities and solutions,
"we" is a collaborative address, which means that as a team we all own the problem together.

1) As an example, how might we appeal to the widest audience?

We brainstormed this idea and came up with creating banners with details of the website to be posted throughout Huddersfield and the University; get a publication in the Huddersfield Examiner, the local newspaper; develop and create posters with details of the website with links and URLs; establish and print leaflets with details of the website et cetera

2) how might we see what success looked like?

  • Ask the curator's opinion:
  • get opinion polls in the leaflets through some sort of voting:
  • ask the public verbally who visit the exhibition, or people in the street:
  • build a model and get feedback on it:
  • communications with other groups:
  • promotional and marketing events in the street, interactive handouts.

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The second session after lunch started with an icebreaker, where we were asked to use sheets of paper with 12 preprinted circles on them. We were all asked to fill each circle with anything we can possibly think of, over the next five minutes. This was an exercise in creative thinking. There is an infinite series of ideas for any given problem, and nothing is a stupid idea because it could lead on to something else.

Another method used in the creation of ideas was what the BBC called their "crazy eights". This was an exercise again to create quantity not the quality of ideas and was solely based on folding a sheet of A3 paper into eight segments and then drawing possible ideas in each of the eight sections. Anything goes, and nothing is wrong or stupid!

In our own team, which had been tasked with creating a website for the new rotor event commencing in February, we need to think about roles and responsibilities and how the site will develop.

We thought in terms of:
pre-event during the event, and future post event.



Each of these phases of the website would need to be managed in different ways, such as the first phase would be about promotion and marketing as to "what will be happening".
During the event, web updates should show "what is going on now".
And the future post-event website should show "what happened".

Therefore content for each of the three phases should be something like 1) static photos. 2) videos of current activities. 3) video archives and interviews together with transcribed discussions and records of debate.

So roles and responsibilities seem to be emerging in the form of;

  • content creation
  • Web design and layout
  • ongoing management of the website and updates.


The third method that the BBC team suggested that we could use is known as the "Beetle" method.

In this process, we come up with a simple idea name to insert in the Beatles head, which in effect, becomes a brand-name for the notion. Keep it simple, so that people can readily identify with it, and conversations can be had with anyone in the team.

In the body of the beetle, we create what is called an elevator pitch; this is a short summary of the idea and its objectives; to open up new possibilities: for example the gallery, learning, attendance, and wider audience.

On the legs of the beetle, six in total, we can either use why, how, what, where, who and when. Alternatively, on each of the six legs, we can use them as a mind map style, an aide memoir, to ask ourselves six tough questions. Such as why would anybody care? Why is this important? And so on.

Once we have gone through the first three methods, we can then map the ideas against a cost versus impact grid. Again this uses a simple four-quadrant grid, with one axis showing "Cost" ranging from low to high, and on the other axis the expected "Impact" from low to high.




And finally considering the "the Warrior mode" remember how the original Olympiads used to think, before starting a battle. They visualised their best possible successes. What is the maximum vision of success? If we were to read a national newspaper headline about our success what would it be? Write this down in as bigger letters as we can find and broadcast it to as broad an audience who are prepared to listen!



So to recap:

1) we thought about methods concerning the fish diagram, as diverging convergent and then divergent and convergent thinking.

2) the red ant man method. Break up the challenge.

3) "webbing or the five whys" this is about dogeared resilience, asking ourselves at each stage why is this important? And then replaying it to ourselves by asking "so what is stopping us"?

4) use dot voting. Democratically select the strongest ideas and avoid any arguments at this stage.

5) reframe the solution and the problem. "How might we…?" Reframe the challenges and the briefs for a fresh approach.

6) the crazy eights. Here we want to come up with a quantity of ideas and solutions to the issues. Quantity, quantity, quantity!

7) the beetle map. This helps the switch from the artist and explorer mode and into the judge. Judge and make the idea practical.

8) needs and impact plotting. Map your thoughts onto a quadrant set to highlight and show up the relative merits of each idea. This facilitates clarity in finding the right solution.

9) write your news headline. Become "the Warrior". What does success truly look like? What would an Olympiad see in victory?

Conclusions:


  • The above tools are a useful inclusion into my toolkit for facilitating creative thinking, ideation, setting goals, and thinking about outcomes.
  • By coupling these ideas of methods and tools together with other instruments that I have become familiar with in previous work, you should be able to build a flexible set of tools to implement good micro-projects over the coming months.
  • It is worthwhile for me to review these tools periodically and make sure that I'm exercising them in the most appropriate way.