Stream-of-consciousness notes from Jokela, T., & Huhmarniemi, M. (2018) ‘Art-based action research in the development work of arts and art education’. The Lure of Lapland: a Handbook for Arctic Art and Design, pp.9–23. Rovaniemi: University of Lapland.
“art as a catalyst for development work”
(Jokela & Huhmarniemi, 2018, p.9)
When the article uses the word ‘art’ I will substitute for design.
“Art may be the intervention for problem solving or gaining new knowledge and understanding”
(Jokela & Huhmarniemi, 2018, p.9)
– In my intervention, I’m thinking of using design, a design project to gain new knowledge, through the outcomes the students create.
– Intervention is the design of the brief, the guidance, the references, the encouragement, the discussions.
– Research is also the outcomes of the student work
“Art can also be the subject of development or the tool for the research’s data collection and analysis”
(Jokela & Huhmarniemi, 2018, p.9)
My intervention uses design process and outcomes as the “subject of development”
“Art-based refers to the utilisation of art in research in such a way that stakeholders and members of the organisation or community can be included in the research, and tacit knowledge and experiences can be obtained from them”
(Jokela & Huhmarniemi, 2018, p.9)
In this project, what is tacit knowledge and what is explicit knowledge?
“the aim of research is typically to develop increasingly more functional practical working methods”
(Jokela & Huhmarniemi, 2018, p.9)
“ART-BASED ACTION RESEARCH AS QUALITATIVE RESEARCH”
(Jokela & Huhmarniemi, 2018, p.10)
“We associate art-based action research as part of qualitative research”
(Jokela & Huhmarniemi, 2018, p.10)
“while qualitative research is based on verbal expression, art-based research is described with images, sounds, drama, etc.”
(Jokela & Huhmarniemi, 2018, p.10)
“According to Leavy (2009), quantitative research aims for the freedom of values, while qualitative research is based, in principle, on values, and art-based research is political and promotes freedom.”
(Jokela & Huhmarniemi, 2018, p.10)
“it is typical for [art-based action research] to be associated with social or environmental politics — more strongly than qualitative research traditionally is.”
(Jokela & Huhmarniemi, 2018, p.10)
objectivity and subjectivity
“Objectivity-theoretical research aims to produce objective knowledge by means of
quantitative methods”
(Jokela & Huhmarniemi, 2018, p.11)
“Subjectivity-theoretical research uses research methods that aim for interpretations, understanding, and meaning”
(Jokela & Huhmarniemi, 2018, p.11)
“Research that is based on the development of practice can respectively be specified under subjective and objective”
(Jokela & Huhmarniemi, 2018, p.11)
My research is about the development of type design practice???
– Where would my intervention be placed on this diagram? Objective / Practical?
“Critical-realistic art-based action research is participatory and aims for better practices”
(Jokela & Huhmarniemi, 2018, p.11)
– I would say this describes what I am doing!
“artist-researcher-teachers”
(Jokela & Huhmarniemi, 2018, p.12)
“A research strategy is a guiding principle for the implementation of research”
(Jokela & Huhmarniemi, 2018, p.12)
“It is the ensemble of the research’s methodical approaches, which guide in the selection and use of research methods at both a theoretical and practical level.”
(Jokela & Huhmarniemi, 2018, p.12)
“Action research rests on processes of collaborative knowledge development and action design involving local stakeholders as full partners in mutual learning processes. (Greenwood & Levin, 2007, p. 1)”
(Jokela & Huhmarniemi, 2018, p.12)
‘Enhancing change’ – this is the goal!
“The orientations of action research in art-based action research have similar characteristics to design research.”
(Jokela & Huhmarniemi, 2018, p.13)
!!!!!!!!
“The research process and results are documented, and this documentation is used as research material. Produced artistic work and artistic productions, as well as the participatory observation of activities, are also essential research materials.”
(Jokela & Huhmarniemi, 2018, p.14)
“In a manner typical of action research, the research questions are reoriented and further specified after each research cycle.”
(Jokela & Huhmarniemi, 2018, p.14)
– So for next cycle, how does the research question change? Become more focussed? What have you found out that changes this?
– There is tacit knowledge of the student
– And explicit knowledge that tutors have taught during the four weeks
“In art-based action research, the artist-researcher does not wander alone, but instead development work is usually carried out in some kind of team or community.”
(Jokela & Huhmarniemi, 2018, p.14)
– This diagram became very useful in planning the stages of my ARP intervention cycle:
- First I looked at the context of my ARP and did some research
– Attainment gap (evidence in stats)
– Lack of diversity in industry (Evidence)
– Lack of equality in typefaces that represent global cultures and non-latin scripts (evidence)
– What has been done in the field so far? Projects, research, etc
– Build up the working team: this is my Stage 3 GCD practices group - Make action / art works
– Students design the typefaces
– explain process: starting point, weekly sessions, etc - Observe / document
– Observe how the planned action works: pallet, photos, notes
– Collect research data and make documentation (pallet)
– Use research diaries, video and audio recordings (images on pallet) - Reflect / Evaluate data with the organisation, focus groups, users
– work with the observation data in a ‘dialogical form’ what is this?
– Use interviews, group interviews and group discussions based on the reflection data and participants experience (these were the group discussions at the end: recordings, photos exist of these)
COLLECTING AND ANALYSING MULTIPLE RESEARCH DATA
Research data can include:
– meeting memos and notes?
– Researcher’s personal observations of the activities (can make these)
– Photographic documentation /
– Completed pieces /
– Sketches, drawings and other planning and design material made by the researcher or participants (material on pallet, slides by Dalton Maag, my slides, my class materials, the printouts of canon typefaces for example)
– Documentation of the activities’ reflection and evaluation discussions (photos, notes and audio recordings of discussions)
– Various interviews, questionnaires and other feedback (have bits of this)
(Jokela & Huhmarniemi, 2018, p.16)
Observation diary
– Personal observations should be complied ii an observation diary (didn’t really do this???)
– I have photos on my iPhone and maybe notes?
(Jokela & Huhmarniemi, 2018, p.16)
“Photographic and video documentation are common data of art-based action research. It is typical for this material not to be compiled solely for the purpose of the research, but instead they can be used to exhibit the contemporary art process at exhibitions and, for example, as study material. Documentation is needed for knowledge purposes, exhibitions, evaluation, reporting, and the planning of new projects, and not all needs can be anticipated during the project.”
(Jokela & Huhmarniemi, 2018, p.16)
“The analysis of such material does not differ from the qualitative analysis methods of material. However, it is possible in art-based research to apply artistic work to the analysis and interpretation of the material. In this case, the artist can process the photographic material into a photo collage or the voice recordings into an audio piece or an element of installation art. This type of method may also lead to the artistic representation of the research.”
(Jokela & Huhmarniemi, 2018, p.17)
– This is like Nav’s installation piece in his garden of the garments made in his workshop
– For me it could be using the typefaces for something: an exhibition, for example, to compare and contrast the typeface designs, look at the effect on language, the voice of the typeface.
– An exhibition in the CSM GCD studios would be a good way to do this and / or some kind of publication or website to disseminate the work and ideas.
– In collaboration with Dalton Maag?
Evaluation
“The final results of the project are evaluated in two stages: as soon as the project ends and they are still fresh in one’s mind and later, when those involved
have had a chance to reflect more on the experience.”
(Jokela & Huhmarniemi, 2018, p.17)
“The project participants’ concepts, experiences, and analyses form the basis for the entire project’s evaluation.”
(Jokela & Huhmarniemi, 2018, p.17)
“When activities are reviewed from the perspectives of the researcher, the
participants, and the community or stakeholder groups, the review does not become too one-sided.”
(Jokela & Huhmarniemi, 2018, p.17)
– Important to consider this in the next cycle or at a later date. To involve the participants in the evaluation.
(Jokela & Huhmarniemi, 2018, p.17)
Next steps
The article states that “If the research has been completed in close cooperation with the community, the researcher should ask the community to also participate in the analysis of the material (Jokela, 2009).”
“Furthermore, if the analysis
results are presented as an artistic production, the research result may be convergent with a production
completed in a communal art process. The evaluation of art productions is an essential part of forming
knowledge about the functionality of a method. The completed work demonstrates how functional, successful,
and empowering the process has been. The evaluation criteria of effectiveness include, for example,
the work’s and research’s ability to generate ideas, feelings, and mental images, as well as a sense of empowerment
and increasing participants’ confidence in their own capabilities and skills (Jokela, 2009).”
– So it would be really interesting as a next step to involve the community in analysing the finding, maybe an exhibition that addresses this in the way the work is exhibited and captioned, to communicate these findings. Does this involve the typeface design industry in someway in order to bridge the gap between knowledge gained and how this permeates into the industry and design practice.
“An artistic production may be, for example, a place- and time-based process, work or event.”
– An exhibition would fit into this
The article also talks about making the findings available to the general public (as users / “readers” of typefaces, this is interesting).
Methods
– So is ‘art-based research’ the method?
Bias
“Art-based research is intentional. The objective of the research is influenced by, for example, by the researcher’s
and community’s values and attitudes, even their political views. These background factors should be demonstrated in a transparent manner in the research process and reports.”
– Explain my relationship to the research topic, personal intentions
– I have consent from students
•••
P.21 outlines the steps
Some things I should do and evidence
– Review research literature and art in the same field (Queer type stuff, articles on diversity, decolonisation etc)
– Set goals
– Clarify your research methods and ways of date collection
- Team work
– Identify possible project partners: Dalton Maag, students? UAL?
– Create project group: GCD Practices block 2
– Build a common understanding: explained to students, pallet, course materials - Realisation and collecting research data
– Plan activities
– Plan ways to collect observation and documentation data (Padlet)
– Implement activities and data collection
– Celebrate the results by sharing them: class round-up. An exhibition could come later - Reflection, evaluation and reporting
– Edit the observation and feedback data in usable form
– Classify and analyse research data gathered (core themes and categories)
– Evaluate results – make suggestions for improvement
– Write a report as a form of development narrative
Jokela, T., & Huhmarniemi, M. (2018) ‘Art-based action research in the development
work of arts and art education’. The Lure of Lapland: a Handbook for Arctic Art and Design, pp.9-23. Rovaniemi: University of Lapland