Data Analysis- Critical Reflection – Coding Memo_029 (19a) 2nd June 2020. Aaron Interview 22 January 2020

Process and flow of coding ideas:

Phase 2: Re-Immersing myself in the data and revisiting codes identified so far. Amending original simplified codes in brackets, which were too scant and did not stand alone. Revisited and re-coded (in orange) to now include context and expand understanding or intention that will lead to the creation of cohesive sub-themes in later phases of reflexive thematic analysis.

(Sonic)

Suspended sonic objects come to life. Static objects are fixed, stuck and dead

Sonic objects come to life when free.

Sonic bronze sculptural artwork needs to be hung and that’s a practical problem

Standard art gallery spaces don’t naturally lend themselves to sonic sculpture

Bronze Sonic sculptural artwork, is heavy and requires non-standard gallery display.

Heavy bronze sonic sculptures replicated in VR avoid standard gallery display problems.

(Misunderstanding – misuse?)

Physical engagement and interactive sculpture leads to damage

People require education prior to engagement with sonic art

Interactive art encourages and enables thuggery and vandalism

The notion of gentleness is uncommon

Interactive gongs in gallery displays are treated as a circus novelty rather than respect as a contemplative artwork

Despite the structural integrity of bronze, sculptural artwork can still be destroyed

Physical interactive artwork encourages challenge rather than appreciation

Sonic interactive sculpture is regularly broken in art gallery settings

People see how hard they can hit interactive sculpture, rather than engaging with it

People are not used to touching or hitting things in art galleries

Outdoor art is unrestrained and naturally interactive

Soft clapper and appropriate tools allow for safe engagement

Education and understanding of how to engage with sonic physical art is necessary to avoid damage

Tactile art objects are not familiar.

Sensitivity is required when interacting with physical art

Children naturally interact with art; they are unrestrained.

In standard galleries people are not offered opportunities to touch and hit things

The notion of integrity as a structural and ethical security

If artwork is structurally compromised it has no integrity

The notion of integrity has changed

If sonic sculptural artwork loses its structural integrity it is not fit for purpose.

If institutional constructs lose integrity, they are not fit for purpose

(Methods)

Preparation of timber moulds allows for efficiency when working abroad

Adaptation of old mould pouring techniques saves time

There is liberation in creating practice abroad

There is a different value placed upon materials in Burma than in the UK

There is enjoyment in the tactile process of making moulds from wood

Celebrating the flaws

Working with wood reveals flaws and individuality

Mass manufacturing with plastic may be easier, but it does not produce uniqueness

Although timber moulds can break and the process is painful, the engagement with wood is worthwhile

Sight loss naturally produces flaws in artwork – the flaws and uniqueness are to be celebrated

Highly sophisticated polished artwork is undesirable with sight loss

Plastic manufacturing provides a more accurate finish – but imperfections in artwork reveal natural beauty

(Freedom to make mistakes)

The same but different

Although the same mould is used, each pour is individual and different

Even if the production to create something unique takes longer, the result is worthwhile

There is deliberation and patient focus in creating unique objects

A slight adjustment in the creation of a sonic object can produce a significant difference

The mould is identical but the output, due to difference of thickness is noticeable

Although objects look the same, internally they are different and sound different

The notion of the same but different is to be celebrated and acknowledged

Mass produced objects that are identical are undesired

Foundary standards do not reveal or desire flaws

Mass production does not reveal individuality

(Support and assistance)

Informality in Burma allows for freedom of practice

There is freedom and relaxation in getting help and assistance from others

Informal non-structured practice allows for uniqueness

When the process is done by others there is freedome

Unrestrained environments are enjoyable

Unconventional settings are preferred for bronze pouring

Smaller pours are possible without sight, but it is usually a two person operation.