Data analysis_Critical Reflection_Coding Memo_031 (20a) - Aaron - Phase 2. Generating initial codes

Process and flow of coding ideas:

Phase 2: Generating initial codes

Revisiting the verbatim coded extracts and codes. First round of codes were too scant (in brackets) 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)

Sonic art is created as a deliberate choice rather than a result of sight loss

Trees can be identified by their sound

Seasons sound different due to leaf quantity

Leaves on trees have subtle sonic differences

Few professions include or require training of listening; in general people do not listen

Navigation of the landscape is possible by listening and identifying sound

Art and design places more importance on the visual – rather than other senses

Classical architecture encourages creative expression

Sonic interactive objects are designed to encourage focus and contemplation

Background noise is a distraction and an interference when it comes to listening to music

Interactive art inanimate. The responsibility is on the observer to interact and reflect

Artwork can represent senses other than the visual

Concert halls are designed for the purpose of listening; they are preferred as a dedicated space for listening –

To be continued….

(Sonic)
Being trained to listen is not widespread through career paths
Few artistic careers take on board acoustic properties
Classic Cathedrals acoustic properties have led to specific choral styles
Design generally concentrates on visual  aesthetic  - representing things because of the visual
Gallery situations don't generally facilitate or offer opportunity for tactile display
Ancient art has been know to possibly represent sound waves
The observer generates their own encounter and actively participates with interactive objects
(Haptic Touch)
Haptic touch invites focus and engagement and a reflective response
(Methods)
Scrap, flawed wood is preferred over new and pristine, even when the price is the same
(Celebrating the flaws - freedom to make mistakes)
Unrestrained practice requires an open mind
Deliberate engagement of the unrefined is part of the process
Celebration of flaws is deliberate
Flaws are to be seen and noticeable
Allowing air for things to form naturally and to be free
Mass manufacture may be faster but enjoyment and hands-on tactile engagement is lost
(The same but different)
Outward appearances can conceal big differences
Sound saves are identifiers of differences or flaws
The of the same but different is intriguing
Everything being slightly different is preferred
Mass production avoids individuality
Small differences in thickness of objects produce big differences in sound
(Support and Assistance)
There is freedom in being abroad and paying for services
Assistance is required when pouring molten metal
Burma pouring is unrestrained. This allows for happy accidents
(Sensory)
The notion of gentleness is uncommon
Language and jargon for particular activities are exclusive
(Practice)
Allowing art to naturally form is reminiscent of participants generating their own sonic encounter
Walking away and letting the art process create itself allows freedom and happy accidents
Although things cannot be seen there is a sense of pattern
(Problems)
Interactive art can invite thuggery
Interactive art can invite reflection
Physical interactive objects can cause damage
Bronze sonic sculpture is not easy to display
(Focus and Attention)
Sonic resonance through physical striking enables a unique focused encounter
By striking bronze objects we have a responsibility to respond by listening to the sonic consequence
(Sensory navigation and perception)
Trees and environmental sounds can be used to navigate place and comprehend seasons
(Sight loss informing practice)
Sight loss lends itself to free and unrestrained methods