Data analysis_Critical Reflection_Coding Memo_032 (21a) - Aaron - Phase 2. Generating initial codes

Data analysis_Critical Reflection_Coding Memo_032 (21a)- Aaron - Phase 2

Process and flow of coding ideas:

Continuation with revisiting earlier memos and expanding on the scant and unusable codes previously generated. Previous codes in grey with new expanded contextual codes in orange

(Illumination)

Bronze pouring at night, outside in exotic locations is spectacular

Backlit light, depicted in art is mesmerising

Heat and light can be conveyed in painting

A crucible with molten metal can illuminate the dark

Illumination in art can create a sense of mystery and magic

(Scale)

Reducing large scale down to small scale is magical

Six kilometres can be comprehended by representation at a smaller scale

(Escape)

Exotic locations, unconcerned with Christmas, provide escape from consumerism

Familiar, warm and exotic environments are a useful escape from consumerism at Christmas

Escape, whilst being recognised and known is safe and secure

Solid objects that resonate sound – dust dancing, rocks

Method in response to singing – William Morris form follows function

(Dual colour; Identification, Sensory Perception; Recognition at incredible distances; Movement and gait communication without speech)

Not all sight loss is the same

Non-stereoscopic vision is interesting

Dual colour perception is interesting

Hallucinations happen whether the eyes are open or closed

When visual acuity drops off, the brain makes stuff up and colours in the gaps

Feelings and emotions permeate in subtle ways, not necessarily verbal but by the way people move

The sound of footsteps and the way objects are moved identifies mood

Through concentration and focus it is possible to discern someone’s mood

Intuitive sensing of atmosphere is possible even if the language cannot be understood or spoken

Languages use different metaphors

(Gait recognition – social awareness)

With sight loss, recognition, of an individual dependent on having seen them stand, move or walk

Many people with low vision determine and recognise people by gait, even at incredible distances

Even without sight it is possible to picture the scene, by using environmental sound

Sighted people see shape – many of those with low vision call it gait

With sight loss, gait is how things are identified

(Robotic trained movement – similar to commuters)

Facial gait can reveal that a dancer is classically trained.

Classical dancers have a facial gait that reveals pain – even when smiling

Choreography prevents recognition of individuals

Incredibly drilled robotic people cannot be recognised as individuals

When dancers are at ease they become recognisable as individuals again

Movement and physical posture reveal emotions

Unrestrained physical freedom aids recognition and connection

Sensory Navigation Perception

Sight loss informing practice

(Making the most of an opportunity; Happy accidents)

Spontaneous play is possible in unrestrained environments

(Social Interaction)

It’s important, even if the eyes don’t function, to behave as if they do

Sighted people may feel tense when unable to make eye contact

Being obvious about sight loss, by not engaging with eye contact is unfriendly

Eye contact is socially acceptable and preferred

(Active listening)

Footsteps indicate mood

Branches clack in the wind

Discernment about place, with sight loss, can be made from trees, wind, traffic, building sites and environmental sounds

(Being free in practice, Environment and creating free objects)

Sculptural rocks that are suspended freely, come to life

The landscape can be represented in sculptural form and the sound released

The landscape can be represented in sculptural sonic form

(Confidence with known practice)

Developing practice despite sight loss

Experimentation with new materials and advancing skills despite sight loss

(Seeing fragments even with sight)

Even with excellent acuity, in the main, we are just colouring in

What we perceive we see is not real. Its generated and based on previous experiences

We pick up on general shape even when sighted

Internal visual data banks are particular to the individual

Only fragments of a view can be seen and comprehended

Environments shape our internal data banks about light

(Personal experiences of sight loss)

Even when hallucinations are unpleasant, if you have a strong disposition or sensitivity it can be fun

Positive disposition and sensibility will find Charles Bonet Syndrome fun

The brain, when not receiving data it’s expecting it creates hallucinations

When visual inputs to the brain are reduced the brain makes it up

Visual imagery and visual disturbances can happen during the night

The brain can see images even if the eyes are closed

Colours from sight loss remain yellowy and tea stand, The blues are much reduced

Medication can cause side effects that cause sight loss

Non-stereoscopic vision, caused by inflammatory disease causes distortion