Data analysis_Critical Reflection_Coding Memo_050 - David - Phase 2. Generating and grouping initial codes

Process and flow of coding ideas:

Phase 2: Generating and grouping initial codes

Having immersed myself in the data, re-reading transcripts whilst listening to the audio files, editing and including additional sounds, utterances etc, I then collated all initial codes into one large group. As below.
Next step will be to begin to separate the codes and collate them into smaller groups and to start to consider potential sub-themes.

Not knowing if the artistic output reflects the intention is not a concern; as it will never be known by the artist who has sight loss

Visually descriptive words spark and access the internal data library of associations and thoughts

Visual words describing  colour evoke powerful memories

Both the sighted and non-sighted have internal visual libraries

Inner libraries of visual date inform judgements

Descriptive words act as reactive cues, enabling access to internal visual data libraries

The collaborative process is important and very much part of the creative process

Objects submerged suggest there is more to comprehension than meets the eye.

Sighted people can visually conduct  a broad sweep of awareness, to comprehend large scale; that is not possible with sight-loss

With blindness only a fraction of an object, via touch, can be understood

With blindness a lot of distal and proximal visual datas is lost. Sound and touch inform spatial properties.

There are many ways to perceive the same object

If six blind persons touched the same large scale object in a different place, there would be six differing perceptions

Small scale maquettes of large scale sculptures, enable those with sight loss to comprehend scale

3D printed objects of large scale objects enable tactile touch and representation

Touch of small scaled objects brings big pieces closer and scale can be understood

A positive outlook regarding how to comprehend visual data without sight, is a benefit

Super scale braille represents how large scale objects lose their meaning

Only by standing back or having large scale objects, scaled down, can large size be understood

External sculptures are prone to vandalism

Teenagers play up to a point and then can become destructive.

Interaction with sculpture is part of the process

Large scale, or minute scale can be impossible to comprehend

There are good things that can come from disability and blindness

There are positive sides to sight loss, known as disability gain.

There are creative positives because of blindness, not in spite of it.

Blindness can create and produce some interesting creative possibilities

A lot of disability comes from the environment that is around us.

If steps are removed from a wheelchair user’s life, they will feel less disabled

Disability is a socially imposed thing

Disability is to do with how environments are constructed, not just to do with the loss of ability to walk

Assistance is sometimes required with the practical element of fixing pianos

The social model has now led onto the idea of disability gain.

The essence of something can be distilled from other things

Revisiting visuality through talk is a thrilling experience, as internal pictures can be visualised

Positive personal disposition helps with adjusting to sight loss.

Colour descriptions require assistances.

Memory informs comprehension of colour

Active listening and deep touching provide depth of understanding of environment

Recollection of colour can happen years after sight loss

Listening to not only dialogue but intonations, environment and sounds brings deeper comprehension

There is more to be explored in the discovery of our sensory tool kit

It is possible to derive so much more from spatial environments by listening intently and to

what is actually going on.

From experience of good acuity to sight loss, memories inform practice

Colour perception reduction led to using monochrome

With peripheral sight reduction and colours all reducing simultaneously, monochrome colours were preferred for painting.

The shape of something can be delineated through mime or 3D points

Points of touch represented in 3D space can represent an object’s qualities

Blindness is a strength with experience of the moment of touch

For sighted people a visual sweep of awareness is possible

Sighted people can look before touching, to discern danger; with blindness this is not possible.

With blindness touch is one of the ways of understanding the world

Sound and technology are an exciting advancement in creative practices

Architectural methods of creating 3D models can be utilised to build models

Accessible films and be contentious

Integrating audio description throughout a film or play doesn’t have to inhibit the creative process

Losing sight is similar to a bereavement.

Audio description can revive visual memories

Audio description activates visual pictures in the mind

Speaking about conceptual ideas with like-minded artists helps solidify ideas

Audio description brings life to artwork

Thoughts create the conceptual foundations for art

Street furniture is great for reference points

The emergence of concept art is a benefit for sight loss

Walking and tactile touching creates familiarity with environment

Walking and travel by car can be navigated by physical bumps and bends in the road

Wilderness training and wilderness awareness is similar to blind experience: sounds are read in a more profound way

External navigation isn’t mapped with visual landmarks – it’s by bumps and drain covers.

Even with physical risk it is important to create ones own artwork

There is satisfaction and autonomy in directing, participating and contributing to the creation of ones own artwork

Autonomy is important

Assistance that is hands-on and immediate, requires an adaptable disposition

With no sight or light awareness at all, assistance are crucial for navigation of workshop space

Other sighted artists make good practical assistants

Up to a point the practical hands-on approach can be possible, even with sight-loss

Personal disposition of optimism or pessimism can be represented in practice

Variations in concept, scale and material are possible with sight-loss

Ready made objects can be assembled in a different way to create something new

Everyday objects can be represented in an original way for reflection

Movement can be represented in static objects to create a sense of animation

Identical objects created in sequential height can indicate movement and passing of time.

Depth and height in negative space can represent understanding of spatial properties

Tactile contact can determine the readiness of material processes

Even with assistance, being autonomous and independent is preferred

Even at risk of physical harm, independence and autonomy of physical process is applied.

There is more autonomy in physical interaction that visual ability.

Assistance is required for visual help and visual display

Mass produced objects are utilised for the purpose of repetition.

For the representation of identical objects to represent time-lapse, mass production is ideal.

Individuality when creating repetitive, sequential objects is not desired. Mass production is ideal for repetition.

3D artwork can capture and represent negative space

3D static objects can capture movement

The negative space around an object is very important for comprehension of the object’s actual physical properties.

With blindness, negative space is equally important, as a partner to positive space.

With blindness, negative space is paramount in determining spatial and physical properties of objects and environment.

A non-sighted artist can still expand practice and not be limited in one medium or approach.

Concrete is a wonderful medium for capturing movement

Stone plaster captures intricacies and subtle, realistic details

Removing a cast allows for a wonderful revelation of negative space

Single colour on a black background makes a focal point for perfume

Cast liquid can indicate the wonderful quality of weight

Perfume companies asked blind people to respond to a citrus perfume

Objects emerging out of the floor represent hidden elements underneath

Archipelago display of objects replicates repetition

Trial and error with materials is best done by the artists

It’s uncomfortable to share the personal process and experience of creating art, with another

Collaborative assistance allows for autonomy

Without sight recognition and perception of colour is informed by memory

Descriptions and previous memories and recollections help envisage colour

Not being able to see colour or ascertain whether the practice output reflects the desired intent is unresolved and will never be known.