I am participating in a workshop called ‘It’s Not What You Think – Communicating Medical Materialities’, an interdisciplinary workshop, at the Medical Museion in Copenhagen (8-9 March 2013).
There are still a few spaces left for people who are interested in the topic. Please submit up to 300 words, one page of text/image, a short piece of audio or video, or a small package communicating why they would like to take part to email@example.com by December 1st. Decisions will be announced after Christmas.
The workshop responds to growing cross-disciplinary interest in the material relationships between embodied experience and a techno-scientific world – and to the difficulties many of these disciplines have with communicating why materiality is important, and the effects it has on us. As an experimental meeting place for people with a wide range of interests in materiality, medicine and communication – from STS scholars and anthropologists to artists, designers, museum curators, and media scholars – the format will also be experimental, utilizing object sessions, shared discussions and trips to the archives. We plan to delineate some shared problems, for which we can develop partial solutions, pragmatic fixes, and novel approaches.
Invited participants confirmed so far include Sam Alberti (Royal College of Surgeons), Ken Arnold (Wellcome Collection), Annamaria Carusi (U Copenhagen), Sarah Davies (Arizona State University), Sandra Dudley (School of Museum Studies, University of Leicester), Anthony Dunne (Royal College of Art, London and Dunne & Raby Design Studio), Maja Horst (U Copenhagen), Jenell Johnson (U Madison-Wisconsin), Angela Last (Central Saint Martins College Of Art and Design, London), Lucy Lyons (City & Guilds of London Art School), David Pantalony (Canada Science and Technology Museum, and U Ottawa), and Thomas Söderqvist (U Copenhagen).
Feel free to email Louise Whiteley on firstname.lastname@example.org with any questions. The workshop is supported by the NNF Center for Basic Metabolic Research section for Science Communication.
UCL’s Cities Methodologies exhibition was launched tonight, showcasing ‘diverse methods of urban research in juxtaposition’. The exhibition is accompanied by a number of events (performances, film screenings, lectures, discussions), which are not to be missed, if you can make the time. The full programme can be viewed here.
Am still grinning about subREAL’s excellent ‘Interviewing the Cities’ photographs…
Opening times for the exhibition are Thursday 5 May and Friday 6 May, 10am-8pm. Venue: UCL Slade Research Centre, Woburn Square, London, WC1H 0AB. Free entry & all events are open to the public. Make sure you take the eccentric old lift… it not only contains one further exhibit, but it is also quite an experience by itself…
This week I attended a workshop on creative methods run by David Gauntlett (for the ESRC as I found out on site who coincidentally happens to be sponsoring Mutable Matter!).
Day 1 consisted of trying out the Lego Serious Play method and discussing the pros and cons. Below is an example of a group exercise.
On Day 2 we discussed our own project and experiences with ‘creative methods’ and tried out an exercise with Plasticine.
First of all, it was interesting to hear about other people’s experiences with different kinds of hands-on methods (collage, video-booths, drawing, cardboard models and contact theatre were some of the examples) and the different ways of thinking about them. Some participants had devised a particular method for a particular problem, others saw hands-on methods as a more generally applicable device. Another observation was that hands-on methods give participants the opportunity to participate in the documentation and recording of the ‘data’. David Gauntlett noted that it is a less direct way of interviewing someone when you question a model, so materials might create a more comfortable situation for both participant and researcher. Another participant, however, suggested that some unexpected revelations might happen through the questioning at the model that re-introduces the discomfort.
As for the ‘Lego vs. Plasticine’ I think the workshop was full of surprises in that direction. Because I am so familiar with plasticine and other modelling clays, I can work with it very quickly and usually know what I want to do with it and how I want to express something. But because I have used it so much recently and am thus very immersed in it, it was helpful to observe how other people use and reflect on the material other than my participants, especially because there was the opportunity for a comparison with Lego.
During the Lego activities, I noticed how much more restricting it was for me than plasticine. While I can make up pretty much anything I want in plasticine, I have to negotiate premanufactured pieces in Lego. Often, I felt myself not wanting to attach metaphors to cliched shapes such as elephants, and often, I felt that the material was giving direction to what I could or could not express. This was sometimes frustrating, sometimes an interesting challenge: ‘let’s see what I can make under these restrictions, let’s see how far I can push it’. Did I come out of the workshop knowing which of the two processes was better than the other? Is a struggle with the ‘angular material’ better than an ‘easy birth’ with the more fluid material? I have no idea – but a lot of thoughts at the same time. One is that there may also be a relationship between your chosen material and the topic you aim to discuss (and how you aim to discuss it) with your participants.
What the participants at my table immediately noticed on Day 2 is that you have to concentrate less during the plasticine activity and were automatically talking more. Lego kept you more focused on the construction. At another table, the values and connotations attached to Lego and plasticine were discussed. Is Lego more gendered? Is plasticine more arty? What roles do these associations play in the research process? Do aesthetics play a role? And how do you analyse your data in the end? And how can we theoretically support using hands-on methods?
I guess with as many questions as this there is a lot of potential for interesting revelations, but also for frustration and for doing inappropriate theoretical and methodological shortcuts, particularly by drawing on stereotypical notions of art, play or simplistic applications of neuroscientific and psychoanalytic discoveries. And why do you have to justify it at all? After all, you tend to end up with a respectable set of data that does not differ in quality from ‘ordinary’ interviews!
As somebody who thinks and writes about matter and the material and likes to mess around with Bakhtinian/Serresian conceptions of dialogue, I find it particularly interesting to think about the agency of the material in this particular method. While Serres has a stronger integration of the material in his vision of dialogue, when I engage in hands-on methods I always have to think of a quote about Bakthin (by Deborah J. Haynes which shows how much he imbues sensory experience with potentiality (unless I understand it the wrong way!): ‘theories encounter walls that practice helps us move through’. What I find normally more helpful is his image of dialoge, that bascially everything is constantly authoring one another. This potentially includes the ‘non-human’, too! Also, dialogue is not just a spoken phenomenon. If then we add Serres ideas to the mix…
Maria Assad writes that ‘for Serres, the sense of touch is the fractal boundary that opens up a creative process, where objective reality and subjective intellect invent together’. Compared to that, he describes dialogue amongst other colourful descriptions as a ‘realised hell of illusions and trivialities’. In other works, Serres is a bit kinder to dialogue, but nevertheless seeks to problematise our reliance on (and elevation of) it. I still have to find out what he would make of a combination of the two and whether he would classify the drafting of hands-on activities into academic service as an impossibility, violation or actually something hopeful… hmh…
So much for my latest late night musings on hands-on methods…