10/10/2023 0 Comments Meta narrative in art“it was”, and “a significant section of mainly nationalist interviewees”.Īs in many evaluations, Lundy and McGovern were constrained by a confidentiality commitment. “for the majority of participants”, “without exception”, “many interviews”, “overwhelmingly”, “for others”, “some”, “for these respondents”, “one of the most frequently mentioned”, “it was further suggested”, “most respondents”, “the view”, “it was further suggested”, in general respondents were of the view that”, “the experience of those involved…would seem to suggest”, “some respondents”, “the overwhelming majority”, “responses from Union representatives were”, “for some”, “a representative of the community sector”, “that said, others were”, “by another interviewee”. These are the sorts of phrases I found: “according to respondents”, “many”, ”there was evidence”, “most”, “the vast majority”, “It was felt”, “respondents”, “in the main”, “for many”, “many people”, “there was a very strong opinion”, “it was felt”, “there was a consensus”. the interpreted results of the interviews) I looked for information on how sources were cited. When reading what might be called Lundy and McGovern’s meta-meta-narrative (i.e. Network views can be filtered on multiple variables, such as strength of the causal linkages. And using network visualization software, the potential complexity would be manageable. Minority and majority views will be discernable. One important virtue of this kind of process is that it will not necessarily produce a single dominant narrative. Once visualised in this manner, the structure could be the subject of discussion, and perhaps some revisions. This emergent structure can then be visualized using network software. The results from multiple participants can then be aggregated, and the result will take the form of a network of relationships between groupings, some being stronger than others (stronger in the sense of more participants’ highlighting a particular causal linkage). This can be done through a simple card sorting exercise. Faced with the five groupings (and knowledge of their contents) each participant could be asked to identify expected causal connections between the different groupings, and give some explanation of these views. In commenting on the report I suggested that in future it might be possible and useful to take a participatory approach to the same task of producing a meta-narrative. Later on, at the report writing stage, Claudia looked at the contents of these groupings, especially the MSC stories within each, and produced an interpretation of how these groups of stories linked together. In one country five categories of stories were identified: Personal Development and Growth, Professional Development, Exposure, Change Of Perception And Attitude Towards Art And Artists, and Validation Of Self-Expression. It was from each of these groupings that the participants then went on to select, through intensive discussion, what they saw as the most significant changes of all. This involved the participants categorising the stories into different groupings, according to their commonalities. What particularly interested me was one part of the MSC process, which can be a useful step when faced with a large number of stories. The aim was to identify what DOEN’s cultural intervention meant to the primary stakeholders. Claudia Fontes used the Most Significant Change technique to elicit and analyse 95 stories from a sample of different kinds of participants in these projects. This event is part of exhibition The Travelling Hand, curated by Katayoun Arian.The first evaluation was of a multiplicity of small arts projects in developing countries, funded by DOEN, a Dutch funding agency. The Queen appears to have become a haunting obsession. The artist herself seems to have become entangled in these narratives, as she shares anecdotes about her research, game-making, and the people she encountered along the way. In her lecture-performance ‘Have I Become Her Stories?’, Kodikal journeys through a haunting dream of the queen, exploring both the meta-narrative implicit to the game, and its many forking paths. She developed a board game and a game-installation in which the Queen’s hand becomes a doorway into a mangrove-like labyrinth of stories and speculative perspectives on 400 years of geopolitics. The recent unearthing of the queen’s severed hand near a ruined church in the mangrove forests of Goa, formed the starting point for Kodikal’s artistic research. This project revolves around Georgian Queen Ketevan, who died as a martyr in seventeenth-century Persia.
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