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• W2460038425 abstract "Adult crusadeI have an orange net bag of memoriesI survived my laaitie-hood and an adult crusadewith the aid of a pen knife, matches and a pair of takkies(just in case I had to escape).I had my place where I would go to hide, if ...If AK's and FN's decided to play adult games in our back yard- after blood red sunsets, cicada solitariness and hot dusty bleached grasseswent pale - I thought I had a way out.Silly really, since in childhood, there is no way out of grown up wars.Author (2010)IntroductionWhen I first decided to study for my M.Tech. degree in Graphic Design, I knew I wanted it to be about my practice, that it be practice-based and include my paintings and meaning-making through the use of a visual medium. I also knew that I could not separate my artist self from my researcher and teacher self and that they were indivisibly integrated, and that my research and new learning would affect all these aspects of self. Consequently, I realised that I was both the object and the subject of my study. It was also important that I emphasise my role as an active learner in this study instead of an expert judging research participants and that I was interested in writing in a literary (Cresswell, 1998: 15). I interpret literary to mean using a story-telling style in the crafting of my dissertation.My research purposeMy study included the conceptualisation of the pictographic cards that I have named 'PicTopics'- as in 'pick a topic' (see Figure 1). The PicTopics are a set of 120 cards, approximately seven by seven centimetres, with the type of graphic images one sees as signage on our roads and freeways. By testing the cards and gathering stories in various settings - from galleries to classrooms - I was able to recognise their potential as a creative educational tool.1 My research questions included exploring the role of the PicTopics in communicating a story or message, and how they could be pertinent to my practice as an artist, researcher, and teacher.I consciously wished to use simplified graphic images in my research to find ways to foster the concept and creation of a 'visual voice'. My wish to 'create a visual voice' for others and myself was a major factor in my study. I asked myself why it was important that I find an alternative way for people to voice their thoughts and ideas and tell their stories. I questioned how, why and what led me to conceptualise the idea of the PicTopics. I believe that playful ways of eliciting the telling of stories are important. Not all human beings are spontaneously oral storytellers, or able to put pen to paper successfully, or paint a canvas in order to be heard. I realised that my interest in finding a way to create a 'visual voice' came from recognising that I have been an outsider and have felt inarticulate on many occasions. I saw my study as giving me a purpose. I realised that I needed to find out the 'why' behind my wanting to do this research and, in asking myself why I would want to create pictographic visual prompts, I was able to 'tease out' a sense of purposefulness that would benefit not only myself but also others.Methods and methodologyMy practice-based self-study approach adapted a variety of tools to support my methodological inventiveness (Dadds & Hart, 2001: 166). I recognised that my preferences could interrelate with each other. I found Whitehead's (2008) living theories philosophies and methodologies,2 McNiff's (2002) action research,3 Schon's (1983) critical reflection, as well as Irwin et al.'s (2006) a/r/tography4 intertwined with Chase's (2005)5 and Ellis's (2004) narrative auto-ethnographic approach to conducting research the most appropriate.The value of the methods used in this studySelf-study highlights the importance of the self and makes the experience of the teacher a source for research (Tucker, 2011: 4). …" @default.
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• W2460038425 date "2014-06-01" @default.
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• W2460038425 title "Digging Deep: Self-Study as a Reflexive Approach to Improving My Practice as an Artist, Researcher and Teacher" @default.
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