Grounded Theory is an epistemological critique that consists of systematic, yet flexible guidelines in order to analyse a phenomenon's empirical events."(Charmaz, 2006). Barney Glaser and Anselm Strauss first articulated these strategies in The Discovery of Grounded Theory (1967) and advocated developing theories from research grounded in data rather than deducing testable hypotheses from extant ideas.
Grounded Theory will assist in maintaining control over the process of reflective practice by focusing, structuring, and organising the project.
"Like a camera with many lenses, first you view a broad sweep of the landscape. Subsequently, you change your lens several times to bring scenes closer and closder into view" (Charmaz, 2006).
The research process gathers technical, theoretical and observational material "by sustained participation and observation in the milieu of the phenomenon or process, generating a map of the object of study from the outside" (p21, Charmaz, 2006). The accumlated experiences defined as rich data establishes the groundwork for a comparative system of coding, memo-writing, categorising and theoretical sampling.
My research involves collating information from literature, seminars, studio practice, contemporary art exhibitions, museum print collections and regular critiques. Contact with the primary source CERN will take place as an outsider in September 2007 during a four day visit to the area. My initial experience will be recorded by sketching, photographing, interviewing, collating both literal and visual material.
We know the empirical world through language and the actions we take toward it. "Walter Benjamin states that language is a medium, not a system of knowledge but a system of signs, which represent reality" (Scheiffer, Marianna Walter Benjamin on Language). This system defined by Grounded Theory as coding segments the research with labels that simultaneously summarise and account for each piece of new data; the pivotal link between collecting rich data and developing an emergent theory.
My initial and focused coding is determined by how I respond to the gathered research through the medium of printmaking, lasercutting and CAD software. What mapping tools do I employ to analyse the collated data? How do I visualise multidimensional manifolds? What symbols define Jetztzeit of a sociopolitical phenomenon? How do I identify speculative progress at CERN?
"Analyse the codes and explore ideas as ongoing memos to direct further experiences of data gathering. The life of an initial memo can outlast its publication. One memo can spark numerous ideas and serve varied purposes. Methods on producing memos rely on making them spontaneous, not mechanical. Memo writing requires us to tolerate ambiguity " (Charmaz, 2006).
My memo writing takes two forms: Blogging reflects a chronolgic thought pattern that parallels the time period of the research. Clustering offers a non linear, cairologic alternative to produce a tentative and alterable chart of the coded data. Together these memos form the core of my research methodology.
"The process of moving intellectually or creatively from the known to the unknown is an inherent part of studio practice." (de Freitas. N, 2002) The initial research will further my knowledge about theoretical concepts, printmaking processes and digital media arts. The studio practice will be dedicated to creating multidimensional manifolds using CAD software, lasercutting and combining printmaking techniques with paper macettes. By focusing on the multiple as a process of change the three-dimensional prints will evolve through a combination of guided and intuitive decisions. Initial sampling of the work will be presented in the form of an exhibition.
I will map observations from the primary source into the studio practice and attempt to construct a vivid image of my experiences. This exploratory period will focus on charting Jetztzeit of speculative progress at CERN, within a three-dimensional space.
The reflective analysis will assist in retracing steps or taking a new path when ideas are emerging yet incomplete. "Intuition may take the form of ideas resting on covert meanings and actions, challenging extant understandings" (Charmaz, 2006). Theoretical sampling, often charted with diagrams and maps, will prompt fresh insight through dialogue with the spectator.
During the initial sampling I will re-assess the studio practice, compare theoretical concepts and begin to develop an emergent theory in the form of an artist's book. The non-synchronised element of the edition will reflect the artistic practice of printmaking as a process of change. The series will be exhibited publicly, with the accompanying studio documentation in preparation for the next phase of the project.