4F Field Notes Summary

Summary

21 participants
18 drawings
85.71% participants

Based on the data collected through the approach of combining visual ethnography and direct interaction, a summary addressing the research question “How can student self-evaluation impact critical thinking, anxiety, and compassion among students of diverse backgrounds, abilities, and needs to bridge inclusive gaps?” can be formulated as follows:

The research findings suggest that student self-evaluation significantly impacts critical thinking, anxiety, and compassion in a diverse student body. The drawings and interactions reveal that self-evaluation prompts students to engage deeply with their thoughts and ideas, fostering critical thinking. This is evident from the focused and pensive expressions captured in the drawings, indicating students’ engagement in introspection and evaluation.

However, the data also highlights the anxiety associated with self-evaluation. Phrases like “It is difficult to know” and expressions of uncertainty in the drawings reflect the stress and discomfort students may experience during self-reflection. This aspect is particularly crucial for students from diverse backgrounds who might face additional challenges due to differing abilities and needs.

Importantly, the study reveals a strong need for compassion in the self-evaluation process. The one-on-one interactions and feedback, such as requests for more structured guidance, indicate that students seek a supportive and understanding environment during self-evaluation. Compassion, therefore, emerges as a critical factor in helping students navigate the challenges of self-assessment, especially for those with diverse needs.

In conclusion, student self-evaluation, as demonstrated by this research, plays a pivotal role in enhancing critical thinking, while also bringing to light the associated anxiety. The need for a compassionate and inclusive approach is evident, suggesting that educators and institutions should tailor the self-evaluation process to accommodate the diverse backgrounds, abilities, and needs of students. This tailored approach could bridge inclusive gaps, ensuring that all students benefit equitably from self-evaluation practices.

Reflections

Due to my dyslexia and ADHD since a young age, I did not take verbal notes but used drawing to concentrate and remember what was said. This was applied to education, meetings, and anything I wanted to find out what I actually think. The methodology I use for this is entirely subjective and shaped by years of drawing and then looking at my drawings to understand how I feel and what I have understood. During the PG Cert, one of the most striking sessions was in the cross-seminar on January 11, 2023, “Mud, Muddy, Muddier Still: Pedagogic Research in the Arts University,” especially the “bad drawings” slides Cathrine Smith talked about in the presentation “What happens when workshops happen?” However, I have not read enough about ethnography to be able to cite work or defend it as a methodology, but I wanted to incorporate it in a practical format before reading, so that in future work, I can see the difference it will make reading about something I have already intuitively tested as a research method.

But I have recently come across Trudi’s MA Academic Practice final Major Project and read part of her text. However, I recognized the same tools I used. So in the next paragraphs, I tried to paraphrase what she mentioned, matching citations she made to the content, but of course, I have not read the original book. In a way, I am third-hand referring, but I wanted to include it here, not as proof of what I read but as a reminder to myself to check out her references and see if what she wrote is the main source of my connection to her major project or as well as the sources. This is the paraphrase of her text written “like a blind person would describe color they have been described to them”

“In my research sessions, I combined visual ethnography with interactive methods, echoing Calvey’s innovative ethnographic strategies (2021). By using drawing to record student assessments, I silently conveyed their emotional and physical states, in line with Pink’s approach (2001). Drawing also served as a powerful, wordless way to communicate, capturing sensory and emotional dimensions as highlighted by O’Reilly (2009). It allowed for more in-depth, personal engagement with students, supporting the participatory essence of ethnography that Elliott and Culhane (2017) advocate. Yet, mindful of Brewer’s (2000) reflections on the observer’s bias, I recognized the subjective nature of my interpretations. By practicing reflexivity, as the Cambridge Dictionary (2023b) defines, I critically evaluated my views to ensure a fair analysis, respecting the varied student backgrounds. Drawing, hence, was not just for data gathering but also a means of reflection, promoting deeper insight and transparency of my preconceptions, affirming the importance of reflexivity in research integrity as discussed by Pink (2001, 2013) and Causey (2017).” Trudi Esberger (2023)

In a way, I wrote this text in the same way I did the field notes. Drawing always is copy somehting you see with the skills you have.. Ideally, I would have checked the text before the time of submission, but I simply did not have time. From trudy work I am especially interested in exploring the bias that might transpires visually.

Description Images

The images I created feature a series of expressive watercolor illustrations with text that appears to be part of the data collection of verbal exchanges. They depict various figures engaged in in filling the artefact. The figures are stylistically rendered with broad brushstrokes and vibrant colors: I chose green to symbolise social justice and climate, blue for “blue-sky-thinking” and a warm yellow across all ethnicities and nationalities. The accompanying text in each image reflect thoughts, questions, or instructions related to the creative process or learning discussed whilts i was drawing them, like “I have to think” or “Do we start here?”

Each illustration has its own distinct message or question, which represent different stages of the session as it develops. They all emphasize communication, reflection, and the exploration of ideas. The characters are shown writing on the artefact with a focus on writing, learning, and introspection. The images are dynamic, with the text adding a narrative element that invites interpretation and contemplation.

The drawings provide a visual feedback mechanism that complements traditional surveys. They capture the nuances of students’ experiences, which can be integral to understanding the full impact of self-evaluation on critical thinking, anxiety, and compassion among diverse student populations. Such insights can be instrumental in shaping an inclusive and empathetic educational environment and bring me closer to them during the process.

AI Chat GTP Description Images

The analytical description provided below was generated through prompts given to ChatGPT, which served as an impartial tool to dissect the nuances of the session. Utilizing ChatGPT’s capabilities, the paragraph offers an objective perspective on the session’s dynamics, emphasizing its participatory nature and alignment with progressive educational theories. This external analysis through an AI medium provides insights detached from personal biases or interpretations, which could be especially useful for a facilitator seeking to understand the effectiveness of their pedagogical approach from a fresh viewpoint. On the other hand, the description, as analyzed through prompts given to ChatGPT, inherently carries the constraints of the AI’s programmed knowledge and the perspectives of its creators. While the analysis aims for objectivity, it is important to acknowledge that ChatGPT operates within a defined set of parameters and draws upon a vast, yet specific, dataset that influences its interpretations. This means that the analysis, while systematic, is not entirely devoid of the underlying biases present in the data it was trained on, offering a view that is objective to a degree but still subject to the limitations and design of the AI system.

Description prompt : Can you analyse the images below from the session and anything you can notice in the session ( mood, body positon, colours etc)?

Analysis Images by Chat GTP

Mood: The artwork suggests a range of emotions. Some students appear pensive and focused, indicating deep engagement in critical thinking. In contrast, the text “It is difficult to know” hints at the anxiety and uncertainty that can accompany self-reflection, especially when one’s ideas and goals are not fully formed.
Body Language: Students are depicted in various postures: some hunched over their work in concentration, others more relaxed. Body language such as leaning forward can indicate interest and engagement, while a bowed head might suggest frustration or the weight of introspection.
Interactions: There are expressions of dialogue—”do we start here,” “can I write what I want?”—which show active participation and possibly the need for validation or guidance, reflecting the students’ need for a compassionate and supportive environment.
Feedback on the Process: Statements like “I have to think” and “can we have stickers with ready-made answers” provide direct feedback on the self-evaluation process. They suggest a desire for more structure or assistance, which could help bridge gaps for those with different abilities and needs.
Facial Expressions: Some faces are drawn with neutral or contemplative expressions, while others have smiles or frowns. These expressions can offer insights into the individual’s comfort level and emotional state during the self-evaluation.
Written Text: Phrases like “I need a better intro” and “there is no wrong answer” underscore the importance of clear instructions and reassurance in the self-evaluation process, which could help reduce anxiety and encourage a more compassionate approach to self-assessment.

Annotated Bibliography

The document “Major Project” by Trudi Esberger explores the use of drawing in educational settings, particularly within the Design School at the London College of Communication. It employs a qualitative, ethnographic approach to understand how drawing facilitates teaching and learning. The study identifies drawing as a multifaceted tool for communication, problem-solving, and creative exploration, highlighting its pedagogical value across pre-degree, undergraduate, and postgraduate levels. Through participant observation, the research examines drawing’s role in design education, emphasizing its potential to enhance student engagement and learning outcomes.

Bibliography

Freire, P. (2000). Pedagogy of the Oppressed, 30th anniversary edn, translated by Myra Bergman Ramos, with an introduction by Donaldo Macedo. New York: Continuum.
Mellow Kyler (2022) YouTube. Video Audiobook: Freire, P. (2018). Pedagogy of the Oppressed. 4th edn. [ebook] New York: Bloomsbury Academic: Available at: https://www.youtube.com/watch?v=9NzKrFAaCsA (Accessed: 07 June 2023-03 February 2024).
(2024). “Data Collection Using Drawings, Photographs and Transcript: A Reflexive Approach in Ethnographic Research”, Open AI ChatGPT. [Date of Chat: 05 December 2023 – 03 February 2024].
Noce, K. (2024). “Collection of Drawings: Student Self-Evaluation Observations Documentation” [Watercolour drawings].
Noce, K. (2024). “ARP KIM NOCE – Growing Equity – Presentation 9-2-2024” [PDF].
Esberger, T. (2023) “Ma Academic Practice, Major Project, Drawing | Pedagogy | Ethnography, UAL MAP, 21040812. [PDF].
Smith, C. (2023). January 11, 2023, Mud, Muddy, Muddier Still: Pedagogic Research in the Arts University, What happens when workshops happen?, UAL 22/23 PgCert Academic Practice in Art, Design and Communication TLE CPD, Presentation January 11, 2023,[ PDF].

Bibliography from Trudi Esberger

Brewer, J.D., 2000. Ethnography. Buckingham: Open University Press.
Calvey, D., 2021. The sensory lens: Ethnography, senses and the everyday. In: D. Calvey, ed. Creative ethnographies: A transdisciplinary approach. London: Routledge, pp. 341-355.
Causey, A., 2017. Drawn to See: Drawing as an Ethnographic Method. Toronto: University of Toronto Press.
Cohen, L., Manion, L. and Morrison, K., 2011. Research Methods in Education. 7th ed. London: Routledge.
Denscombe, M., 2008. The Good Research Guide: For small-scale social research projects. 4th ed. Buckingham: Open University Press.
Elliott, D. and Culhane, D., 2017. A Different Kind of Ethnography: Imaginative Practices and Creative Methodologies. Toronto: University of Toronto Press.
Emerson, R.M., Fretz, R.I. and Shaw, L.L., 2001. Participant Observation and Fieldnotes. In: P. Atkinson, A. Coffey, S. Delamont, J. Lofland and L. Lofland, eds. Handbook of Ethnography. London: Sage, pp. 352-368.
Hickman, L., 2008. The Projective Cast: Architecture and Its Three Geometries. Cambridge, MA: MIT Press.
O’Reilly, K., 2009. Key Concepts in Ethnography. London: Sage.
Pink, S., 2001. Doing Visual Ethnography. London: Sage.

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