Visual Memos Again...The Family History Memo

 Visual Memos Again...and again...and again...

As I have been wandering through my stored images, I realized that I had another visual memo to add to the collection I've already put on the blog (at least I think I haven't shared it before).  This one was created early in the work on the Journal Project.  Actually I think it was produced during the Fall 2008 Qualitative Research course where we were all getting on board with autoethnography and arts-based research. 

This memo examines my early life, describing the experience of growing up in the particular household into which I was born.  I'll forgo commentary. 

Visual Memos in Qualitative Research: Part III

Image via Wikipedia

Began this morning with more thoughts about visual memos. 

Is a visual memo a cartoon?  Is it a story?
What is the form of the narrative of visual memos?
How do the elements of the narrative work?

Would qualitative researchers use visual memos for the same thing that they would use written memos for?  How does a researcher decide to insert the visual? 

This reminded me of single photos or drawings--artifacts from my data collection activities--that I came to refer to as memos becuase I found them so iconic and I used them repeatedly to talk about a concept/notion that had arisen in the interpretation.  An example is a photo of a 1st grade classroom that I have used many times to talk about multiple ways to read the photo and think about the cluster of things and practices.  One way I approach it is to talk about "reading the walls".  I can read the whole day on that one wall--from morning message through the day's schedule, to a host of other activities.  Another way to approach it is to look at the intersection of things (computers, record player, blackboard) and the things they imply...and the technological eras they represent. 

When photos take this relationship to the study, I no longer consider them an artifact, but a memo.  Do I have the right to do this?  Is this a legitimate way to refer to them?  Perhaps more important then if they are a memo or an artifact, is the peculiar transformation (in my mind) that has occurred to this piece of visual material.   Does a well used artifact become a memo when it has accreted experience for me...not just for them?  Meaning, do my experiences of explaining the photo from methodological perspectives facilitate the process of memo creation?

This reminded me of the kinds of problems that students in qualitative research class have with the notion of memo.  When first introduced, many struggle hard with it.  It seems very foreign to them.  They want to turn out business memos--something similar to ordering new office supplies.  The word memo seems like an impenetrable barrier.  I've tried changing the word, but it's like mixing medication in applesauce, they can smell out the duplicity.  They know there is something different here. 

I've examined many texts about memos in qualitative research--I suppose I should do something like Johnny Saldana's overview of coding--what are all the different ways qualitative researchers have of describing memos? 

This does not end here--there's more to consider. 

Visual Memos in Qualitative Research: Part II

On January 4, 2010 I blogged about Visual Memos.  I shared a visual memo that had evolved as I was thinking about the distinction between academic prose and the journal prose (see earlier blogs on "The Journal Project"--a study of my journals from 2006-2008).  That was what I would call an "emergent interpretation" memo.  In Part II, I'd like to think about the use of visual memos in a different way--for a memo that is not a reminder about one point in time, but looks over a series of events to make sense of them.

This visual memo is titled "Evolution of an Image".  It's genesis was rereading a journal entry from December 2007 about the cancer of a dear friend... and then linking this entry to art experiences and finally back to the art and the life/death of the individual I am writing about.  The individual I am writing about has now passed away.  I am saddened by his death, but glad to be able to share with you about his impact on my thinking...and (and this would give him a chuckle)...his impact on my methodological thinking!  In sharing the visual memo with you in digital form it gives me a chance to annotate it electronically.

 

  

[This may be hard to read--we learn about the cancer and hold a laying on of hands ceremony at the church.]

 

These two events--cancer and Maggie Ayers are, initially, unrelated.  Maggie Ayers is a fantastic mixed-media artist from Northern England.  She has made a series of YouTube videos describing various art activities.  There is actually one on green/blues and her method of creating fiber cocoons.  You can learn more about her at:  http://www.maggieayres.co.uk/ 

 

Felter's Fling--August 2009--is when I begin the pieces began to fall together. As I was looking for a link to Felter's Fling--I found this blog item by one of the instructor's--and my photo was on it!!  I am wearing the felt hat that won me an award.  http://weaversew.com/wordblog/2009/08/24/felters-fling/comment-page-1/

However, if you want the real low-down on Felter's Fling...try this link:  http://www.blacksheepdesigns.com/index.html 

 

At this point, the original experience of the laying on of hands ceremony, the interaction with Maggie Ayers and Felter's Fling...has led to a new understanding of the life/death of my friend and has created a new form that symbolizes this life/death to me.  

 

Visual memos serve many different purposes (as do purely written memos).  Visual memos can range from all visual and no text...to a load of text and limited visuals.  

I intend to think more here about their uses and the forms they take.