The presentation discusses two post-inclusive arts projects. These projects use participatory co-design to create artworks and technology, and grounded methodology as a means of developing learning and evaluation. The first project is a community education project on flooding in Bath, UK, and features co-created interactive installations, music and sculptures. The second project is a community design project, which features the development of co-designed breakdance choreography, performance and a multi-sensory dance beat technology in Yorkshire, UK

Hayhoe, Simon

English

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        Citation for published version:Hayhoe, S 2020, 'Participatory Co-Design, Grounded Methodology and the Development of Post-Inclusion',Paper presented at Inclusive Design 24, 17/09/20 - 17/09/20.<https://www.youtube.com/playlist?list=PLn7dsvRdQEfGkK9xxk54XdKTLk7zf_Qwp>Publication date:2020Document VersionPublisher's PDF, also known as Version of recordLink to publicationPublisher RightsUnspecifiedUniversity of BathGeneral rightsCopyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright ownersand it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights.Take down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Download date: 22. Sep. 2020PARTICIPATORY CO-DESIGN, GROUNDED METHODOLOGY AND THE DEVELOPMENT OF POST-INCLUSIONSimon HayhoeUniversity of Bath, UKINCLUSIVE DESIGN 2417TH SEPTEMBER 2020The presentation discusses two post-inclusive arts projects. These projects use participatory co-design to create artworks and technology, and grounded methodology as a means of developing learning and evaluation. The first project is a community education project on flooding in Bath, UK, and features co-created interactive installations, music and sculptures. The second project is a community design project, which features the development of co-designed breakdance choreography, performance and a multi-sensory dance beat technology in Yorkshire, UK.PRESENTATION OUTLINEI am going to:­ Present a brief history of disability and exclusion­ Present a new model of participation used for engaging people with disabilities­ Present two case studies:­ A break dancing and visual impairment project­ A community art education project on flooding in BathAPPROACH TAKEN TO INCLUSION IN THE ARTS, TECHNOLOGY AND EDUCATIONIn this presentation, I am taking a process/performance and product approach to inclusionAppropriated from art­ Artists refer to process versus product­ Traditionally, seen as conflicting­ The approach taken in the following projects don’t see them in opposition –two sides of the same coinProcess – the way we approach the production or use of learning, art or technologyProduct – the outcome or object that is produced as a result of learning, art or technology production FIRST GENERATION Medicalization of DisabilityDISABILITY AS A MEDICAL ISSUEMostly involved separation in homes, asylums or institutesDefined according to impairmentHighlighted issues of infirmity, incapacity, injury or impairmentAim to look after ill people:­ To relieve physical deficit­ Hence the term HandicapPhysical disabilities targetedNo thought given to intangible impairments or difficultiesHayhoe, S., 2015. Philosophy as Disability & Exclusion. Charlotte, NC: IAP.SECOND GENERATION Disability and AssistanceDISABILITY AND TASK ASSISTANCEAim still to overcome deficitIntegrated in environment but not in tasksMore technology focused:­ Emphasis moved from medical to social and cultural task assistanceOften associated with education or assisted living: mobility, reading, writing or hearingMost famously, assistive technology­ A mixture of mechanical & electrical technologiesTHIRD GENERATION Disability and AssistanceINCLUSION IN TASKS AND ENVIRONMENTRoughly, where we are now in the mainstreamInclusion based on providing fuller equality with others – especially in tasks and practiceThus, inclusion seen as practice focussedEmphasis again on technology, but this time on inclusive technologies:­ Mainstream technology that can be used with either no or minimal adaption by a person with a disability as an accessible technology. It is also seen as technology that provides social inclusion, such as communication and interaction, for people with disabilitiesHayhoe, S. (2019). Inclusive technical capital in the twenty-first century. In S. Halder, & V. Argyropoulos (Eds.), Inclusion, Equity and Access for Individuals with Disabilities: Insights from Educators across World (pp. 223-241). Singapore: Palgrave Macmillan. https://doi.org/10.1007/978-981-13-5962-0_11ACCESS TO THE TECHNOLOGYInclusion is developed through physical aspects of design, e.g.­ The look of the interface­ The sounds created by the interface­ The tactile and physical nature­ Its size and weight­ tactile informationAn evaluation of the needs, skills and mobility of technologiesMainstream apps that can be used as inclusive technologiesFOURTH GENERATION Post-Inclusive TechnologyA MODEL OF POST-INCLUSIVE DEVELOPMENT –INCREASED PARTICIPATION IN DEVELOPMENTAll education, arts and technologies consider accessibility as standardUsable and can be studied by as many people as possiblePerson centered not group centered, and designed for all needs­ Considering people with all needs in the process of designNot just universal design, a deep social and cultural understanding of people you are working withParticipatory Co-Design­ Groups consist of users with a range of access needs­ Involved in the design of education, arts and technology from the ground upDEVELOPING PARTICIPATION IN THE ARTS, EDUCATION AND TECHNOLOGYPost-Inclusive WorkingTHREE ELEMENTS OF PARTICIPATORY ENGAGEMENTDevelop and Encourage Participatory Engagement­ Mentor those who want to engage­ Develop a community of practice and good practiceModel and Trace Pathways to Impact and Legacy­ Look at and guide participatory engagement strategy­ Record participatory engagement, impact and legacyCoordinate participatory Engagement­ Develop an Engagement Toolkit­ Source volunteer stakeholder­ Record and bank skills and venuesCURRENT ISSUE - THERE APPEARS TO BE DISPARATE PARTICIPATORY ENGAGEMENTUniversitiesSchools BusinessesBloggingLibrariesMuseumsMODEL OF PARTICIPATORY ENGAGEMENTPost-Inclusive DevelopmentDEVELOPING PARTICIPATORY ENGAGEMENT -CONSIDERATIONSWHEN TO ENGAGEWHO TO ENGAGEWHERE TO ENGAGEWHO TO ENGAGE THROUGH PARTICIPATIONPEOPLE LEARNINGINSTITUTIONS FACILITATING TEACHING AND MAKING POLICYPEOPLE TEACHINGWHERE TO ENGAGEPHYSICAL ENGAGEMENTVIRTUAL ENGAGEMENTVIRTUAL ENGAGEMENTDIRECT ENGAGEMENT (including chats and e-conferences)BLOGGING (including micro-blogging)VIRTUAL LEARNING ENVIRONMENT or MOOCsPHYSICAL ENGAGEMENTINFORMAL LEARNING SPACES (libraries, parks)PUBLIC LEARNING SPACES (museums, hospitals)FORMAL LEARNING SPACES (schools, universities)WHEN TO ENGAGEINFORMAL LEARNING OPPORTUNITIES (community centres, parks)EVENTS (group meetings, seminars)MEDIA (schools, universities, art centre)METHOD OF IMPLEMENTATION AND EVALUATIONPost-Inclusive ProjectsMETHOD OF RESEARCH AND DESIGN:PARTICIPATORY METHOD / GROUNDED METHODOLOGYA form of emancipatory research (Barnes & Mercers, 2003)­ Accountable, open and run by those designed to emancipateOriginal method with participants with learning disability established three principles (Walmsley and Johnson, 2003)­ Addresses issues and improves lives­ Accesses and represents views and experience­ Participants treated with respect Barnes, C. & Mercer G. (2003). Disability. Cambridge, UK: Polity Press.Walmsley, J. and Johnson, K. (2003). Inclusive research with people with learning difficulties. Past, present and future. London: Jessica Kingsley Publisher. Open Coding:Building familiarity and testing usabilityAxial Coding: Choreographic explorationSelective Coding: Developing and performing the danceMETHOD OF OUTCOME/EVALUATION:INCLUSIVE CAPITAL­ Ability to get to and move around spaces – including virtual spaces­ Ability to access all public spaces and places in environment –including virtual spaces­ Accessible information – physical and virtual­ Ability to learn with group or individually through peers­ Learn and travel with peer groupHayhoe, S. (2019). Cultural Heritage, Ageing, Disability and Identity: Practice and the development of inclusive capital. Abingdon, UK: Routledge.THE SOUND PAD PROJECT Working with People with Visual Impairment and Break DancersSOUND PAD – INCLUSIVE TECHNOLOGY, VISUAL IMPAIRMENT AND BREAK DANCINGWHEN (Participatory Sessions, Meetings, Choreography Sessions, Final Performance)WHERE (Community Centres, Dance Studios, Schools)WHO (Visually impaired Children, Associations for the Blind, Break Dance Collective)MOBILITY ISSUES & VISUAL IMPAIRMENT­ People with visual impairment have different issues with mobility­ Mobility was previously addressed through cane use and navigation­ Nathan Geering, a professional break-dancer, worked with older adults, young people and dancing­ There is a need for educating about falls and accidents­ Took an inclusive approach­ Technology, Dance and Education ProjectMovement InformationLearning TechnologyMobilityMETHODS OF PRACTICE:RATIONALE METHODDeveloped by Nathan Geering­ Worked with visually impaired director, Andrew Loretto, to explore accessibility in breakdance­ Rationale developed a form of audio description through beat-boxing ­ Creates a richer soundscape­ Stimulates the imaginations of visually impaired audiences­ Rationale Method of Audio DescriptionPROJECT OBJECTIVESThe Sound Pad project had the following objectives:­ Participatory practice (information)­ Develop a post-inclusive dance technology­ Co-design choreography (mobility)­ Co-create teaching (learning)­ Encourage people with visual impairments to be mobile­ Develop a greater understanding of dance and a sense of inclusion­ Encouragement of artists in their use of a multi-modal pedagogySESSION DESIGN AND PARTICIPATIONParticipants included stakeholders:­ Members of associations for the blind (AfB) in Sheffield and Bradford­ Avoided younger children­ Breakdancers from Sheffield collective­ Rationale (choreographers)­ Groups split into adult and teenagers/young adults from AfB­ Groups felt happier in different age groups­ Adult group met from January-February 2020­ Younger group met from December 2019-February 2020­ Younger groups discussed education in particular­ Both groups discussed dance, choreography and technology­ Sessions attempted to develop a community, giving each participant a voiceIMPLEMENTING THE THREE PHASES Open, Axial and Selective Coding PhasesOPEN CODING PHASE­ Restrictions to the project:­ Short timeframe and tight budget­ Not able to develop a technology from scratch­ Ableton Novation Launchpad bought in consultation with VI users­ Participants discussed the rationale method language and technology­ Models of dance moves formed­ Participants discussed dance­ Later, AKAI Professional LPD8 bought as it was simplerImage to the left represents playdough figures of a slice – a dance move. There are six playdough figures on a table. The figures are long and thin, some split. They are coloured yellow, purple, red, green and light blue. Image to right represents the figures of a bounce – another dance move. There are three figures, each of which is round and some are like chubby human figures, set out on a table top. They are coloured purple, green and yellow.AXIAL CODING PHASE­ VI volunteer participants worked with dancers to choreograph movement sequences using adapted Launchpad and LPD8­ Half day sessions, four sessions in total­ Evaluated and observed by researcher and participants­ Communication strategies further evaluated­ Testable hypothesis:Once clear communication processes have been confirmed, the dancers can more easily choreograph the performance piece.An example of a breakdance move choreographed by a participant and performed by Nathan Geering: [verbal image] Nathan is moving in time to music. He is a tall man wearing blue jeans, dark colouredtrainers with red laces and a baggy purple sweatshirt with a yellow teddy bear design on the front. He is about to spin, and one arm is outstretched to the front of his body whilst another is outstretched behind him.SELECTIVE CODING PHASE­ Choreographed sequence and performance created:­ Evaluation showed inclusive capital:­ Mobility, learning, information and space and place appeared to have been developed through the dance sequences­ Participants showed they had developed a bond through their community­ Performance eventually happened in Derby, as Sheffield suffered floodingDancer: “What was really interesting was that I didn’t know his idea of a step was my idea of a step. We had to ask eachother ‘is the the kind of step you mean.’ So, we had to get involved more than choreographers would usually. The [technology] helped a lot.”Derby audience member: “The sounds effects gave me a better understanding of dance moves and made the performance really enjoyable.”IMPLEMENTING THE THREE PHASES Open, Axial and Selective Coding PhasesRIVER IS THE VENUE – INCLUSIVE ARTWORKSWHEN (Festivals, Exhibitions, Seminars, Conferences, Researchers evening On-going)WHERE (University, Parks, Care Homes, Streets, Hospitals, Galleries, Websites, Blogs)WHO (Artists, Arts Administrators, School Children, Older Adults, Engineers, Teachers)CONTEXT - TRADITIONAL PUBLIC ARTTraditionally, public artworks commissioned to inspire:­ Nationality and cultural pride­ Political or religious ideology­ PowerLinked to a permanent geographical space that reflected this status (Mitchell, 1990; Johnson, 1995; Levinson, 2018)They were often placed up high, physically away from their audience, inaccessible to those with disabilities (Argyropoulos & Kanari, 2015).CONTEXT -CONTEMPORARY PUBLIC ARTLatter years of the twentieth century:Subjects of public artworks moved closer to the public imagination­ Less elevated issues and ideas­ Communicated broader beliefs­ Spectrums of humanity and religious ideals (Hall & Robertson, 2001) Despite these changes, participatory artworks still inadvertently excluded viewersViewers physically, intellectually and socially less able to access artworks (Smith, Ginley & Goodwin, 2013).OUTLINE OF THE PROJECTProject called River is the Venue (RiV)Awareness of flooding throughout Bath Commission artists – focus on disabilityDevelop participatory, accessible artworkParticipant groups of stakeholders:­ Art spaces­ Schools­ Colleges­ Local universities­ Care home residents­ Patient groupsTwo main aims:- To explore the development of sensorially and intellectually accessible participatory artworks through the experiences of artists-as-co-teachers- To examine the commissioning of participatory artworks as a means of socially inclusive participatory educationAs before, conducted in three phasesOPEN PHASE Meetings designed to discuss flooding of Bath and what was needed / wanted:­ Experts: local councils, water companies and the environment agency, arts centres and sewerage companies­ Lay participants: Local residents, local association for the deaf, local people with disabilities, local science and arts association, students, teachers, museumsDiscussed local experiences of flooding, local inclusion, being disabled in Bath­ Tensions with local authorities, water and river authorities about siting worksTHE AXIAL CODING PHASECommissioning of the artists in consultation with participantsDeveloping art works with the communityParticipant feedback on artworksSome tensions, as arts groups tried to protect the artistsHowever, artists themselves seemed to be open to new thinkingDevelopment of an accessible websiteExhibition at local festivals and in the arts centresSELECTIVE CODING PHASE –EXPERIENCES OF LOCAL MEMORIESMark: Performance Artist - “Having grown up in this area the stories of the disastrous floods were often recounted, particularly on car journeys through Pensford. Although I started with a plan for my RIV piece I left space in its framework to incorporate new discoveries and developments. The piece itself kept growing even throughout it’s delivery during the Forest of the Imagination and related events. My only concerns for accessibility were for safety near water and traffic. As I was mostly sited away from the river bank and roads this was not an issue.”SELECTIVE CODING PHASE –EXPERIENCES OF PARTICIPATIONAlison: Installation artist – “I have had people tell me they have been to look at the flood markings under Ha'penny Bridge & had several conversations about the phenomenal scale of water mass that the flags indicate when in position and how that would behave differently spread out in the flood conveyance system which was rewarding to realise people understood and were as fascinated by the physical modelling of it as I am.”SUMMARY Technologies for People with DisabilitiesSUMMARY­ Arts, technologies and education for people with disabilities have gone through distinct eras of evolution­ At the beginning of this evolution, both education and technologies focused on physical medical issues­ As technologies and education evolved, they did more to consider the needs of all users, and still considered people with disabilities as a separate user group­ Slowly, mainstream technologies have started to include people with disabilities in educational development and the design process – technology became ubiquitous­ Nowadays, contemporary technologies and education, used correctly, have the potential to consider all people’s individual needs­ We need to consider this issue moving forward, and co-develop and design accordingly from the ground up

Participatory Co-Design, Grounded Methodology and the Development of Post-Inclusion

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Participatory Co-Design, Grounded Methodology and the Development of Post-Inclusion

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