COMMUNICATION- workshops - Yuka Oyama

DAY 1-  12.02.24- see full notes transcript

summary of notes:

• Probe kit: how do you ‘seduce’ people, how to make people participate in your participatory art.
• HOW DO YOU FIND PEOPLE TO PARTICIPATE?  How do you not exploit? You create an accessible visual communication, something that looks like fun to do (this is her way of doing it, compare to Eliot?)

• - A situation on the body- jewellry made from discarded material (eg: woman who had children later in her life, who felt so thankful for being ‘fruitful’, she had a fruit-related ‘jewellry’ made for her, that she wore on her body) note to using the words that people use as a way to help direct where the art piece or object is going, in this case she said she felt fruitful so the art piece involved fruits, keeping it simple.

• Look up about collectors: Jean Baudrillard ‘the system of objects’. 

• Making a temporary connection through ‘making’. 

• When working with public space, also have to read the time that suits people, the participants, it’s the role of the artist to read public space, who who want to work with depends on their time, when they feel like they are welcome to take part, etc… 
  

• Look up: Sophie Woodward ‘material method’, related to object interviews. Auto-ethnography: observe yourself first to understand what you’re doing then test with others. 
   
  
• The people’s relation to objects are similar to how people relate to each other (Daniel Miller sociologist) 

• object/actor network theory- Bruno Latour (a network of things to act in certain ways)
   
  
• Objects carry stories (easier for people to talk about themselves through objects) 
  

• Reaching out to people for participants: social media, online etc… but that wasn’t very useful. She prefers talking to people/friends etc… about her ideas and asks if they know people who might like to participate.
  
  Contracts with the participating people, be clear on the roles, what are people supposed to do. This is more for research participants though, maybe different for ‘drop-in’ workshops?
  Encourage people to ‘stay’ with her (she also needs to see if she likes to work with them)
  
• She asks the people to do some activity (probe-kit) with some questions, that they take home with them and do at home on their own time. If the results are interesting to her/resonate with her then she will do an interview.
  
  
• Probes: enhanced interviews (using ‘probing’ to enhance the interview)

• Look at probe design method in probe book- from p 74

• Probe kit is made uniquely for the specific studyWho are the research participants? Who are they not. 
• They should belong to the target group
• Should not be too familiarEmpathy maps- rubert curedale 2016
• She (Yuka) writes essays after to contextualise the work, but also involves other perspectives too, to maximise the engagement (invites sociologists, ethnographers, etc…) 

• Research participants are always biased, always busy. 
  
  
• Making design probes work’, jayne wallace, john mccarthy, peter c wright, patrick olivier
  
  
• Artistic identity is in what you wear, how you talk, the things that you have with you that makes you approachable or not, for participants to want to work with you (eg: Merete’a bike of archives).