Several issues arose during the research that requires review and consideration.
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The recording of journal entries presented some challenges to consistency of the research processes. The inherent cognitive conflicts between modes of thought -‐ ideation and recording – remain unresolved. As verbalisation has been shown to interfere with sagasuated ideation (Schooler 2002; Schooler, Ohlsson & Brooks 1993; Winkielman & Schooler 2011), this is an elemental neurological issue unable to be overcome.
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Another journaling issue occurred during the production of the non-‐digital exhibited artworks. For example, the works were created in various locations, such as the end of a two kilometre long pier at Port Latta, in a boat, in a hospital ward, or in my workshop. Each of these distinctive locations made it more difficult to stop and annotate the concepts as they emerged, which is important as delays in recording allowed for changes and evaporation of some ideas. Poincaré talks about always having his notebook, which would apparently provide a simple solution, however, it’s worth considering the different level of subjective agency between the epochs. Train and foot travel allow for distraction in ways that driving a vehicle in traffic doesn't.
Unfortunately therefore, some of the concepts that emerged during the making of the exhibited works were not recorded, or acted upon. While the ideal was to record
ideation immediately, the recurrence of other concepts that were journaled suggests the possibility that insight and understanding rising from the depths may resurface,
allowing for later recording.
Conflicts in cognitive modes also became relevant when switching between immersive periods of artwork and the exegetical elements of this research. The review of journal notes illustrates awareness of this complexity. It is apparent that immersive cognitions generated different methods of thought, and moving from the exhibition production back into the academic realm required almost ten days to effectively move from the open cognitions of the artwork production to the lineally contained cognitions required to identify, plan and academically present the exegesis.
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Another journal recording issue was its direct impact upon the time left available for artwork production, which resulted in occasional variations in the schedule. Variation in schedules also arose under pressure of deadlines.
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Other issues relate to academic experience, such as those arising from the breadth of the inter-‐disciplinarity of this study. Lack of academic experience in each of the fields explored during the meta-‐analysis of the data may have allowed for mis-‐interpretation of discipline specific knowledge. For example, the term ‘heuristic’ carries different connotations in educative pedagogy (to enable people to discover or learn something for themselves), to the same word in psychology (“the processes of breaking problems down into small parts for simple resolution”, Eysenck 1993:149). Sufficient reading is required to ensure such terminology does not result in mis-‐interpretation, which may have unintentionally occurred in this study. This inexperience may also result in missing key theorists due to unfamiliarity with key terminology, a factor especially relevant for isolated, ‘distance ed.’ students.
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Another issue arising from lack of academic experience impacted upon the writing of peer-‐reviewed papers for publication. As each discipline has epistemological etiquettes, attempting to fit emerging ‘square’ concepts into ‘round’ disciplinary holes demanded greater time than was readily available, and resulted in the composition of fewer papers than had been anticipated by me -‐ the researcher. The annotation and research
conducted in this study, however, still allows for the writing of such papers upon completion of this exegesis.
Other potential academic limitation stems from lack of experience in designing,
producing and analysing extrinsic statistical data. Unforeseen technical issues led to the loss of some environmental data, leaving gaps that potentially undermine the veracity of the entire dataset. However, as such data was not within the direct gamut of the
research, having been deliberately minimised and included here to enrichen rather than unequivocally prove, such limitations do not in any sense invalidate the qualitative a/r/tographic nature of this research project.
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Touchscreen presentation.
The touchscreen presentation method of this exegesis is viewed as a continuation of the artwork. The touch screen works as a visual image, related to the early artworks developed within the study. It performs its role visually, and presents a different method of reading and knowledge integration that is new to existing pedagogy. However, the exploratory nature of this particular presentation method may impact upon its potential effectiveness.
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The application of the touchscreen method increased the complexity of writing
encapsulated within the dots, in a way similar to attempting to write a crossword puzzle that worked in both diagonals, as well as vertically and horizontally. While writing ‘enclosed’ paragraphs is a normal part of academic writing -‐ where each paragraph contains one concept -‐ the attempt to write in self-‐contained but laterally inter-‐related paragraphs became very complex, especially given the dictate that the exegesis be presented in the traditional lineal textual manner, as well as the touchscreen, which requires the text to work in both paradigms. Ironically, the complex inter-‐relationships between the textual and visual structures can create a rigidity resistant to amendment.
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Grouping text by theme and relating those themes by proximity was the goal, but reality has a habit of challenging theoretical ideals. Practical considerations meant that
paragraphs placed proximally could not always be read in any order, as "zones of proximal development" (Vygotsky 1978) required delivery of certain aspects of the