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For more help see www.geography-fieldwork.org/gis * ES £Ť5 9 t m Page Relevance l Connections Experimental Visual Value judgment Critical linking Perceptual awareness Complexity Systems field sketch 6 ✓ Carbon content of trees 8 ✓ Cliff surveys 10 ✓ Hudson's equation 12 ✓ ✓ S Sound mapping 14 •/ Smell mapping 16 ✓ •/ Mood mapping 18 Observation 20 ✓ Visual methods 22 Urban wanderings 28 Diaries 30 Evaluation Be rigorous: Have you considered all sources of error? Be critical: Why do you think your conclusions are valid? Be ethical: How successfully have you minimised the damage caused by your enquiry? Introduction and planning Be rigorous: Will your enquiry consider every part of the issue? Be critical: Are you planning to collect evidence from different perspectives, locations or times? Be ethical: What impact might you have on the environment? Data collection Be rigorous: Are your samples representative and unbiased? Be critical: Is your data collection accurate and precise? Be ethical: How will you avoid damaging the environment or causing offence? Conclusions Be rigorous: Do you describe every trend and pattern? Be critical: Are all conclusions supported by the evidence? Be ethical: Is there a statement which details the ethical considerations of your research? Data analysis Be rigorous: Can you justify your choice of statistical test? Be critical: Have you checked all your workings for mistakes? Be ethical: Have you ensured confidentiality and anonymity in analysing the results? Data presentation Be rigorous: Are all graphs accurate and correctly labelled? Be critical: Are your graphs and GIS techniques valid? Be ethical: Have you acknowledged all the sources of secondary data you have used? Critical reflection wheel: students should reflect critically on their work at all stages of the enquiry Generating ques Welsh hides of Multiple Deprivation (WIMD) Cot Port r.ilKM (at I SOA scale) What is the impact of these sources on the perception of this place? Where... Where are the effects ot the potential plant closure impacting local people the most' Who is most at risk of the uncertainty in the economy? Why is this area at nsk of a change in economy? How is deprivation experienced by the local community? iplin.i .1. •> •"<".> «•' n in a physical landscaped ....,.......'Mi . ,i crucial skill which can empowei students lo , iiMte and develop geographical questions A. Table of questions Provide stimulus material such as photographs, concept maps, secondary data (perhaps from GIS) and newspaper articles. Ask students to complete Fig. 1.2 with questions. Then introduce further challenge by asking students which column contains questions suitable for A level enquiry, and why that might be. Steelworkers tread the boards in a show about their fight to save their jobs tonight Why did this area rally together and show community spirit? How does Port Talbot showcase its strong identity? What was the impact of the uncertainty of the steel workers on the local population? What could be the benefits of a change in economy in this area? What would be the impact on the identity of this location if there was investment in quaternary industry? C3 i'. """,V°'nn-Honsu^^,.,,^'^ How could the community respond to the changing econo of Poit TalhoP '^s stimulus material' How could the people change the perception of this place, if given investment? FSC B. Geographical lenses By applying different lenses to views of a location, details can emerge that are not so obvious at first glance. These lenses provide the opportunity to observe more broadly, away from personal biases and open up wider, synoptic geographical thinking about a location. Students can then share their different photos comparing and contrasting these differing views of the location. Taunton is a place that is... P P P prosperous unequal .. diverse sustainable .. accessible ...resilient C. What makes a good question? Knowing what makes a suitable geographical question is important. Considerations of suitability should take into account whether the questions are: Clear and simple Fit for assessment Relevant Manageable Interesting At this planning stage questions will need to be refined, to ensure they are suitable for investigation, which may involve a narrowing of focus by writing sub-questions and hypotheses. Photographs of Taunton town centre that could be viewed through many geographical lenses Jo Hannis (CC-BY) References 1 Jess Glenn-Batchelor, Lincoln Minster School; Critical thinking about critical thinking, Jon Cannell and John Hopkin, Workshop 23 at Geographical Association Conference 2017. It was developed as part of the Geographical Association work with the British Council. For more information see www.geography.org.uk/critical-thinking Systems field sketch * ^ A system is a set of interrelated components that work together as a whole. Numerous examples of a system can be found in geography including the water and carbon cycles, as well as coastal and glacial systems. An appreciation of the different components of a system can be challenging due to the magnitude of the system involved. By focussing on a single view and drawing a 'Systems field sketch', an application of systems thinking can be applied to a location which encourages considerations of the bigger picture. Methods and data collection 1. When viewing the scene, use cross lines for scale. 2. Sketch the shape of the horizon. 3. Add in detail to be picked out in the sketch. Remember this is a geographical not artistic sketch. 4. Pick out and annotate features and processes visible or inferred from the environment. 5. Code annotations into input, transfer, store and output. Encouraging meaningful observation in an unfamiliar environment can be supported using a differentiated scaffold sheet (Fig 2.1). Describe any patterns or features you can see in the landscape How would this environment look... ... a few hours ago? ... a few months ago? ... 100 years ago? ... thousands of years ago? ... in 3 months time? ... in 25 years time? ... in 100 years? Compare and contrast two sections of this environment What are the current physical and human processes influencing this environment? List human impacts on this physical environment Name a secondary data source that could help inform your understanding of this environment Formulate some questions that you could ask about this environment Identify two data collection techniques that could be used in a geographical fieldwork investigation here r-- Identify a feature and explain how this feature has formed --J Which physical and human processes are having the biggest impact and why? Explain the advantages of this site as a location for a fieldwork enquiry All Most Some Differentiated scaffold sheet for generating questions Southwaite Valley: River Derwent and its tributaries flow through this postglacial valley 1 Deciduous woodland transpiration losses 34.5% for land receiving 1000 mm annual rainfall Annual rainfall in the Lake District 2000 mm Input Transfer/Flow Broadleaved deciduous woodland intercepts precipitation: 10-25% of annual rainfall is intercepted Bracken and heather produce a full and complete canopy with dense branch coverage. Can intercept up to 50% of rainfall Gravelled pathways improve access but interrupt infiltration of water in the environment. Stepped drainage, aiming to divert water away from pathway. Artificial flow of water Store Output Upland blanket bog and moorland. Acts like a sponge, slowing down and storing water. Releases water when fully saturated. Leads to a long lag time between precipitation and peak discharge Coniferous woodland transpiration losses 32.5% for land receiving 1000 mm annual rainfall Coniferous woodland intercepts precipitation. 25-45% of annual rainfall is intercepted Systems field sketch: hydrological cycle at Borrowdale Lake District National Park greenhouse gas emissions in tonnes of C02 2011/12: 634.4 2014/15: 593.3 2015/16: 473.8 Input Transfer/Flow Store Output Seathwaite Valley River Derwent and its tributaries flow through this postglacial valley. Many of the tributaries drain the peaty upland soil. Dissolved organic content is carried in this flux Upland blanket bog and moorland. 300 million tonnes of carbon are stored in English peatlands Waterlogged bogs support peat-forming plants that sequester carbon. Most upland peat bogs are losing carbon due to artificial draining of peatlands Decomposition of vegetation on the lowland fells and in woodland. Transfers carbon from biomass to the atmosphere Coniferous woodland. UK forests and woodland contain around 150 million tonnes of carbon Systems field sketch: carbon cycle at Borrowdale Hajgftf of stem (h) = d {tan 8) + a c Radius (r) = 2n Volume /i = height of stem (m) d = distance from the stem to the observer (m) a = distance from ground to observer's eye (m) 8 = angle of elevation to top of the stem (°) c = circumference of the stem at chest height (m) m The global carbon cycle is a complex physical system, with fast and slow transfers between stores. Understanding more about the carbon cycle is important due to the continued increase in carbon levels and the global impact of this increase.12 Globally woodlands play an important role in sequestrating carbon; 13% of UK land cover is woodland.3 By focussing on terrestrial carbon stores, investigations into the carbon cycle become much more achievable. These investigations can then lead into discussions into land management and current topics of interest such as housing policy in the Green Belt. Methods and data collection It is possible to calculate the carbon content of an individual tree using fieldwork measurements. Around 50% of the tree's biomass is made up of carbon compounds such as cellulose and lignin.4 Estimating the height of the stem Conversion charts for stem biomass, crown biomass and root biomass can be found at the website • Calculate the volume of the stem (m3) • Calculate diameter at chest height (twice the radius) (m) • Use the conversion charts to find 3 2 + random fractures 1 + random fractures Occasional random fractures Spacing < 6cm 6cm - 29cm 30cm - 59cm 70cm - 2m > 2m Aperture > 1m 1m - 1.1cm 1cm - 2mm 1.9mm-0.5mm < 0.5mm Water condition Spring water Wet Very damp Damp Dry Weathering Extreme Extensive Some A little None Morphological: Cliffs Cliff height > 30m 30m - 15m 14m - 5m 4m - 2m < 2m Cliff slope Overhanging 90° - 75° 74° - 50° 49° - 30° <30° Sea caves Widespread Widespread at sea level Widespread above sea level Slight Absent Natural breakwater Absent Very small Small Wide Very wide Mass movement: fallen material Widespread Widespread around sea level Only material at the foot of cliff Slight Absent Abrasive action Very intense Intense Moderate Little Absent Meteo-marine: sea v /aves Effective fetch > 250km 250km - 200km 199km - 150km 149km- 100km < 100km Exposure to storm wave fronts 90° - 80° 79° - 60° 59° - 40° 39°- 10° < 10° Anthropogenic: eng neering structures Reinforcement Absent Poor Localised Widespread Very widespread www.geography-fieldwork.org B. Cliff profiles While standing a safe distance from the base of the cliff: • Sketch and identify key points on the profile of the cliff • Mark two points (A and B) in front of the cliff a fixed distance apart (e.g. 10m) and the same height • From a fixed height on a ranging pole at point A, use a clinometer to record the angle to each point on the cliffs • Now from point B, record the angles to the same poi nts on the cl if f , - '„'- - -' l'/-V;: B 10 metres Collecting cliff profile data from a safe distance at the base of the cliff Data presentation and analysis Cliff profiles Distance (m) How to draw a cliff profile 1. Mark points A and B on graph paper. The distance apart will set the scale of the profile (e.g. 1cm = 1m) 2. Using a protractor from points A and B, draw in all of the angles you recorded 3. Where the lines intersect shows the location of each break of slope on the cliff 4. Annotate the cliff profile with any notes you have taken in the field References 1 Andriani, G. & Pellegrini, V. (2014). A suggested method for assessing cliff instability susceptibility at a given scale (CISA) International Journal of Geology 8: 73-80 Free download at www.naun.org/main/NAUN/geology/2014/a042004-090.pdf w = Vf.H3 KD (SR-l)3cotB W - maximum mass that waves could move (kg) Wr = unit weight of riprap (kg/m3) H = mean wave height KD = stability coefficient of the riprap material (calculated in lab conditions) SR = Specific gravity of riprap material 0 = slope angle from the horizontal (°) cot = 1 -r tangent m Investigating coastal management often takes the form of evaluations into the effectiveness of coastal management strategies. Data collection is usually carried out using the semi-qualitative approach of a bi-polar assessment, sometimes based on snapshot subjective field observations. Actual evaluations of effectiveness can be more challenging. Hudson's equation is an industry standard technique used by coastal engineers today. It helps assess the effectiveness of riprap, a commonly used form of hard defence, by calculating the maximum size rock that could be moved by the waves. Any smaller rocks are vulnerable. Methods and data collection Primary and secondary data is required to calculate the Hudson value, the maximum mass the waves could move (Fig. 5.1). Primary data collection Secondary data required Rock type SR = Specific gravity of riprap material Wr = unit weight of riprap (kg/m3) Riprap shape KD = stability coefficient of the riprap material (calculated in lab conditions) 6 = slope angle from the horizontal (°) H - mean wave height for region Length of axis A Volume of the material mmm EE] Length of axis B Length of axis C The table below shows secondary data for sR, Wrand KL Source Rock type SR (units) Sandstone 2.1 -2.4 Keller Granite 2.5-3.1 (typically 2.65) (2005)1 Limestone 2.6 Basalt 2.7-3.2 Rock type Wr (kg/m3) CERC (1984)2 Granite 2691 Limestone 2611 Concrete 2403 For two layers of... KD (units) Rough angular quarry stone 1.9 Assessing the effectiveness of riprap Use an appropriate sampling strategy to select a sample of rocks from the riprap. For each rock, measure the length of axes A, B and C (m), then calculate the volume (m3) and mass (kg). Measure the slope angle (°) of the riprap using a clinometer. The measured mass of each riprap rock can be compared to the Hudson's value. Any rock with a mass above below this value will be effective, but anything below will be ineffective, in average wave conditions. Alternatively replace H in Fig. 5.1 with the storm threshold (the wave height that is exceeded 4 times in a year) to find if the riprap will be moved in storm conditions. 09/16 12/16 03/17 06/17 09/17 Volume = A x B x C Mass* volume x Sr SR = Specific gravity of riprap material (see Fig. 5.4) 2016-2017 wave heights at the Milford Wave Buoy 4 Mean annual wave height = 0.65m Orange line shows storm threshold (= 2.9m) © CCO 2018. Contains public sector information licensed under the Open Government Licence v3.0. Data presentation and analysis • Descriptive statistics, e.g. what percentage is effective • Located pie charts with percentage effective and ineffective For worked examples see www.geography-fieldwork.org Latitude 51.73 Longitude -4.65 % Effective 88 % Ineffective 12 % Effectiveness of riprap Located pie charts showing riprap effectiveness at two sites near Tenby © Esri UK 2017 References 1 Keller, R.J. (2005) Online at toolkit.ewater.org.au/Tools/RIPRAP 2. US Army Coastal Engineering Research Center (1984) Shore Protection Manual Volume 2. Free online. 3. Walker, R. (2016) Online at www.simetric.co.uk/si_materials.htm 4. Channel Coastal Observatory. Online at www.channelcoast.org Sound mapping ® *« Sound is one of the components that makes up a s noise' and its impact on sleeplessness, stress and ol complaints have been documented1 and form part on everyday noise such as limits on aircraft noise, v and concert curfews. Guidelines on night noise lev< from the World Health Organisation.3 There are sti noise' and the responses and behaviours of people the soundscape.4 Apps such as Decibel Meter dB a sound levels, which can be mapped spatially on pa GIS (e.g. Collector or Survey 123 apps). Classification of sounds | by source5 Geophony Physical sounds (e.g. wind blowing) Biophony Methods and data coliectior A. Classifying sound Sound can be classified by its source (Figs 6.1 & 6. interpretation (Fig 6.2). Ecological sounds (e.g. bird song) Anthrophony Human-made sounds (e.g. traffic) Classification of sounds by interpretation Sound Desirable Audible treasure ' Noise Undesirable Audible litter n u D ď O Sit«nS n 6S Q □ 4> o Example of method C: a visual sound map at Flatford Mill 3 Urban Sound Wheel (source: Chatty Maps6) B. Emotional responses to sound Further drawing on the work of the Chatty Map sound's impact on the listener can be recorded i assessment of emotions related to that sound (F C. Visual sound mapping Choose a fixed reference point, then record the and description of the sounds you hear in a sho (such as 10 minutes). Figure 6.4 shows what yoi Data presentation and analysis -re- using analysis functions in ArcGIS Online to interpolate sound levels in Colchester town centre © Esri UK 2017 References 1. Basner M. etal. (2014) Auditory and non-auditory effects of noise on health. The Lancet 9925: 1325-1332 2. Environmental Noise (2009) Parliamentary Office of Science and Technology. Online at www.parliament.uk/documents/post/postpn338.pdf 3. World Health Organisation (2009) Night Noise Guidelines for Europe. Online. 4. Davies, W.J. etal. (2012) Perception of soundscapes: an interdisciplinary approach. Applied Acoustics 74: 224-231 5. Pijanowski, B.C. ef al. (2011) SoundScape Ecology: The Science of Sound in the Landscape. University of California Press. 6. Aeillo, L.M. etal. (2016) Chatty Maps: constructing sound maps of urban areas from social media data. Royal Society of Open Science. Online. Smell mapping ® * U<~ y.V ,_..> Tüw« *v_ivJ 3 -\ -1 ) 1 WrjU iMCvt.\hMr\fi^ WiCjH irret t Cc~<-* ArtV . l fci itY-luHi S 1 .- \ -2 \ VCl-J bvlSvj H»tjU _; . Results of bi-polar analysis: Smell and its impact on Llandudno References 1. Quercia, D., Schifanella, R., Aiellow, L.M., McLean, K. (2015) Smelly Maps: The digital life of urban smellscapes Online at researchswinger.org/publications/icwsm15_smell.pdf 2. McLean, K. (2014) Sensory Maps Online at www.sensorymaps.com RED YELLOW emotions are unpleasant and high in energy, like anger, frustration excitement, i and anxiety and elation BLUE GREEN emotions are emotions are unpleasant and pleasant and low low in energy, like in energy, like boredom, sadness tranquility, serenity and despair and satisfaction Mood categories high energy Questionnaires and environmental quality surveys are well established techniques for collecting data on a place's physical setting and on the activities that happen there. Gathering meaningful data on how a place is perceived is more complex. It is well known that the built environment has an impact on how people feel12 and this is beginning to be considered in urban planning.3 4 s Inspired by the work of Daniele Quercia's Happy Maps6, LSE's Mappiness7 and using the Yale Centre's of Emotional Intelligence8 mood categories, we have put together a method for students to collect data on their emotional response to places. Methods and data collection A. Mood categories By assessing mood on its level of energy (low or high) and level of positivity (low or high), four distinct mood categories emerge (Figs 8.1 & 8.2). Collect data using paper or digital maps of the sample area, and adding in annotations which add some descriptive detail to the moods experienced (Fig 8.4). B. Mood Meter app Mood categories simplify all moods into four mood categories. The Mood Meter app captures more detail. Mood Meter app process: 1. Choice of mood colour quadrant (red, yellow, green, blue). Choice of 25 moods within that colour quadrant. Description of reasons why that mood is being experienced. Data stored within app, so can search by date for summary of moods experienced and explanations. low energy Mood categories Mood Meter app website References 1. Kennedy, D.P and Adolphs, R. (2011) Stress and the city. Nature 474 (23 Jun 2011) 2. Abbott, A. (2011) City living marks the brain. Nature 474 (22 Jun 2011) 3. Ellard, C. (2015) Places of the heart. Bellevue Literary Press 4. Turner, C. (2017) Bring me sunshine: the designers being briefed to create a happier planet The Guardian 23 June 2017 5. Burdett R. & Taylor M. (2011) Can cities be good for you? Online at lsecities.net/media/objects/articles/can-cities-be-good-for-you/en-gb 6. Quercia, D. Happy Maps (his TED talk is available online) 7. LSE Mappiness project www.mappiness.org.uk 8. Brackett, M. etal. (2014) Mood Meter App ei.yale.edu/mood-meter-app Hi<^> W*tt& ot vomlaLsivi Data presentation and analysis • Coding by categorising or theming (Figs 8.5 & 8.6) • Descriptive statistics e.g. 85% of moods experienced in Tenby were categorised as Yellow; modal mood is Yellow • Inferential statistics e.g. Spearman's Rank of extent of green space and number of positive moods (Yellow and Green); or Chi2 test of association between location and mood type Mood map of Tenby with descriptive annotations Red • Couldn't find a picnic bench • Seagulls gathered round while eating, felt intimidated | • Cost of car parking was extremely high: £ 12 for the day Yellow • Sense of adventure when Caldey Island was spotted • Sitting on North Beach, watching the RNLI practice drills • Excited to taste fish and chips by the sea • Interesting independent shops, excited to explore these • So many activities: boat trips, fishing, art gallery, shops • Watching swimming and running race on North Beach Blue • Lots of dereliction in this area • Some shops were expensive, couldn't afford these • Ground was covered in litter, bins overflowing • Pouring rain and strong winds, no shelter anywhere Green • Views from the Esplanade walk were breathtaking • Pedestrianised centre made walking easy and relaxing • Walked on the beach • Drinking hot chocolate, gazing at the wild sea • Daffodils along Esplanade with view of sea and beach Coding: Categorising Environmental Social Economic 9 4 6 Coding: Theming Themes Concepts Counts Exposed 3 Scenery Natural 3 Coastal 6 Exclusive 3 Activities Sports 3 Traditional 2 Shopping 3 Decay Overuse 4 Dereliction 1 Mood descriptions and other notes recorded in the field Categorising and theming of data in Fig 8.5 Observation ® * <®> $ t H The sheer volume of 'things going on' in a place makes collecting data on people's movements and interactions challenging, especially in familiar places. Despite this, observation provides an opportunity to collect valuable qualitative and quantitative data that would be difficult to gain through other techniques such as questionnaires and interviews. Observation allows for comparison and quantification of the presence, movement, features and interactions of individuals and groups of people. Observation data can help to describe and explain both the ordinary and extraordinary features of life in places1. Types of observation Participant observation: Watching the events while taking part; either overt (the researcher tells the participants they are being observed) or covert (the researcher tries to blend in, e.g. observing other people's shopping habits while doing own shopping) Non-participant observation: Watching the situations passively from a distance without participating. Methods and data collection 1 Choose an area to explore and observe. Make sure it is an area with enough going on to be interesting! 2. Explore and interact with your chosen area. Walk around it, visit shops, buy a coffee, start conversations, read the notices in shop windows and information boards for example 3. Decide on a focus. Will you record everything that happens, or select individuals or groups to write about in depth? 4. Find a suitable spot to stop and draw a sketch map or a field sketch. Label things such as the age and use of buildings and points of interest, and information about the people you see. You can also record your reaction to the scene 5. Record your observations and impressions. Remember to record the mundane as well as the unusual! (See Fig 9.3) Interactions Observe and categorise the interactions between people. Instance Interactions: can you categorise the interactions between people that happen? Type and detail of interaction Conviviality Friendly events e.g. smiling, nodding, holding doors open Indifference Lack of interest e.g. no eye contact, avoiding social interaction Animosity Hostile situations e.g. confrontation, anger, rudeness Familiarity Close acquaintance e.g. lengthy conversations, physical contact Place 1 Instance Spatial delineations: can you record whereabouts the interactions happen? Type and detail of interaction Paths e.g. running loops or footpaths Boundaries e.g. edge of grass, edge of play park Nodes e.g. intersections and cross-roads Thresholds e.g. between public and private Play-space encounters e.g. play parks Place 1 Data presentation and analysis Fig. 9.3 shows categorising coding of information recorded during observation. It has been coded for whether observations agree or disagree with the three Morecambe Bay brand guidelines: Big views, landscape and nature; Cultural heritage; and Outdoor recreation. What to record? Notes Facts Date and time, location, weather Sat 5 Aug 2017,11.30-13.00 Sunny, warm and dry Eric Morecambe statue, Marine Road Central, Morecambe seafront Physical environment What is the layout? Views over Morecambe Bay and Lake District, steps up to statue of Eric Morecambe, benches with back to statue face out to sea, landscaped beds with colourful flowers, access to the promenade and beach, views over to the mountains How is the enviroment being used by people? People sitting on benches looking out to sea Social environment How many people? 32 sat on bench 34 queuing for selfle with statue 52 on promenade Social characteristics Demographics Families with children under 10:17 Older than 60:15 Gender: 20F, I2M 18-60 year olds: 34 Gender: 20F, I4M Families with children under 10 23 18-60 year olds: 17 Older than 60:12 Gender: I8F, 34M How are people arranged in this environment? Sat facing the sea, in family/friend groups, few solo sitters In ordered line Spaced out family / friends groups, solo runners and dog walkers What are people doing? Eating picnics, eating fish and chips, looking at views over Morecambe Bay and the hills and mountains of the South Lakes Focused activity of taking a selfie, different family / friend groups talking to one another in the queue Leisure activities (dog walking, cycling, running, walking), 75% of people moving WE to SW, no interaction between groups Feelings, hunches and impressions Very distinct activities e.g. no-one who took a selfie also walked along the promenade. This is not what I expected. Those that queued for a selfie with Eric Morecambe came from the road, sole purpose of visit. More likely to be tourists, who are en route to somewhere else. Minimal time spent in Morecambe. Those walking along the promenade likely to be more more local. Familiar with the area as didn't tend to look at the view over the Bay and to the hills. Very activity organised, e.g. dog walking, running, cycling. The running and cycling were all individual, perhaps area would benefit from an organised walking and cycling group. Convivial interaction from people in the 'selfle queue, shared purpose meant they had something to talk about together. Some groups even took photos of other groups and vice versa. Little or no interaction with the 'What's On in Morecambe' board nor the History of Morecambe' board. Limited interaction between groups on benches, sometimes a 'Do you mind if I sit here?' and 'Could you take a photo of us?' Some solo sitters passed the time by checking their phones, 'body glossing'. Wo interaction between groups of people on the promenade. Very few instances of face-to-face engagement. Very few looked at the geographical and biological interpretation boards (5 instances). People don't value the importance of Morecambe Bay as landscape._ Big views, landscape and nature Agree Disagree Cultural heritage Agree Disagree Outdoor recreation Agree Disagree 1 References 1. Laurier, E. (2016) Participant and non-participant observation, Key Methods in Geography 3rd Edition Chapter 11 21 Visual methods ■i • -in 1 :..„ ■ 1-1— l. *• r ■ \ \ t , ■ ' - . .•-* . -' i t t ✓ Planning for primary data collection using a base map © OpenStreetMap contributors »r/»ew«xry ^1 SI asp Using an Instagram hashtag I as a secondary source What your eyes can see is often the strongest sensation upon arrival in an unfamiliar place. Which views draw you in? Which views put you off? Visual methods are a way of capturing these sensations. Although the analysis of this qualitative data can seem daunting and difficult, drawing on a variety of analytical skills, it can lead to a deeper understanding of a place: how different people view it, how different people present the place, and how the place may have changed over time. A carefully chosen sampling strategy will need to be considered to collect a wide sample of media from a variety of sources. Methods and data collection A. Finding visual sources C Primary data collection I Systematic e.g. a photo is taken every 100m along the length of a road, facing north I Random e.g. a grid placed over a map of a location, random numbers to select co-ordinates of where photo will be taken, in each direction (N, E, S, W) I Stratified e.g. key points in a location identified (crossroads), photos taken in each direction (N, E, S, W) c Secondary data collection I Systematic e.g. use page 1 of Google Image Search for chosen topic, then choose every 5th picture J Random e.g. Google Image Search topic, then use random number to select column and row of pictures I Stratified e.g. use top 5 pictures on a Google Image, Instagram and Flickr for your chosen topic or locations B. Picture this Find quotes from' informal sources ( and do not suppo 6 Shrewsbury i want to sau c A mix of the one-off. 6 'Visit Pictures the quote Cop (a quirky, one Both the Pi rapidly with r to want to c because eve Cor 22 Pictures the que Shrewsbury - tf B. Picture this quote Find quotes from formal sources (e.g. government reports) and informal sources (e.g. TripAdvisor). Take photographs that support and do not support each quote. Figs 10.3 & 10.4 are an example. Shrewsbury is full of higgle-piggledy streets with names you want to say out loud. A river that scoops up the town in a loop. A mix of the very old and the very new. The quirky and the one-off. C 'Visit Shrewsbury' website - www.originalshrewsbury.co.uk r PP \ Y/h\\ 10.3 Pictures the quote: Line of independent shops in Wyle Cop (a quirky, one-off street name), Shrewsbury. Does not picture the quote: New two-storey branch of Primark opened recently in Castle Street, Shrewsbury. Both the Pride Hill and Darwin Shopping Centres are dying rapidly with numerous empty shops etc. What big names are going to want to come to Shrewsbury when footfall is at rock bottom because everyone shops elsewhere like Telford or Chester? ^ Comment by 'The Shadow' on the Shropshire Star website Pictures the quote: Empty shop in Pride Hill, Shrewsbury - this shop has remained empty Does not picture the quote: Vibrant and thriving Market Hall, with local craft, shops, food and drink. 23 C. Rephotography This is the process of photographing a picture from the same view point as a previous photograph after a period of time has passed, providing a then and now snapshot of a location. Rephotography visually shows how an area may have changed over time, as well how this place may be being used differently. Inferences on how this place is valued or viewed may also be possible from these photographs. Rephotography: I low has Ironbridge changed? Data presentation and analysis A. Reflecting on an image Although photographs are often used simply as a form of data presentation, they can also be analysed more deeply. 1. Camera • What do you see? • What are your impressions? • What is the focus of the image? 2. Maps • Where are you? • What is significant / insignificant in surrounding areas? 3. Zoom in • Is there more than meets the eye? le bigger picture? wider implications? 5. Instagram • What filter are you viewing from? • What would others see? Data presentation and analysis B. Content analysis This is a method for categorising and quantifying all of the information within a visual image. The categories you use are up to you, but should be exhaustive, exclusive and enlightening. Analysis of the images in Fig. 10.6 has been completed using eight categories (A-H) in Fig 10.7, showing how many times each category is recorded from the selection of pictures. Summary statements can be generated from the content analysis. For example, Flickr represents Queen Elizabeth Park as having good amounts of urban parkland (56% of the images show this). Randomised selection of images of Queen Elizabeth Olympic Park from Flickr CC BY-NC-ND. Credits: Dario Susanj, Daniel, Fred Romero, Drew Withington, Alhl, Peter O'Connor, Clogsilk, Andrea Vail, Martin Deutsch Category Themes A World location Olympic Park = 9 London UK World B Gender of people Female Male Mixed = 4 C Age of people 40 Family = 1 D Urban or rural? Urban = 5 Urban parkland = 5 Suburban Rural E Sport shown Games Athletics = 1 Gymnastics Outdoor pursuits = 1 F Landmark shown Yes = 6 Mo = 3 G Sponsorship or business linked? Yes = 2 Mo = 7 H Wealth indicators Yes = 2 Mo = 7 |10.7 C. Discourse analysis Unlike content analysis, which only lists what is in an image, discourse analysis considers the image's deeper meaning. Panofsky's method' involves three levels of image analysis. 1. Primary, natural analysis (pre-iconographic) 2. Secondary, conventional (iconographic) 3. Intrinsic, symbolic (iconological) I 1. Pre-iconographic 2. Iconographic 3. Iconological Basic elements of the image Connect the image to the wider context Deciding what the meaning of the image is What is the image depicting? Event at the Olympic stadium in London What impact might the image have on different groups of people? UK resident: may reflect on personal memories of the event UK resident but not London-based: may feel excluded What ideas are this image creating? Wealth, history, vibrancy, community, international What are the main features? Union Jack flag Stadium with fireworks in sky. Text: 'Memories are Great' Smaller text 'Britain' Website link How might people interpret the image? Prosperity of London. Impact of Olympic games on London Great Britain has a wealth of history (recent and more historic) How does this image compare to other representations? Image is a very zoomed in of one particular event occurring at one building. Wot representative of the Olympic Park in 20I7 nor Great Britain as a whole Who is the intended audience? Tourists, international visitors What does this image represent about the place? Vibrant, sporting, proud of recent history How is this place represented? Place is represented positively using a famous international platform Who are the stakeholders? visitbritain.com London Olympics 2012 Is anyone marginalised/excluded from this image? London-centric historic image advertising Great Britain. Other places in the UK could be marginaliserj. Urban image, the 'Greatness' of more rural locations have not been shared Is it a fair representation? Zoomed in snapshot of famous historic event. Wot fair representation of this place currently What form is the image in? Marketing used online and on billboards What is the feel of this area? Regenerated, busy, popular Does the image reinforce or challenge the pre-conceptions? London 20I2 was a global event, Reinforce pre-conceptions that international visitors saw through the media of wealthy global country When was this image taken/created? Opening or closing ceremony of London 20I2 Olympics, subsequently turned into marketing message What is the deeper meaning of this image or place? Pride in Great Britain 10.7 I Kscourse analysis of the image shown in Fig 10.8 Visit Britain campaign www.visitbritain.org D. Production context When analysing visual methodologies it is always important to consider the source behind the image, the potential biases involved in the production of the image, and the messages it portrays2. A simple table can help focus the analysis of this production context (Fig. 10.9), Discourse source Production Context Key demographic aimed at? What deeper message is being portrayed? Any conflicting messages? How successfully does it convey this? Visitbritain.com Marketing Tourists Britain hosts vibrant cultural and sporting events Marketing Great Britain as a whole, but is using a London-centric, historic event Positive image of the vibrancy of the Olympic Park. But is of a historical event, no link to current events Production context analysis of the image shown in Fig. 10.8 References 1 Panofsky, E. (1982) Iconography and Iconology: An Introduction to the Study of Renaissance Art. University of Chicago Press. 2. Rose, G. (2001) Visual Methodologies: An Introduction to the Interpretation of Visual Materials. Sage. Urban spaces are designed in particular ways to manage flows of people, and to host and contain diverse activities and behaviours. Exploring these designed environments without bias can be a challenge without following desire lines to what you perceive as familiar branded shops or being filtered through personal motives to what you perceive as attractive and safe areas. Methods A and B show creative ways of exploring a location. Method C embraces this inherent bias and allows for a method of wandering that allows participants to be drawn by attractions and encounters. Methods and data collection A. Urban drifting cards These cards provide a structure for an observation, creating an opportunity for closer exploration of sounds, smells, colours and users in an environment as well as what is going on from different vantage points or scales. Students could create their own versions. s Follow a bird 4 FSC Head in the direction of the wind FSC Sit for 2 minutes and see what happens FSC Follow a line Some examples of urban drifting cards: students could easily create their own B. Circular walking or Mapped shape By spiralling out from a central feature in a location (Fig. 11.2), a full picture of an area can begin to emerge. More creatively a symbolic shape for the area can be superimposed onto a map and the route of that symbol followed (Fig. 11.3). Circular walking route in Guildford: follow the HE] Teacup mapped shape (celebrating Guildford's route of the spiral as closely as possible \mk to Lewis Carro„ and M