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Methodology

THEN

Whyte, W. F. (1991). Participatory Action Research. London: SAGE Publications

"Editing clips from various Superhero genre films and assembling them together in short videos themed by specific emotions. Each clip will be re-edited – heightening specific colours, taking out the sound, focusing on certain scenes where the director clearly wanted to transmit an exact emotion. Each video will be showed to different focus groups throughout the process, each group being asked about the emotion transmitted, the use of colour, the editing, the choice of scenes – in this way, the effectiveness of the video arrangements will be more clearly determined and, in return, the products can be altered until they reach the right composition. By doing this, I am using a technique called participatory action research. As William Foote Whyte argues in the book, “science is not achieved by distancing oneself from the world; as generations of scientists know, the greatest conceptual and methodological challenges come from engagement with the world.” (Whyte, 1991, p.21). Taking that into consideration, I decided to use this methodology because it allows the project to evolve and change its shape without being stuck in a conventional mode that focuses mainly on academic or scientific research. As a project focusing on human emotions, more liberty in the research aspect is required. Whyte notes, “In PAR, some of the members of the organization we study are actively engaged in the quest for information and ideas to guide their future actions.” (Whyte, 1991, p. 20­). As such, what better way to gather information about human emotions than asking other humans?"

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NOW

Needing to change my method, I decided to still use participatory action research, but apply it to a different technique. That is when I started painting. Through each piece, I am trying to see if the person who looks at it can pinpoint the emotions - both good and bad - that the hero in question is supposed to be feeling. The paintings themselves are not really showing the heroes, only outlines or vague renditions of them. By using both their theme colours and their villain counterpart theme colours in one painting, I am trying to showcase both the superhero's Persona and their Shadow. Through this exploration, the bond between colours and emotions would either be proven as strong or irrelevant. The participants received pictures of the paintings and a series of questions that they should answer. The intentions behind the paintings were not explained to them as to not influence the results. None of the participants knew what the paintings were supposed to depict (superheroes/villains) - they looked at the pictures they received and answered the questions shown on the left.

For the final pieces, I deconstructed my drawings using an app called Tayasui Sketches and added a backdrop with the superhero they each represented. I edited the final pictures again to give them a rougher look. 

Final Participants

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