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The Declarative Mapping Sentence and Qualitative Facet Theory Research

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Facet Theory and the Mapping Sentence

Abstract

In the earlier chapters of this book, I have presented facet theory and mapping sentences in both their quantitative and qualitative formats. However, I have emphasised the traditional mapping sentence and quantitative facet theory research. In this chapter, I concentrate on more recent forms of mapping sentences and facet theory and provide a review and examples of qualitative facet theory and the declarative mapping sentence. To achieve this, I will consider the declarative mapping sentence in greater detail and then consider its application in a study into fine art that takes into account perceptual neuroscience and visual impairment. The study employs the declarative mapping sentence to allow the investigation of the modern art trope of the grid image through theoretically reviewing extant grid images. Uniquely, the mapping sentence then provides a guide for painting a body of work, which constitutes both the investigation and validation of the mapping sentence. Other qualitative uses of the approaches are also presented. The chapter ends with suggestions for future research.

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Notes

  1. 1.

    An earlier version of this chapter was published in Hackett (2020b).

  2. 2.

    It is important to state at this point that not all researchers would agree that as lack of comparability between research studies is a problem. Indeed some would claim this as a virtue. I am drawn to this argument as I see great merit in the one-off, individualistic study. However, I also feel numerous instances exist in which the ability to directly compare different qualitative research studies would be both interesting and productive in terms of knowledge generation (Hackett 2020b).

  3. 3.

    In Hackett (2020b) I present an example of how the use of both traditional and declarative mapping sentences to view and explore a single content area, which in this example is bird behaviour.

  4. 4.

    See, Polit and Beck (2010) for a discussion on generalizing from qualitative and quantitative data.

  5. 5.

    It is also possible to have non-human animals as the subject of a mapping sentence (see, Hackett 2020b or indeed inanimate objects or concepts as the subject of a mapping sentence who applied the mapping sentence to objects of fine art (see, Hackett 2013, 2016a, 2017c)).

  6. 6.

    In this chapter I have chosen to include my research into the experience of three-dimensional abstract fine art (Hackett 2017c). I could have incorporated my work on two-dimensional abstraction but the former has grown out of the latter and I have made reference to the former when this has been appropriate.

  7. 7.

    This template in essence formed a mereological account that was needed prior to my painting commenced for me to understand the elements of the grid that I could manipulate and how I could manipulate these whilst still maintaining an image that was unambiguously seen as being ‘a grid’.

  8. 8.

    Sol Lewitt’s documentation was prodigious and a great inspiration to my research.

  9. 9.

    I identified the significant parts of the two-dimensional grid that varied in the images I viewed. It would be possible to employ an approach using a random sample of respondents and aggregate (representative) responses could have been calculated that were of greater reliability and validity than the present case study. However, it is not the intention of this research to develop any form of nomothetic measurement but rather to produce initial insight and to develop a mapping sentence that is useful in grid painting .

  10. 10.

    Other non-image aspects that were considered included: support size and its relationship to grid-cell size, grid line thickness and painting size and how these related to figure-ground tension; the balance between grid and background; the effects of supports (including: canvas, linen, paper, stretchers); medium (paints, powder pigments, glazes, oil colors, alkyds, oil bars).

  11. 11.

    I identified Lee Allen to have been an artist with visual impairment who had attempted to paint his macular degeneration. His research paintings and subsequent writing were extremely informative in my research.

  12. 12.

    She speaks with experience about such facilities as she is a serving prison officer.

  13. 13.

    I briefly commented upon this earlier in this book.

  14. 14.

    The researchers wished to quantify responses and they therefor assigned each unit of reasoning they discovered as being either analytic or non-analytic based on the depth of knowledge participants employed in completing a specific item during the groups’ discussions.

  15. 15.

    These and similar rules vary from country to country.

  16. 16.

    See: Shye and Elizur 1994; Hackett 2014a; Hans et al. 1985; Levy 1990, for details of how a concept may be defined using a mapping sentence and its structuples.

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Hackett, P.M.W. (2021). The Declarative Mapping Sentence and Qualitative Facet Theory Research. In: Facet Theory and the Mapping Sentence. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-66199-1_4

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