The writing on the wall

Editor’s note: Sean Griffin and Lou Moskowitz are co-founding managing members of Vizalution, a New York research firm.

Over 40,000 years ago, cave dwellers created wall paintings illustrating critical elements of their hunt for the great wooly mammoth. They understood that these drawings would help them visualize the vital steps needed to track down their prey and provide sustenance for their clan.

Process art is a qualitative research tool that elevates this ancient form of communication to new levels. Using imagery, color, icons, distance, shapes and metaphor, process art creates a cohesive visual representation of the thoughts and ideas of individuals participating in qualitative research discussions - be they one-on-one interviews, group discussions or brainstorming sessions.

The result is the creation of what we like to call “modern day wall paintings.”

Process art, however, is much more than just a way to present qualitative research findings. It has been shown to be an effective tool to enhance individuals’ involvement and interest. It motivates less active members in qualitative discussions to contribute by illustrating their thoughts alongside those of more active participants.

While facilitating group discussions, following a pre-designed guide similar to traditional moderating, a process art facilitator simultaneously illustrates the discussion, in real time, on a large mural (typically 4’ x 14’). This mural is strategically placed in clear view of participants and back room observers.

Integrating process art into a traditional qualitative setting creates non-traditional results by stimulating thinking and talking. Nuggets of meaning become identifiable from the ideas illustrated during the discussion, frequently uncovering hidden keys - those that drive the success of marketing programs and product development.

Case history: the Digital Clubhouse Network

The Digital Clubhouse Network, a community-based multimedia digital learning center, was conceived, developed, and refined through information obtained via extensive qualitative research efforts employing process art.

In 1995, before the widespread acceptance of multimedia, the National Aeronautics and Space Administration (NASA) funded an ambitious endeavor to accelerate the development of networked multimedia technology and applications.

One of the primary outcomes of NASA’s activities was the Digital Clubhouse Network, which was established to create innovative ways of using the power of networked multimedia to develop stronger communities among consumer and business segments that were technologically disenfranchised at that time - youth, seniors, teachers, women, the disabled, and small-business owners. These diverse segments were targeted based on the belief that they would gain the most from their full participation in a fully networked multimedia world.

Specifically, research was charged with the mission of obtaining concise and clear profiles of the complex relationships that exist between technology and human emotions and desires. Process art was used to uncover new knowledge from those in the target segments.

The research program consisted of several phases, including initial intelligence gathering, assessment of potential offerings, and refinements. Process art played a key role in each phase.

In the intelligence-gathering phase, 25 process art-implemented mini groups (three to five participants), focus groups (eight to 11 participants), and maxi group sessions (15-25 participants) were conducted across the diverse market segments being studied.

Output from these sessions included a series of process art murals representing real-time documentation of participants’ thoughts, emotions, and ideas.

The individual “detailed findings” murals created during the 25 intelligence-gathering sessions were summarized on one cohesive visual representation including a written action plan, creating a “management summary” of the findings as well as conclusions and recommendations.

Crossing the digital divide

During the second phase of the program, assessments of potential offerings, concepts, and prototypes of specific new program ideas were developed and evaluated. Examples of the 50 new product ideas that were introduced include, Producing the Producers, Webucation, Cousins of the Clubhouse, Project DigitallyAbled, and Youth Enterprise Zone.

One of the cornerstones of the Digital Clubhouse Network is the building of community via the expansion of the knowledge and skills acquired at the Clubhouse. Towards that end, those participating in the program are required to teach others the networked multimedia skills they acquired at the Clubhouse.

Producing the Producers was designed to let ordinary people see themselves as filmmakers, visionaries, and technologists. Participants in this program included cross-generational groups - seniors, teachers, youth, women, and the “differently-abled.” The program empowered participants to produce, write, direct, and star in a short digital autobiographical movie. People opened their hearts and their photo albums to create short multimedia documentary-style digital stories depicting important events in their lives.

During the refinement phase, each potential offering was beta tested. A critical element of the beta tests was a process art-implemented group discussion allowing participants to share ideas and emotions about their experience. This learning process supported the development and refinement of the programs as well as identifying new opportunities.

Today, almost seven years later, branches of the Digital Clubhouse Network are operating at 55 Broad Street in the financial district of Lower Manhattan and in Silicon Valley. To this day, the Clubhouse remains true to its original purpose and charter of building community and serving the unique needs of the individuals taking part in its programs and services.

Share experiences

One of our prime objectives in writing this article is to share our experiences with others in the research community. We have found that process art:

  • reduces the inherent qualitative bias by validating individual input via words and images and in supporting real-time documentation;
  • stimulates the creative mind and supports the free flow of thoughts and intuitions from participants via the use of icons, mnemonics, and imagery;
  • sustains participant involvement and reduces weariness, because it is a performance in action (as spontaneous illustrations unfold, participants’ mental and emotional involvement rises to higher levels, keeping them present and in the moment);
  • saves time, money, and increases intellectual capital because information discussed within a process art environment is more clearly understood, increasing group efficiency;
  • enables you to collect complex data in an integrated form on a single sheet of paper, increasing the opportunity to make informed decisions;
  • generates innovative ideas and strategies in shorter periods of time, reducing decision-making risks via better decision execution;
  • provides a cohesive representation of the findings by creating an accurate and aesthetic visual group memory map that can be referred to at any time thereafter;
  • transcends differences - age, race, gender, heritage, and nationality - as it utilizes universally understood icons, colors, and symbols.

Creative power

Don’t dismiss process art because you “can’t draw a straight line.” Remember, Picasso said, “We are all born artists; the challenge is staying one.” A few simple and easily learned icons, some straightforward templates, a large piece of paper and a palette of colored magic markers (try scented markers, for that extra kick of creativity!) can add a great deal of creative power and effectiveness to your qualitative market research programs.