Category Archives: sifting

Bridges & ditches

I walked up the footpath at the back of our land yesterday, to see the weather from a different place. The water was roaring down the stone gullies that have been dug out through the land, and hurtling down the path too. It is unstoppable.

Gullies running in orange alert weather in the Ardeche

Gullies running in orange alert weather in the Ardeche

At dinner with the neighbours last night we talked of the bewilderment of the summer tourist, who can make no sense of these great dry stone beds, with absurdly high bridges constructed over them. You need to winter here to understand, and then this Orange alert is making for weather rare even for the vrai Ardechois, born and bred to it.

We spent a long time, too, foraging for the right translation for combler la fosse, which in French is to fill in a ditch, to close a gap. In it’s context I went for building bridges, so with a twist of reconciliation, but in the dictionary afterwards it seems more likely it’s to bridge a gap. I wonder if there’s anything in the French effort to actually fill the gap, while the English blithely construct a bridge over it and leave it there? How high a bridge then.

Fred, who runs a supermarket near Toulouse, was talking about how easy it was, right from the beginning of the year, to detect the change in buying habits, although the sharp swing away from brands came in about May. Danone yoghurts down 9%, where before it was 3 freezer shelves stacked with President butter to one own brand, now it’s 2 and 2. Own brands have been winning out over the grandes marques for quite a while. For Fred, that’s fine, so long as he’s tuned early to the changes and can change his buying.

I was thinking about this in respect of some work on future story exercises I’m working on with Anecdote just now. Shawn, delightfully, uses William Gibson (science fiction writer)

The future is already here, it’s just not evenly distributed

Fred can see the future in the changed distribution of butter in his freezers, one tiny image which pretty much conjures up a whole picture of crumbling economies. Of course, for organisational visioning you’d like the picture to be rosier, in one way. But it is rosy too. The own brand comes into it’s own.

I wonder whether there’s something too in the ditch versus bridge difference. We’ve been imagining future stories as a way to build a bridge from the future to the present, using present anecdotes (Gibsons we’re calling them) about future signs as part of the construction materials. Perhaps we need to be thinking about filling in ditches, combler la fosse, rather than bridging a gap. Or perhaps we need to build very high bridges indeed, knowing that the winter rains will wash away lower ones.

Advertisements

Brothels in Bangladesh – a direct consequence of climate change

As I come to the shift of gear, the dreamy limbo of writing up the museums work we’ve been doing for the past few months and starting to clear a space to think about the work on horizon scanning and futures which hoves into few and will take up most of my thinking and unthinking space from February to July, I’m quite alert to tiny fragments which pack a punch. I’m finding a surprising amount in our mla database which seems to connect directly to the hsf thinking in ways that are almost frightening. For example I wrote recently about poetry as a kind of horizon scanner – the poetry library gets a surprising frontline view of what matters to people.Then in the Guardian this week I was startled by an article on the rise in prostitution in Bangladesh:

“The brothel opened 20 years ago, making it the newest and largest of the 14 recognised brothels in the country. It is set on the meeting point of two vast rivers, the Jamuna and the Ganges (known locally as the Padma), which makes this a very busy place to catch a ferry. Trucks carrying rice, jute, sugar cane and fish from the west and south-west of the country queue here for two or three days at a time to cross the river for the drive to the capital, Dhaka. In Bangladesh on a BBC World Service boat to look at the impact of climate change, I was surprised to find that an unexpected consequence of rising water levels is the growth in demand for prostitution. River erosion has meant the closure of some ferry berths, so men wait even longer to cross the river. And, while they wait, many of them pass the time in the company of Daulatdia’s women.”

We spent some time this week at a workshop imagining scenarios for mla relationship with business (banish mla as concept, replace it with a sense of extended learning places and resources essential to the rounded worker, then ‘backcast’ from that to the present day to see how one would achieve that symbiosis over, say, 20 years).

Anyway, my question for a couple of days has been, take a scenario (not good or bad, hopeful or unhopeful, just a confluence of circumstance) and imagine backwards from that circumstance how would would have forseen it in some way.So I’m interested in the idea of taking brothels (one can deconstruct brothel of course in quite a feminist way – poor endentured women with no prospects, men with too much time on their hands and not much inclination to do cultured things) in Bangladesh (low-lying land, under-resourced in flood management, having to react rather than act, most likely to be one of the frontiers where we witness the consequences of climate change, etc).But working back from brothels, Bangladesh, flooding, too few ferries, downtime. How might one, 10 years ago have forseen this thing? What kinds of horizon scanning might one have done in, say 1997? What kinds of different policies for prostitution and flood transportation might a reasonably accurate prognosis have led to?I think it might be interesting for our hsf governance work to come at it sideways, and find some unlikely events, from history and the present, and consider what a well-scanned intelligence process might have thrown up by way of a different policy path.What’s so interesting here is how little we prize the insights that people can bring from their daily witnessing. I’m witnessing a great deal of unlikely stuff because of where I sit. But I’m not a scanner or a futurist, and there’s no-one whose sleeve I can tug about most of it. I do it because it interests me and puts a bit of pep into my daily work. Think of all those scanners out there. If, instead of simply using people’s excess computing power to calculate space things,we used their witnessing power to help us see further, think of the changes that could bring about.

It happens a bit of course. Say the RSPB and birdwatching. There’s a model of participatory scanning that it’s worth looking more closely at, and I know Natural England so some interesting scanning using Cognitive Edge techniques. And it’s all trendy to talk about the wisdom of crowds. But I’m not talking about exactly any of that here. I think I’m talking about something a bit different that I’m trying to find and describe better.I’m off to read the Guardian and let it settle for a bit while I think about what it is I want to say next.

But before I do, a tiny, gorgeous little thing from my second visit to Louise Bougeois, accompanied by sketches of skyscapers as people – perhaps three of them standing together:

“One man was telling a story, it was a very good story, and it made him happy, but he told it so fast that nobody understood it.

Yup, that happens a lot.

Negative space, the most important knowledge space

I’ve always been interested in the shadow side of organisations – beyond tacit, that dark underbelly of unstated, often collusive, collective behaviour which informs, and glues together, the official work of the organisation.  Sometimes its a good thing, somethings it’s a seriously bad thing, and gets in the way, but is impossible to clear away. I doubt I’m saying anything about shadows, intangibles, invisibles, informals, that others have not already said.  Although I suppose I could say that without the shadow you’d not be able to see the shape of the thing.  So anyone who cares to look at an organisation without it’s shadow side is doing something like trying to look at the shape, size and colour of an object at the height of the midday sun (when we know only mad dogs and Englishman are out anyway).  

Some nice work has been done taking Jung’s ideas on shadow identity and applying them to archetypes of leadership.  Wizard, king, something, something (I forget what typical modes of leadership were chosen), each has it’s shadow side and the leader must be aware of the effects of the shadow side in order to work to best effect and chose the right people to surround him/her.That’s shadows, anyway.

More recently, I’ve become obsessed with a different but related concept which I can’t help feeling holds the key to the next round of my thinking and practice (and so, inevitably) Sparknow’s thinking and practice.And that’s negative space.  A road partly travelled but I suspect with a long hard climb ahead.It comes from the idea that, in art, the space around the object is where attention needs to be for the artist.   It’s easier to draw the spaces round a hand, a leaf, a chair a tree, and allow the object to emerge from attention to the negative spaces.  Henry Moore said something like ‘the hole holds more meaning than the material surrounding it’.  A window frames a view and makes sense of it (which isn’t quite negative space but is about looking through rather than at.)

My tiny, but growing and excitable hunch, is that in this germ of an idea is a huge truth.  We’re stumbling across it already by seeing knowledge workers as navigators – people through whom you find access; by making a shape of someone by what they google or what they recommend on Amazon; cookie trails allow us to trace the outline of a person without ever having to see the person directly.  I think we can go one stage further and imagine, in thinking what knowledge is key operating knowledge, a two step process (with more steps to follow as I imagine it)

1.  trace the outline of a person, google-wise, or amazonishly, through social network analysis, by what they use, what they recommend,  who they consort with

2.  persuade the person then to step out of themselves and look back at the space left and then describe not what they do, but what isn’t happening now they aren’t doing it, preferably to an invisible or actual colleague who they care about, so that they want to describe the task(s) in enough detail that the other is able to carry it/them out sufficiently well for only the smallest number of organisational hiccups to occur.

This goes perfectly with two things which seem increasingly important to me from everything I see.  Both are to do with knowledge not being captured.Codified knowledge doesn’t exist.  Codified information does though.Knowledge can’t be captured, except in the most labour intensive ways and even then, like a map, the terrain is always inescapably larger and more complex than the map of it.  It’s impossible to make a map of the world which covers the world.  Or if not impossible, actually pointless since it would add nothing.  It’s the miniature form of the map as a guide which makes it portable, relevant, useful to the user.  A 1:1 scale map of the world would be useless.  Knowledge capture of the literal kind is exactly the same.  Useless.  Too big.   Compression, illumination, symbols which make useful patterns are reference points, are what is useful.

Information, guidance and reference materials can be captured, but in the end (Bruno Latour-wise) its the interaction of the agent with the knowledge-object which determines an action. More and more work is conducted in a non-linear way – not at your desk, not in a sequence, but in groups and simultaneously.  The knowledge exists in the presence of each other and of codified resources in an environment conducive to exchange (slow or fast, more or less documented, depending on your purpose.)  So the knowledge exists in a moment in time, the information which results can point to, but not replicate, the experience of that knowledge.  So knowledge is in gaps which are temporarily closed and then opened again when people disperse from a meeting, a room.  It’s a vanishing thing, leaving a more or less ghostly trace, with some embodied consequences for those who were present, and perhaps those in their networks. That’s the first thing about capture.The second is to do with the contract between organisation and individual, or between organisations, particularly in circumstances where knowledge of business processes must be retained during a move, or restructing, or merger or upheaval of any kind. 

Capture is a hierarchical, intrusive concept.  It implies minions, service, servitude.  It implies containment.  It’s entirely the wrong concept for thinking about how to retain what is needed in order to operate the business.  And it takes no account of the individual on the receiving end of the upheaval.Which is again where negative space comes in.  

An invitation to imagine themselves as vanished and see

1.  what work does not get done when they are not at work and

2. what work would need to get done by another filling their shoes

is a far more delicate and thoughtful conversation and one that can lead to the sense of knowledge as a donation.  

Firstly the indirectness of the question allows them to pay attention and describe something which sits not in the individual but in the space between them and their imaginary colleague and will allow for a much more open and trusting description.  Then also, by going through this imagining process, the individual who is up-heaved can also be invited to share something that they themselves will be a beneficiary of – they can donate what they know and also treasure it for themselves;  they can leave a legacy and take it with them.  And we know from oral history work that the process of valuing themselves expressly in ways that they perhaps haven’t before, makes them visible to themselves and others in ways they haven’t been before.

I’m almost out of time and I’ve not even referred to the thing which propelled this idea (which I’ve tried out a bit, but not found a way to communicate well yet) right up to the surface for me was Shibboleth, the exhibition at the Tate Modern.  It’s a huge crack, running apparently through the fabric of the floor in the Turbine Hall, the main exhibition hall.  And it’s astonishing.  I’ll write more soon, but here’s a short note from the Tate Modern website.Much more to follow while I try and find this idea and what it means for me.  

About

Doris Salcedo’s Shibboleth is the first work to intervene directly in the fabric of the Turbine Hall. Rather than fill this iconic space with a conventional sculpture or installation, Salcedo has created a subterranean chasm that stretches the length of the Turbine Hall. The concrete walls of the crevice are ruptured by a steel mesh fence, creating a tension between these elements that resist yet depend on one another. By making the floor the principal focus of her project, Salcedo dramatically shifts our perception of the Turbine Hall’s architecture, subtly subverting its claims to monumentality and grandeur. Shibboleth asks questions about the interaction of sculpture and space, about architecture and the values it enshrines, and about the shaky ideological foundations on which Western notions of modernity are built.In particular, Salcedo is addressing a long legacy of racism and colonialism that underlies the modern world. A ‘shibboleth’ is a custom, phrase or use of language that acts as a test of belonging to a particular social group or class. By definition, it is used to exclude those deemed unsuitable to join this group.‘The history of racism’, Salcedo writes, ‘runs parallel to the history of modernity, and is its untold dark side’. For hundreds of years, Western ideas of progress and prosperity have been underpinned by colonial exploitation and the withdrawal of basic rights from others. Our own time, Salcedo is keen to remind us, remains defined by the existence of a huge socially excluded underclass, in Western as well as post-colonial societies.In breaking open the floor of the museum, Salcedo is exposing a fracture in modernity itself. Her work encourages us to confront uncomfortable truths about our history and about ourselves with absolute candidness, and without self-deception.Doris Salcedo was born in 1958 in Bogotá, Colombia, where she lives and works. Amonographic display of her work can be seen on Level 3 as part of the Poetry and Dream collection displays.                

In Algeria over the past 10 years or so they’ve gone from 2 – 15 newspapers.

All well read too and only lightly censored.

No blogs for days and then two come along at once. Typical of the information highway I say. But this has been on my list to post for a week or two and I’m thinking hard about our new assignment – a Knowledge Enquiry into the knowledge transfer and knowledge economy impact of the cultural assets (experts, collections, spaces) of London (museums, archives, libraries). So what is knowledge transfer? What’s a knowledge economy? What is evidence? How do you find it out? How do you verify?

This is something I found out (but have not checked on) in conversation with the Algerian man who runs a stall in the farmers market. An excellent stall with bourek and Algerian flatbreads and pastries and mint tea, all of which he makes himself. We always chat, about this and that.

How did I find it out? Not by asking about newspapers, but by talking to him about how safe I’d be travelling as a Western woman alone in Algeria.

Now to me, it’s interesting for 2 reasons which we might want to think about in our narrative enquiries and building of evidence bases:

1. an interesting shred of evidence. Only a shred. But he’s an educated man, been here for 17 years, very attached to his home land, observant. In his view, with which I happen to concur, the increase in range of press is an indicator of a society which is opening up to challenge and so more robust. It’s a little nugget to hold on to, a bit of a surprise, something which leaves a knotted handkerchief in the mind as a reminder to build other shreds around it – Algerian shreds, things to do with how the published press, censorship and so on can be indicators of the openness of a society.

2. I found it out in passing while asking about something else. So it was offered to me tangentially by way of evidence that I would be treated with openness not hostility. I wasn’t looking for it. I was looking for something else altogether.

Which leads me to wonder the extent to which we need to ask direct questions or to ask indirect questions which lead us to shreds and snippets we can built into patterns.

Which leads me in turn to wonder about horizon scanning methodologies and inferential research and whether we should boning up on these in any way.

‘You jumped over the essential story as though it was a pool of water, and you were afraid of drowning’

One of the challenges in narrative interviewing is the defended interviewee. This, from some Sparknow materials on narrative research.

‘In any research topic, there are two overarching questions that have to be addressed: what is the object of the enquiry and how can it be enquired into.’ [Doing qualitative research differently: free association, narrative and the interview method’ Hollway, Wendy and Jefferson, Tony, Sage 2000]

Hollway and Jefferson draw examples from their Economic and Social Research Council project on ‘Gender difference, anxiety and the fear of crime.’ The authors aim is to recognise and question generalisations of fear and crime from the British Crime Survey (BSC) e.g. Are women afraid of the dark? The problem is that if you ask a woman if she is afraid of the dark, you are likely to be asking altogether the wrong question to find and in some way be able to assess her experience comparatively with those of other interviewees.

Some of the things we have learned about about how to find the essential story, rather than have people leap over it include

• be a good listener and the interviewee is a storyteller, not just a respondent to an interview question
• use open ended not closed questions, and use the questions as storytelling invitations
• avoid ‘why’ questions, they lead to intellectualisations, abstractions, disconnections (this comes from appreciative inquiry)
• seek not to be a visible asker of questions, instead to be an almost invisible, facilitating catalyst to stories – if necessary find indirect and gentle ways to pick up on gaps, omissions, hesitations and pauses to give you, as an interview pair, a chance to go deeper and find their meaning
• seek not to offer judgements, or lead, but use the subject’s ordering and language to retain their meaning frames without offering interpretations or judgements
• invite metaphor and vivid language which might deepen and enrich insight into aspects of the experience which would probably not be visible by using more traditional methods (what does fear feel like? what does pain feel like? these emotions are only accessible to the listener through metaphor and analogy)
• allow the story to emerge uninterrupted – leave it until later to follow up on facts, omissions, spellings, details which trigger curiosity
• take extensive fieldnotes

The narrative enquirer is always tussling with questions of accuracy, comparability and representativeness. How the storytellers motivations, memories and anxieties affect the telling? How do the tellers assumptions about what the listener is looking for, or about some social gap between teller and listener affect the story? How does the listeners need for coherence and patterns close their ears to the importance of fragments, trailings off, pauses and omissions?

There are particular, ironic, challenges in narrative research, in that the tendency is to recall a well rehearsed story. And a well rehearsed story or ‘whole’ episode is likely to contain drama. Indeed the insight we seek may not qualify, in the mind of the subject, as a story at all. So we need to look for gaps and hidden qualities and apparent ‘nothings’, as well as the more evident something which story-seeking questions throw up.

There is something beyond the ‘nothings’ which is the hiddens, and these may, or may not be, easy or appropriate to identify. In his book ‘The Gate of the Sun’ Elias Khoury weaves together true life stories of Lebanese refugee camps into a fictional setting. At one point, the narrator is talking to a someone in a coma and he says

‘You only spoke about one woman, and even that one you only talked about a little. Piecing the tale together and arranging or scattered sentences, I turned it into a story. But you only mentioned love incidentally. You jumped over the essential story as though it was a pool and you were afraid of drowning.’

This can happen with narrative research too. Sometimes, interviewees will jump over the essential story ‘as though it was a pool’ and the interviewer must judge whether it is appropriate to pay attention to this or not.

There is also the temptation to draw on other observations, outside the actual product of the interviews between researcher and subject. There needs to be agreement as to the degree to which inference is valid or peripheral vision – things noticed which creep beyond the scope of the specific piece of research – should be permitted.

In addition, the positioning of the researchers needs to be considered. They need to be seen as clearly kinds of episodes collected through narrative research are, in part, skewed by the assumption of an authority figure and the relationship of the subject with faceless authority figures in general. One challenge we have found in our interviewing and facilitation work is the casting of our interviewers and facilitators as witnesses, not as pushers or snoops for the mangers who generally commission us.

The challenges of developing consistent standards in this kind of approach are compounded by Sparknow’s particular leaning towards collaborative enquiry, working in partnership with untrained volunteers in the client to build a sharper provocation and a deeper set of insights, while risking a more uneven, subjective and rawer approach. We take the view that this kind of situated learning has a value in its own right. But it’s not easy to pull off.

Travelling storytellers as miniaturists.

Charlie Beckett wrote on opendemocracy yesterday on the dangers of formulaic narrative journalism, the codification of small snatched soundbites and imagebites into packaged materials whose liberal intent is not in doubt, with the consequence that we hold back from challenging the context and validity of what we are seeing, hearing and being told. He says:

“The evidence of a problem, one that crosses broadcasting boundaries, is not hard to find. Take Unreported World on Channel 4. Each week, brave young independent journalists are seen in some unpleasant part of the globe contradicting the title of the programme. From Haiti to Darfur they dodge bullets and meet up with intimidating guerrilla leaders. Their commitment and courage is evident. Sometimes they display excellent language skills and sometimes good local knowledge. But it can end up feeling like breathless travel journalism with flak-jackets because the formula becomes dominant over analysis, reflection or context. Just because the subject is Sri Lanka or children in Côte d’Ivoire doesn’t mean that it is a “progressive” or even valuable programme. By emphasising a narrative-driven structure it can become as predictable a formula as the two-minute piece on the BBC’s 10 o’clock news.”

Breathless travel jounalism with flak jackets is the unhealthy tendency of those of us who consult to organisations too: punch at the expense of considered thought and a weighing and reweighing of the fragments of evidence, narrative and metaphor which might illuminate a greater truth. Not only is it what consultants offer. They offer it because it’s what clients commission. Clients often want to commission something which will tidy things up for them, not make them messier. A former colleague once pointed me at Clifford Geertz’s Islam Observed: Religious Development in Morocco and Indonesia (1968) in which he says, of the anthropologist’s role:

“In attempting to answer grand questions …, the anthropologist is always inclined to turn toward the concrete, the particular, the microscopic. We are the miniaturists of the social sciences, painting on Lilliputian canvases with what we take to be delicate strokes. We hope to find in the little what eludes us in the large, to stumble upon general truths while sorting through special cases.”

There isn’t time, it seems, with deadlines and budgets and the voracious cuckoo of the media to be constantly fed, to stumble on special truths while sorting through special cases. Walter Benjamin, in his essay ‘The Storyteller’, written between the World Wars in 1936 regrets the passing of the art of storytelling:
“..the art of storytelling is coming to an end. Less and less frequently do we encounter people with the ability to tell a tale properly. More and more often there is embarrassment all around when the wish to hear a story is experessed. It is as if somethign that seemed inalienable to us, the securest among our possessions, were taken from us: the ability to exchange experiences.”

He proposes that this is because experience has fallen in value, that our picture of the external and of the moral world had been damaged by the first world war, which impoverished communicable experience while unleashing floods of information;

“A generation that had gone to school on a horse-drawn streetcar now stood under the open sky in a countryside in which nothing remained unchagned but the clouds, and beneath these clouds in a field of force of destructive torrents and explosions, was the tiny, fragile, human body.”

He goes on to draw a distinction which I’ve used repeatedly between the storytellers who are travellers and those who are stayers:

“people imagine the storyteller as someone who comes from afar. But they enjoy no less listening to the man who has stayed at home, making an honest living, and who knows the local tales and traditions.”

But what we often have is a passing journalist or aid worker listening to the man who has stayed at home and the apparently interesting bits (told no doubt through an interpreter, perhaps in a workshop even) or even been seduced into carrying a story performed only for his benefit, as those who stay at home and need aid from afar find ways to couch their stories so as to get attention and aid. There is a kind of unhealthy complicity here between the original tellers and those who travel with the stories and put them to work and this can often turn into the misappropriation of stories, turning them into externalised objects constructed without proper thought. I’m reminded of a brief moment in ‘The Reporter’, a play just on at the National Theatre, by Nicholas Wright, just before end of first half when the senior BBC bloke is giving a coded instruction to Jim Mossman (the journalist whose life and suicide is being investigated by himself) about what he choses to communicate to the press as the story about the death of his gay lover from an overdose:

“It is in the nature of every tragedy to be ambiguous. But ambiguity is what we can’t afford. What is essential both for you and the Corporation is to focus down these multiple contradictions into a single story that can be easily understood and soon forgotten. Now, I’ve told you the truth as it seems to me but I can’t instruct you. If the truth for you is the story of drink and shared medication and a troubled relationship with a younger man, then you must tell it like that.”

I hold that it is the complexity, ambiguity, discomfort and unease in storytelling (contextualised appropriately through facts and evidence) that is the point. It should not speed up transmission. It should slow transmission, make things messier, harder to grasp, so that the listener/viewer must absorb layers of complexity and develop his or her own judgements about how to act in the light of the experience of receiving the story. Charlie Beckett says in his article yesterday:

“And where the complexity of the story is greatest, surely new media with its ability to link and to source and to refer can provide a more attenuated, more informed and more intelligent rendition of the situation? Instead of endless headlines about icecaps melting and capital cities drowning, the internet allows a multilayered reportage of climate change, from the scientific data to the implications for each family’s household.”

Exactly so. So there are two very importantly different things going on here. One is to embrace the emergent patterns, cross linkages and complex reverberations offered by the existence of many amateur and professional authors, journalists and commentators and use these to find more intelligent renditions of of the human condition. The other is to pay a great deal more attention to our role as witnesses.

As intermediaries, interpreters, translators, witnesses, some of whom have voices which are loud and can echo round the world, we have a custodial duty to do our best to act as thoughtful miniaturists, seeking to communicate the essence of the big picture in our careful selection of the small illustrations which will illuminate it. And yes, we must use delicate strokes.

‘Man has closed himself up, till he sees all things thro’ narrow chinks of his cavern’

From ‘His sense of exile’ by William Blake. The whole poem goes thus:

‘I am like an atom, a nothing left in darkness,
And yet I am an identitiy.

They told me that I had five senses to close me up,
And the enclosed my infinite brain into a narrow
circle,
And sunk my heart into the Abyss…
Till all from FLie I was obliterated and erased.

Man has closed himself up, till he sees all things
thro’ narraow chinks of his cavern.

If the doors of perception were cleansed every thing
would appear to man as it is, infinite.’

At the recent conference in Wrexham on Excellence in Narrative Practice
there was considerable reflection on the role of the narrative interviewer and their relationship with the interviewee. And then on what to do with the transcription and analysis of materials. This is a huge area and not an easy one. In different work on oral histories with the founding brothers of the Islamic Development Bank, lessons learned and governance of futures and horizon scanning research at Defra, enquiry into merger culture, and into the customer experience at HMRC, we’ve grappled in many different ways with the casting of the interviewer and with the analysis of resulting materials. I’ll write more on this as a subject over time, but simply wanted to record today a metaphor for the role of the enquirer/witness that struck me in one talk. The researcher described herself as feeling like an amateur archaeologist in sifting through the materials. For many old fragments of artefacts, you need to have some idea of the overall shape of what you are looking for to stand any chance of recognising it among the rubble. And all the same, you must keep an open mind and a keen eye to discern things and possibilities you may not have had in mind. So you need to be both open and closed minded in reviewing the assembled materials.

This reminds me of the end 17th point in Quaker Advices and Queries:

‘Think it possible that you may be mistaken.’