Research methods taught for undergraduate students is like asking a young person to eat their greens; fraught with difficulties. The prospect of engaging with active research seems distant, and the philosophical concepts underneath it, seem convoluted and far too complex. After all, at some point each of us struggled with inductive/deductive reasoning, whilst appreciating the difference between epistemology over methodology…and don’t get me stated on the ontology and if it is socially proscribed or not…minefield. It is through time, and plenty of trial and error efforts, that a mechanism is developed to deliver complex information in any “palatable” format!
There are pedagogic arguments here, for and against, the development of disentangling theoretical conventions, especially to those who hear these concepts for the first time. I feel a sense of deep history when I ask students “to observe” much like Popper argued in The Logic of Scientific Discovery when he builds up the connection between theory and observational testing.
So, we try to come to terms with the conceptual challenges and piqued their understanding, only to be confronted with the way those concepts correlate to our understanding of reality. This ability to vocalise social reality and conditions around us, is paramount, on demonstrating our understanding of social scientific enquiry. This is quite a difficult process that we acquire slowly, painfully and possibly one of the reasons people find it frustrating. In observational reality, notwithstanding experimentation, the subjectivity of reality makes us nervous as to the contentions we are about to make.
A prime skill at higher education, among all of us who have read or are reading for a degree, is the ability to contextualise personal reality, utilising evidence logically and adapting them to theoretical conventions. In this vein, whether we are talking about the environment, social deprivation, government accountability and so on, the process upon which we explore them follows the same conventions of scholarship and investigation. The arguments constructed are evidence based and focused on the subject rather than the feelings we have on each matter.
This is a position, academics contemplate when talking to an academic audience and then must transfer the same position in conversation or when talking to a lay audience. The language may change ever so slightly, and we are mindful of the jargon that we may use but ultimately we represent the case for whatever issue, using the same processes, regardless of the audience.
Academic opinion is not merely an expert opinion, it is a viewpoint, that if done following all academic conventions, should represent factual knowledge, up to date, with a degree of accuracy. This is not a matter of opinion; it is a way of practice. Which makes non-academic rebuttals problematic. The current prevailing approach is to present everything as a matter of opinion, where each position is presented equally, regardless of the preparation, authority or knowledge embedded to each. This balanced social approach has been exasperated with the onset of social media and the way we consume information. The problem is when an academic who presents a theoretical model is confronted with an opinion that lacks knowledge or evidence. The age-old problem of conflating knowledge with information.
This is aggravated when a climatologist is confronted by a climate change denier, a criminologist is faced with a law and order enthusiast (reminiscing the good-old days) or an economist presenting the argument for remain, shouted down by a journalist with little knowledge of finance. We are at an interesting crossroad, after all the facts and figures at our fingertips, it seems the argument goes to whoever shouts the loudest.
Popper K., (1959/2002), The Logic of Scientific Discovery, tr. from the German Routledge, London
This poem is named for the first chapter of the iconic book Staying Power (1984) by historian and academic Peter Fryer. A book that talks about the history of Black people in Britain, from Roman times up to his modern-day. It’s also inspired by ‘Mathematics’ by British poet and author Hollie McNish.
those goddamn universities
and their goddamn books
learned people, crippling egos
with nothing but a look
he says those goddamn historians
and their god damn history
I tell them they worked hard
to get there, can’t you see?
I ask him what
he expects British history to be
he says he remembers
the land of Blyton and Christie
coastal wrecks, greenery
and a good wage before those people came
where people went to work, pot-bellied
national pride, stood proud before they came
now no British jobs, their kinde are to blame
I ask how he knows this to be true
he said he saw it on BBC News
every time a Pole takes a job from us
each time he hears a different language
whilst riding the bus
this divide and conquer, them and us
to me just does not add up
he makes a brew, two sugars in his tea
I say didn’t you know those granules
came from the sugar economy
he grunts, goddamn Blacks came and took our stuff
I tell him about sugar and cotton, you know
how slaves gave us indigo and tobacco – hot air to puff
I show him Brixton Road and Portobello Market
I show him rock n roll, Network Rail and the NHS
I show him the immigrant-built west
I show him straight roads and pictures of my Gran
how the Jamaican ackee comes from the Ghanaian Akan
He’s sick of history and social science
sitting all sad and smug on his island
I spent three years on a degree
did a dissertation on British identity
I geek over John Blanke
renaissance trumpeter who was Black
Oh and Ann Lister, call her Gentleman Jack
and Afro-Romans and The Slave Trade
Black Georgians, Saxons and Viking Raids
and I so want to scream when I hear folks say
goddamn immigrants taking our jobs
but how we teach history – we don’t talk
of Mrs Shah’s shop employing Bill and Bob
where people with money love to spend
employing women and men in tens,
her gift for business is self-taught
all her plans meticulously well-thought
and all your prejudice talk
forgets the soldiers the colonies pledged
forgets the men left for dead
in Tangiers, Dunkirk and at the Somme
as the world wars went on and on
from Mr Smith to Mr Wong
and I know people love to complain
but England our name
the land of Angles is all that remains
from Saxons to Jutes
stories of migration since before WW2
and often, those kind of people
are more native than the locals.
Some time ago, I wrote ‘A Love Letter: in praise of poetry‘, making the case as to why this literary form is important to understanding the lived experience. This time, I intend to do similar in relation to visual art.
Tomorrow, I’m plan to make my annual visit to the Koestler Arts’ Exhibition on show at London’s Southbank Centre. This year’s exhibition is entitled Another Me and is curated by the musician, Soweto Kinch. Previous exhibitions have been curated by Benjamin Zephaniah, Antony Gormley and prisoners’ families. Each of the exhibitions contain a diverse range of unique pieces, displaying the sheer range of artistic endeavours from sculpture, to pastels and from music to embroidery. This annual exhibition has an obvious link to criminology, all submissions are from incarcerated people. However, art, regardless of medium, has lots of interest to criminologists and many other scholars.
I have never formally studied art, my reactions and interpretations are entirely personal. I reason that the skills inherent in criminological critique and analysis are applicable, whatever the context or medium. The picture above shows 4 of my favourite pieces of art (there are many others). Each of these, in their own unique way, allow me to explore the world in which we all live. For me, each illustrate aspects of social (in)justice, social harms, institutional violence and the fight for human rights. You may dislike my choices. arguing that graffiti (Banksy) and photography (Mona Hatoum) have no place within art proper. You may disagree with my interpretation of these pieces, dismissing them as pure ephemera, forgotten as quickly as they are seen and that is the beauty of discourse.
Nonetheless, for me they capture the quintessential essence of criminology. It is a positive discipline, focused on what “ought” to be, rather than what is. To stand small, in front of Picasso’s (1937) enormous canvas Guernica allows for consideration of the sheer scale of destruction, inherent in mechanised warfare. Likewise, Banksy’s (2005) The Kissing Coppers provides an interesting juxtaposition of the upholders of the law behaving in such a way that their predecessors would have persecuted them. Each of the art pieces I have selected show that over time and space, the behaviours remain the same, the only change, the level of approbation applied from without.
Art galleries and museums can appear terrifying places, open only to a select few. Those that understand the rules of art, those who make the right noises, those that have the language to describe what they see. This is a fallacy, art belongs to all of us. If you don’t believe me, take a trip to the Southbank Centre very soon. It’s not scary, nobody will ask you questions, everyone is just there to see the art. Who knows you might just find something that calls out to you and helps to spark your criminological imagination. You’ll have to hurry though…closes 3 November, don’t miss out!