Towards the improved treatment of generalization of knowledge claims in IS research : drawing general conclusions from samples

This paper presents a framework for justifying generalization in information systems (IS) research. First, using evidence from an analysis of two leading IS journals, we show that the treatment of generalization in many empirical papers in leading IS research journals is unsatisfactory. Many quantitative studies need clearer definition of populations and more discussion of the extent to which ‘significant’ statistics and use of non-probability sampling affect support for their knowledge claims. Many qualitative studies need more discussion of boundary conditions for their sample-based general knowledge claims. Second, the proposed new framework is presented. It defines eight alternative logical pathways for justifying generalizations in IS research. Three key concepts underpinning the framework are the need for researcher judgment when making any claim about the likely truth of sample-based knowledge claims in other settings; the importance of sample representativeness and its assessment in terms of the knowledge claim of interest; and the desirability of integrating a study’s general knowledge claims with those from prior research. Finally, we show how the framework may be applied by researchers and reviewers. Observing the pathways in the framework has potential to improve both research rigour and practical relevance for IS research.

Drawing to learn in science

Should science learners be challenged to draw more? Certainly making visualizations is integral to scientific thinking. Scientists do not use words only but rely on diagrams, graphs, videos, photographs, and other images to make discoveries, explain findings, and excite public interest. From the notebooks of Faraday and Maxwell (1) to current professional practices of chemists (2), scientists imagine new relations, test ideas, and elaborate knowledge through visual representations (3–5).

My favourite things - drawing

Large mixed media drawing. Work has been exhibited in 'Something in the air' at Christine Abrahams Gallery, 25 May-6 Jun, 2010. 'Something in the air' was an exhibition in which six selected artists, including Dr Deborah Walker, exhibited their artwork at 27 Gipps St, Richmond, Victoria.

Learning by drawing

Scientists use a range of visual forms to imagine new relations, test ideas and elaborate knowledge, with digital technologies increasingly used to construct elaborate maps, 3D simulations, graphs or enhanced photographs. These visual tools are not simply passive communication devices but actively shape how we build knowledge in science.

Stone soup drawing exhibition and workshop

This series of drawings based on the folk tale of stone soup, axe soup and other tales of travel and engagement with a new community. I also conducted a community workshop in which people drew on paper prepared by myself in which memories and placeswere the focus. As the community drawings were produce I substituted them for the ones I had produced and left them with the festival committee as a gift to the community.

Incorrigible and undisciplined lines in visual social research : ways of ‘writing’ and ‘drawing��� at the interstices

In this paper the author traces the possibilities afforded by engaging with the aesthetic, historic and socio-political nature of shodo (Japanese calligraphy) as an intersectional space. Shodo literally translated as 'the way of writing' is an artistic practice bringing together ink, brush and paper. It is simultaneously a juncture between studied discipline and an ongoing mediation of subjectivities. The calligrapher/writer/drawer communicates to the reader through the bold or subtle brush strokes, the pressure and movement at the completion of each stroke. The calligrapher/writer/drawer draws across the boundaries of text and image to meet the reader blurring the lines between subject and object. This discussion re-examines the hierarchical binaries of writing/drawing, text/image, self/Other as they play out from vanishing lines of distinction between truth and conjecture. Crossing these binaries opens up opportunity for decentring and questioning representational practice by enabling other possible meanings and practices to emerge (Lather, 2007). I work from a stance of theoretical promiscuity in order to disrupt constitutive discourses and restore the liminal in social research. Drawing across the fragments of research projects I illustrate the generative and speculative space of visualising pedascapes in educational research.

The drawer and the drawing

"The drawer and the drawing" is an installation that is a direct response to the Deakin artists books collection. Using original drawing, hand colouring, computer enhanced artwork, paper-cutouts, photographs, I created a glimpse of what the “book” tells me about the artist? I created "artworks, the books and the ephemera that was left over and behind when the “artbook” was taken away and placed in a gallery.

Drawing the line: Chinese calligraphy, cultural materialisms and the “remixing of remix"

Remix in writing has very different expressions, and is grounded in very different legal, philosophical and creative materialisms, in Western and Chinese cultures. The infringement of authors’ Intellectual Property Rights (IPRs) in China is not only an irritant for Chinese-Western commercial and legal relations. It also points to different formations of the creative and legal domains across global space, and serves to introduce notions of creativity and originality that are largely unfamiliar in the West. Calligraphy, as a pictorial and material mode of writing, comprises a practice of Chinese remix in which the apprentice traces the lines of the master’s work: repetition of Yun 韵 (‘composed body movements’) stimulates the expression of Qing 情 (‘feelings’). What appears from a distance to be slavish imitation actually involves a philosophy of learning (or more precisely, of ‘unlearnt learning’) that, bypassing plagiarism’s traps, effectively ‘remixes remix’ as a creative model no longer dependent on the familiar Western rationales for the legitimacy of remix as appropriation, homage and/or pastiche. To see this though, one has to deploy a Taoist rather than a Confucian framework in the analysis of calligraphic practices. The case of Kathy Acker, allied with the work of Gilles Deleuze, reveals a largely invisible lineage of Taoist-influenced remix in Western creative writing. In this way, calligraphy emerges as a model of remix relevant to all forms of writing—for all writing is material, whether calligraphic or not. Further, as Acker shows, the materiality of writing constantly replenishes its remixing with cultural elements that may not be otherwise visible.

Mental context reinstatement or drawing: which better enhances children's recall of witnessed events and protects against suggestive questions?

The aim of this experiment was to examine the effectiveness of two techniques in enhancing children's recall of an event that they experienced approximately a week earlier. Younger (5–6 years) and older (8–9 years) children were interviewed about a magic show event in one of three conditions. Before recalling the event, some children were instructed to mentally reinstate the context of the event (MCR group), others were asked to draw the context of the event (DCR group), and others received no reinstatement instructions (NCR). Results showed that these instructions had no impact on children's free recall or responses to open-ended prompts. However, reinstatement instructions impacted children's responses to suggestive questions: those in the DCR group gave more accurate responses than those in the NCR group. These findings provide preliminary support for the use of drawing as a potentially protective exercise that lessens the impact of biased questions with child witnesses.