"The Lansdown Centre for Electronic Arts, founded on groundbreaking computer animation in 1985, focuses on the creative and critical use of media technologies, leading developments in which media are interactive, ubiquitous, pervasive, physical and multimodal."
Fig.1 Julie Freeman
"Discourse analysis emerged as a new transdisciplinary field of study between the mid-1960s and mid-1970s in such disciplines as anthropology, ethnography, microsociology, cognitive and social psychology, poetics, rhetoric, stylistics, linguistics, semiotics, and other disciplines in the humanities and social sciences interested in the systematic study of the structures, functions, and processing of text and talk"
(Teun Adrianus van Dijk, p.109)
Teun Adrianus van Dijk (2002). Media contents The Interdisciplinary study of news as discourse. "A Handbook of Qualitative Methodologies for Mass Communication Research". N. W. Jankowski and K. B. Jensen, Routledge.
"To say you will engage in purposive sampling signifies that you see sampling as a series of strategic choices about with whom, where and how to do your research. Two things are implicit in that statement. First is that the way that you sample has to be tied to your objectives. Second is an implication that follows from the first, i.e., that there is no one “best” sampling strategy because which is “best” will depend on the context in which you are working and the nature of your research objective(s).
Purposive sampling is virtually synonymous with qualitative research. However, because there are many objectives that qualitative researchers might have, the list of “purposive” strategies that you might follow is virtually endless, and any given list will reflect only the range of situations the author of that list has considered."
(Ted Palys, 2008)
Palys, T. (2008). "Purposive Sampling". The SAGE Encyclopedia of Qualitative Research Methods. Lisa M. Given. London, SAGE Publications, Inc. 1&2.
"This is sometimes another stumbling block, particularly to the Romantic notion of the practitioner whose aim is the expression of the self. We need to differentiate between activities that are to do with the personal development of the practitioner and his or her creativity, and activities that are significant for others in the field. It is only an activity that is significant for others that can be regarded as research. Personal development does not make a contribution to the 'advancement of knowledge, understanding and insight', except in the most parochial sense, i.e. my advancement. To illustrate this let us consider the discipline of arts therapies. It is the purpose of arts therapies to improve the well-being of the client through an intervention involving the client doing some kind of arts activity such as painting, music or drama, etc. Whether the client produces art, in the sense of 'a work of art' mentioned above, is irrelevant to the process. The activity is aimed at the personal development and self knowledge of the individual and not at the advancement of knowledge, understanding and insight into some issue shared by others. Of course, the client's case may contribute to the advancement of knowledge in arts therapies, but this would be an outcome for the therapist and not for the client. In addition, the client's productions may subsequently achieve the status of 'works' but this would be incidental to their original function in connection with improved well-being. Thus I would distinguish between (1) art as therapy (for the individual), (2) art as cultural practice (the production of works of art), and (3) art as research (meeting certain criteria under discussion). It is my claim that (1) and (3), that is, art as therapy and art as research, are mutually exclusive. I should emphasise that this does not mean that I deny that there is such a discipline as arts therapies research!"
(Michael A. R. Biggs, 2003, Practice as Research in Performance)