Applying Research Methods

Through my work in different disciplines, I have had the opportunity to apply various research methodologies, both qualitative and quantitative. Detailed below are the different methodologies I have experience applying, and evidence of my having done so.

Cultural Mapping

Cultural mapping is an accessible, qualitative research methodology. It is/has a draw-talk protocol, where participants are given a variety of art supplies, and presented with a question that they must draw a “map” in response to. This map does not have to be a traditional map, it could also be an image, and amalgamation of places, text, or an abstract impression. Once the map is drawn, the facilitator of the cultural mapping will interview the participant (the talk part of the process) about their map and the answer to the question that they drew. The act of drawing the map can prompt participants to engage with the question/topic in a deeper way than may be done through a traditional interview. The interviewer can ask various questions about elements in the participants map, and also ask questions about their previous interview answers. Once the interview is completed, a transcript is created that accompanies the map when analysis is done. Analysis of the maps is complex, and the analysis generally varies based on who is conducting the research, their purpose, and the theory that they follow and utilize. When analyzing maps I used Lynch’s (1960) framework for analyzing mental maps, which involves identifying paths, edges, districts, nodes, and landmarks. The map’s features and organized into these categories, and generally discussed and shared with other people (analyses is done in a group setting). This process reveals patterns and themes that can be used to make conclusion and further qualitative research. In my work as a research assistant on the project You Are Here, I facilitated cultural mapping sessions, which involved explaining the process, encouraging participants, answering participants questions, and conducting interviews. I also analyzed cultural maps. For more information about the methodology of cultural mapping, please see Duxbury and Garrett-Petts’ A Guide to Cultural Mapping. Pages 17-22 of the Kamloops Cultural Strategic Plan 2024-2034 detail the mapping process used for You Are Here, and showcase some of the results.

Plant sampling

I utilized plant sampling during the data collection phase of my UREAP project in the Summer of 2024. A description of the steps I took when sampling plants can be found on pages 8-9 of my UREAP Report.

Qualitative Interviewing

I used qualitative interviews during the data collection phase of my UREAP project in the Summer of 2024. A description of the methodology I used for conducting these interviews can be found on pages 7-8 of my UREAP Report.

Interview Coding and Thematic Analysis

I conducted a thematic analysis of the interviews I collected for my UREAP project in the Summer of 2024. These interviews were analyzed in a GEOG 448- Directed Studies Course. The thematic analysis began by transcription the interviews using Otter.AI, an ai transcription service. Transcripts were checked and edited for errors, before being uploaded into NVivo. In NVivo I started the process of coding each interview. Interview coding involves sorting sections of interviews into different Nodes (sections/themes/ideas). One sentence or section of an interview can be coded to multiple different nodes. At first I coded for everything that seemed to appear, with nodes like growing food, water, fire, gardening history, family, collaboration, garden maintenance, etc. As I went through this coding the process I began to notice recurring themes that were popping up. I decided the theme that interested me the most to pursue was the attention that gardeners pay to their plants, their plants health, specific conditions of their garden, and wildlife relationships. I coded interviews to the node Attention, with nested nodes of Garden Conditions, Native Plants, Plant Death, Plant Health, Plant Preferences, Plant Processes, Relationships, and Wildlife. I chose the lens of relational geographies and more-than-human geographies as a way to examine and explore this theme. The thematic analysis that I conducted using Nvivo interview coding became the example that I used to explore how relational and more-than-human geographies show up in gardens, and in the relationships gardeners have with their garden. This qualitative method allowed me to get a different perspective on gardens, and their gardeners.

Herbarium Specimen Preparation

When preparing herbarium specimens for botanical illustration, I followed standard botanical techniques. Herbarium specimen preparation encompasses the collection, pressing, and mounting of plant specimens. When collecting my specimens, I followed the instructions of the gardeners who were donating plants from their garden, in order to inform me about how much of a plant I should collect. Entire plants were collected with a trowel, and parts of plants were snipped with shears. Once plants were collected, they were transported back to my plant press in an air-filled plastic bag. Plants were pressed in the layout that they would appear on herbarium sheets. Consideration was taken to make sure the entire plant fit into the given space (11.5×16.5″). The plant was arranged in a lifelike appearance similar to its growth form, leaves were laid flat and not twisted, and aesthetics were also taken into account, to ensure the plant looked aesthetically pleasing in its arrangement, while also remaining as lifelike as possible. Specimens were pressed between newspaper, blotting paper, and cardboard, and were left to dry. Once dry, specimens were glued onto herbarium sheets using hot glue. Care was taken to ensure the specimens would stay fixed on the sheet, without glue being visible. Herbarium labels were created using the standard categories. Below is a picture of three of the 13 herbarium specimens I created.

Botanical illustration

I completed botanical illustrations using standard botanical techniques. These techniques were outlined by Valerie Price, a professional botanical illustrator who works at Kew Gardens, in her book Botanical Illustration: The First Ten Lessons. Each botanical illustration began by tracing a pressed plant specimen, to get the proportions and general form of the plant. This tracing was used to inform a pencil sketch of the plant, in a lifelike position that is true to its growth form. Each pencil sketch was refined, before being transferred to watercolour paper. Watercolours were used to define and enliven the plant drawing, through the use of light washes of colour being added first, and darker/darkening washes of colour were added to bring out and create detail and shadows. The result is a lifelike illustration that is botanically accurate, as botanical illustrations are intended. Below are some of the illustrations I completed for my BIOL 4480 directed study.