Driven by an impetus to standardize, numerous checklists have been devised to address quality in qualitative research, but these standards and the mindset driving them offer no language with which to speak about taste, or the aesthetic sensibilities that play such a key role in evaluating the goodness of any object. In this article, quality appraisal in qualitative research is considered in the context of taste, that is, in the discernment involved in judging the value of research and in the (...) recognition of the key role reviewer preferences, sensibilities and membership in one or more taste communities play in these judgements. The evaluation of a study is accomplished by evaluating one or more reports from that study, and such reports may be conceived as art forms amenable to the same criteria for appraisal as poems or paintings. Taste implies judgements about the quality of objects and a person's ability to sift through and select from a store of knowledge that knowledge appropriate to judge its value. What binds a community of practitioners (here reviewers of qualitative studies) together is taste‐making, or the constant refinements of judgements concerning what constitutes good and bad practice. (shrink)

Our methods of inquiry predetermine most of what we are able to know. While our modes of understanding ought to correspond to the complexities confronting us in our modern technological society, they do not. Soft systems methodology helps us focus on what is problematic and how it can be approached — and offers direction to exert moral control over our tools and technologies. [Powerful new technologies] pose basic threats to people and to life on Earth . . . Unless we (...) learn to live with them in safety, our future is likely to be both exciting and short. We cannot hope to foresee all the problems ahead, yet by paying attention to the big, basic issues, we can perhaps foresee the greatest challenges and get some idea of how to deal with them (K. Erik Drexler, 1986). (shrink)

Our methods of inquiry predetermine most of what we are able to know. While our modes of understanding ought to correspond to the complexities confronting us in our modern technological society, they do not. “Soft” systems methodology helps us focus on what is problematic and how it can be approached — and offers direction to exert moral control over our tools and technologies. [Powerful new technologies] pose basic threats to people and to life on Earth . . . Unless we (...) learn to live with them in safety, our future is likely to be both exciting and short. We cannot hope to foresee all the problems ahead, yet by paying attention to the big, basic issues, we can perhaps foresee the greatest challenges and get some idea of how to deal with them (K. Erik Drexler, 1986). (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis (...) that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today. (shrink)