In post-qualitative research, methods are empirical. Art researchers break the relationship between subject and object, and, in addition, they adopt an exploratory approach to production. I think Bricolage’s ideas emphasise a kind of ‘decentralisation’. The researcher says it is not self-reflection but reflection on the self. The aim is to construct the invisible beyond the quantitative scope. The researcher used observational approaches and multiple voices to wrangle the research questions. These ways, perceptions and voices can be combined and collaged in the data. For example, Ana Vaz: I prefer not to be but to Tupi: the age of the earth as examples of non-qualitative artistic research. The work itself is not holistic. The work is a series of fragments of material. Although the work is pieced together from materials and resources, the artist wants to separate – to bring things together – through association. And decentralism may be a kind of anti-authority. However, the post-qualitative researcher emerges as a marginal entity, a combined self. Wandering through society produces texts that are visible to the universe. As Ana Vaz points out there is no predetermined route, authority or identity, only the presence of shadows. She breaks down the realm of reality, the realm of representation and the realm of the subjective. I think this sense of ambiguity is what the film is about. In short, the post-qualitative creates an embodied field of complex reality in the text, interrogated by a reflexive researcher of sensations, folded inwards, embracing disorientation and openness.
