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Information and Knowledge Management using ArcGIS ModelBuilder

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Table 2: Verbal cues<br />

Nor Laila Md Noor <strong>and</strong> Ariza Nordin<br />

Objective Cues<br />

Domain <strong>Knowledge</strong><br />

Acquisition<br />

Applied Design<br />

<strong>Knowledge</strong><br />

Visualization<br />

Aesthetic <strong>Knowledge</strong><br />

Visualization<br />

Tell us your life story of making batik:<br />

How you do learn to make batik? How do you get involve in batik making?<br />

What are your social network, social responsibility as a batik maker?<br />

How can we identify traditional <strong>and</strong> contemporary batik?<br />

Describe your experience to produce a batik product from planning to finish<br />

product:<br />

How do you know what to produce?<br />

Describe stages of idea development until sketches of design<br />

How do you know your product has aesthetics value realized?<br />

How do you judge batik aesthetics?<br />

3.4.2 Procedures<br />

The activities of the focus group interview are described in Table 3.<br />

Table 3: Focus group activities<br />

Component Description<br />

Structure Each focus group workshop was conducted with 12 selected participants who are group<br />

according to their actor’s role.<br />

Timeframe<br />

Introduction. (5 minutes):<br />

(150 The facilitator explained the research-driven story to the group <strong>and</strong> provided everyone with<br />

minutes)<br />

paper <strong>and</strong> pens. The timing was controlled to avoid unnecessary delay.<br />

Case Story Session (5 – 10 minutes)<br />

The workshop participants spent time before the session writing their story based on their<br />

experience of a particular theme. As the story is being told, participants were told to note<br />

details of the story <strong>and</strong> ideas for questions <strong>and</strong> not to interrupt, <strong>and</strong> to respect confidentiality.<br />

The observer for each group took notes.<br />

Conversational & Informal Dialogue (25 – 30 minutes)<br />

The listeners write down their immediate reflections on the story: similarity/difference of the<br />

story with own story. Then they share their reflections within the group, one at a time with no<br />

interruptions. The observer for each group took notes.<br />

Group Ethics Promotes Emergence Not Forcing: Critical, asking <strong>and</strong> answering probing questions about the<br />

& Protocol<br />

subject matter in order to do it better not to force emergence.<br />

Promotes Caring: Ensure that our questions <strong>and</strong> our answers are generated in a climate of<br />

respect for the values.<br />

Promotes Confidentiality: Respecting the storytellers who are taking the risks to share their<br />

experiences. Video Recording is done with permission from participants<br />

3.5 Actual site visit<br />

We visit two batik microenterprise sites to make live observation of the batik making realities. We also<br />

conducted informal interview with the batik maker. The live observations verify processes of batik<br />

making for each technique to gain inside knowledge of actual practices <strong>and</strong> to gain real life<br />

experience in batik making for comparison with stories acquired from interviews <strong>and</strong> focus group<br />

sessions.<br />

4. Analysis <strong>and</strong> findings<br />

A micro analysis was conducted where content of the transcripts from the personal <strong>and</strong> focus group<br />

interview were coded to make sense of data to facilitate the emergence of open codes <strong>using</strong> the In<br />

Vivo Coding by Atlas TI. As the process is tedious, we took care to avoid the tendency of overconceptualizing.<br />

The open codes for this study were derived from multiple sources of data allowing a<br />

precise differentiation among categories.<br />

Two important discoveries emerged. The first is the business reliance on batik makers’ tacit<br />

knowledge gained from personal experience, batik mentor storytelling <strong>and</strong> non-textual references<br />

such as photographs <strong>and</strong> images from books <strong>and</strong> other repositories of knowledge that includes batik<br />

collection. The second is the concern for the business sustainability in the globalization era related to<br />

the concept of batik cultural erosion. This stems from batik makers resort for discontinuity of batik<br />

cultural rules in order to survive the socioeconomic impact of business globalization. We further<br />

enumerate three dimensions that cover competency deficit, isolated strategies <strong>and</strong> diverse level of<br />

need shown in Figure 4. The rest of this section presents the dimensions <strong>and</strong> related elements.<br />

356

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