Arts-Based Research

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees. Students were writing home asking parents to dig out their pencils and painting sets that they had at school, as there was now an urgent need to express an idea in a creative way. On this point, and towards a student-centred introduction to this book, I invite the reader to turn to the last chapter (chpt 40) Student Voices: living and learning through art and the outdoors which provides a sense of the endeavour, commitment and learning experiences from a selection of student authors in this volume.

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.

Ever since William Henry Fox Talbot used his plaster replica of the Bust of Patroclus (from 1842) as a model for the photographic invention he was developing, photography has had a long and entwined relationship with sculpture. It was not seen as a mortal threat (in the way that it occasioned proclamations of the death of painting), but rather a field of possibilities where the perception and meaning of sculpture could be explored. Whilst, in the 1960’s, sculpture experienced an expansion of its terms, photography was consigned to a predominantly visual and scopic functionary of documentation; capturing representations of fixed moments in time.

This fine-art and practice-based research enquiry considers the relationships between photography: of sculpture, into sculpture and as sculpture, proposing that there may exist a preposition of ‘photography with sculpture’. As photography continues to develop its own expansion of terms, with a movement away from the digital and representational toward a materialist and phenomenological expression, this research explores if there may exist a conjoining of these expanded fields.

With a specific focus on ephemeral sculpture and camera-less photography, the problematised question of time and the expression of the temporal are brought into sharp relief. Here a sculpture may transpose itself from a 3-dimensional to 2-dimensional form (where the “photograph” may yet retain an object status), and where the sculpture may change over time, its representation may follow, tethered, continually inviting us – after Robert Morris – into a “present-tense” of photography. In this manner new readings may become possible with implications for our understanding of both disciplines.

With rigorous documentation and reflection in the form of research diaries, a number of artefacts have been developed combining ephemeral salt sculptures with salt photography, reducing photography to the elemental nature of light sensitised surfaces, more or less fixed, with salt, to create unstable images.

In this paper, I discuss how dance can operate as a method in the collaborative performance ethnography to explore the sensory and emo- tional dimensions of the embodiment of young womanhood. Drawing on one dance workshop where we explored material objects symbolic of womanhood, particularly introducing Nitika and her intuitive dance with gendered objects and her bodily ways of knowing and learning about gender, I illustrate how dance enabled exploration of young women’s identity intertwined with objects and their gendered meanings. I argue that creative embodied methods such as dance create space for working with the plurality of fleeting sensory and emotional information, not because it is more important than any other information, but because it is an alternative way of knowing about oneself, others and the world.

Photographs are often used in educational research, particularly studies using visual arts research methodologies. The visual and conceptual relationships established between the pictures themselves in a research report are decisive for scientific and artistic quality. We recommend the use of concepts such as ‘photo series’, ‘photo essay’, ‘photographic discourse’, ‘photo abstract’, ‘photo conclusion’ and ‘photographic quotation’. Each concept fulfils a different function and value as a specific research criterion. The article offers definitions of some of these concepts and shows photographic portraits made by students in the primary teacher education department at the University of Granada, drawing on the work of Lewis Hine.

Bringing together interdisciplinary leaders in methodology and arts-based research (ABR), this comprehensive handbook explores the synergies between artistic and research practices and addresses issues in designing, implementing, evaluating, and publishing ABR studies. Coverage includes the full range of ABR genres, including those based in literature (such as narrative and poetic inquiry); performance (music, dance, playbuilding); visual arts (drawing and painting, collage, installation art, comics); and audiovisual and multimethod approaches. Each genre is described in detail and brought to life with robust research examples. Team approaches, ethics, and public scholarship are discussed, as are innovative ways that ABR is used within creative arts therapies, psychology, education, sociology, health sciences, business, and other disciplines.

This book contributes to the field of arts-based methods in education with general theoretical perspectives and original cases, reviewing the journey of learning in connection to the arts, and the contribution of the arts to societies from an educational perspective.

Outdoor facilitation can be problematic. In some of its late 20th century pedagogical guises, some scholars hailed it as an effective alternative/addition to mainstream education due to its possibilities as a developmental tool, for example (see Neill and Richards, 1998; Miles and Priest, 1990; Priest and Gass, 1997). Since then, other scholars have cast doubt on its varied misappropriations – yet still embraced its possibilities for participant-centred and generative place-based experiential approaches (see Beames, 2006; Brookes, 2003; Loynes, 1998, 2002; Mckenzie, 2003; Nicol and Higgins, 1998). However – and more worryingly – other scholars have also exposed elements of it as a colonialist endeavour (see Brinkhurst-Cuff, 2017), a fascist enterprise (see Cutting, 2016), a racist initiative (see Ayamba and Rotherham, 2003; Callicott, 2000; Rose and Paisley, 2012), a classist issue (Suckall, Fraser and Quinn, 2009), and a privileged supporter of romanticised nature idealism (see Fletcher, 2017; Mcphie and Clarke, 2018). To counter these rather disturbing trends and directions, this chapter focuses on the role of creativity to attempt to produce more equitable and progressive directions for outdoor facilitation. More specifically, it attends to the role of creativity in outdoor learning for producing social and environmental equity. It does this by exampling three works or art created by one undergraduate and one postgraduate student currently studying on the Outdoor Studies programmes at the University of Cumbria (UoC).

From a societal point of view, art has a key relevance: Art is a means to pursue the cultural questions posed about interrelations, perceptions of realities and meanings (critique and value formation) in an aesthetic mode of working. It is a multivalent communication (communication system) which, through a varying contextualization, evades a specific translation (interpretation) and, in this way, forms a resource for reflection—on the personal level, through the beholder, and on the societal level, as a system.
In terms of the progressing differentiation of art systems (horizontal differentiation), this is accompanied by a shift of emphasis so that its focus is not (any longer) on the production of objects and in particular their display in art contexts (labelled as such). Instead, what is now its focus is the designing of processes influencing developments as well as the integration of a range of disciplines. Rather than artists being the experts on questions of design, they are now being inquired as experts on issues related to perception and its relationing. As a result, perceptual (aesthetic) skills and their artistic application in social contexts (relationing) represent a crucial ability, and the medium and the canon of media becomes secondary.


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This article explores how dwelling—a mindful unfolding of
thinking and being within the cosmos as a whole—can offer
a useful lens to look at the deeper layer of mental health
service users’ lived experiences, specifically in regards to the
feeling of ‘being at home’. To do so, this article reflects on how
dwelling has shaped design of a multi-modal research method
—Story Houses—that combines poem writing, working with
materials and interviews in a workshop environment.
Methodological implications of the method are considered in
regards to dwelling in the moment, abstracting time and
space, unfolding memories and thinking through metaphors.
A study with 18 mental health and wellbeing service users, 10
of which were interviewed, looks into the constant unravelling
of seeming opposites like alone/together and explores the
fantastical metaphor ‘sea’. It does so by adapting thematic
analysis to mirror a dwelling lens. As a method, Story Houses
can help create, open up and invite us to dwell in the nonliteral, evocative and ephemeral landscapes of human
existence.

Bonne analyse des enjeux de la recherche-création, bien recherchée-Pour pousser l'analyse plus loin, il faut porter plus d'attention sur les spécificités processuelles de la science et des arts (D/G développent une telle tentative dans Qu'est-ce que la philosophie? Note pour le travail: A-Note pour le cours: A

The research entitled Photography: conversation with pictures, between light and darkness, aims to answer the question : What are the ways of seeing and how are they given? Thus, the proposal is to discuss what is the seeing and what are the ways of seeing, especially regarding images, and propose new possibilities to perceive and relate to the images. The look of blind photographers artists Teco Barbero, Pete Eckert and Evgen Bavcar is the starting point for articulating concepts, notes, contextualizing and question the oculocentrista beliefs that the world thinks the imagery as belonging only to the visionaries. The theoretical foundation is rooted in the study of the visual culture to think that corroborate the view, photography and reflection of visually impaired people enabled by the field, and discuss issues such as image, its production and some possible ways of seeing and relating to the images. The photograph is placed on debate to advance the reflection on the ways of seeing, perceiving, thinking and create the view beyond. And think the description and language as articulators for the visually impaired relationship with photography and images in general way. When entering the world of language, translation emerges as a possibility to reflect on ways of building the images for the visually impaired. The structure of the thinking process of the seeing, perceive and relate to the imaging, is woven from the poetics of 'see', ' review ' and ' transverse ' metaphor proposed by Manoel de Barros. Also relies, in the possibilities of translation, Flusser, entering the field of visual culture studies. The field research, observation and data collection was performed with a group of visually impaired and bachelors in travel photography Visual Literacy extension, Senac - SP, where students learn how to shoot and handle the camera, doing exercises to increase awareness, perception and imaging, as well as discussion and reflection on the photographic and image production. Research indicates, among other issues, that the seeing is not something unique of the eye and that it is built from the experiences, experiments, and especially the perceptions coming from the senses. The view is a construction that relies on vision, and is completed in sensations, memories and imagination. Seeking to expand the discussion on the ways of seeing, are listed the reports, processes and photographic works of Lelo Araújo, Ana Domingues and grandson Josiah. Analysis and interpretations that cover the production of these blind photographers are not woven, since the purpose of the research is to reflect upon the possibilities of seeing in its wealth of forms and manifestations, thus increasing the knowledge about the image.

PhD Dissertation
The primary objective of this dissertation is to disentangle and arrange a number of issues particular to the sphere of activity designated as artistic research. A bimodal conception of artistic research is proposed as a framework by which confusions in the discourse and in
applications of artistic research may be avoided or resolved.
Mode one indicates that artistic creation is in most instances ipso facto artistic research. A philosophical substantiation is offered for the claim. In brief, a work of art is considered to be a state of affairs, to use Wittgenstein’s terminology, of the artistic kind. The creation of a state of
affairs of the artistic kind and the formulation of propositional belief about that state of affairs are claimed to be necessary and jointly sufficient conditions for artistic research to occur. A state of affairs of the artistic kind provides the artistic component of artistic research; however, the
state of affairs in and of itself does not normally convey propositional belief, and therefore does not satisfy the condition of research in artistic research. For artistic research to take place, propositional belief about the state of affairs of the artistic kind must be formulated. The site of
the initiation of the research component of artistic research is thus located. In normal artistic practices, the class of activities commonly seen as art and the class of activities commonly seen as research exhibit significant class overlap and are inseparably intertwined in the vast majority
of artistic creations. Mode two indicates delimited forms of artistic research. Mode two artistic research does
not accept that the conditions of mode one are sufficient for artistic research and subsequently requires further epistemic justification or criteria. The further justification or criteria delimits the
form of artistic research, usually within particular contexts for particular purposes. Clarity in the discourse of artistic research is promoted when the modes are clearly differentiated, when their purposes are stated, and when the underlying presuppositions held by their proponents are revealed.

Looking on, in, and under scarred skin, problematizes understandings of memory, subjectivity, and self/other relations. Using arts-based inquiry, I investigate my scarred life stories while connecting it to feminist perspectives that expose social constructs of gendered scarred skin. As I peel back the complex surfaces, I highlight my female voice and personal experiences to explore the layered meanings in my scars. Questioning assumptions and understandings of scarred skin in relation to self and others, my goal is
to stimulate new ways to view, understand, and engage with skin scars.

Social work educators have found a variety of experiential and creative methods to be valuable aids in teaching culturally sensitive social work practice. By utilizing experiential/creative methods as tools of self-reflection, faculty can help students develop their "professional use of self" for practice with diverse populations. This paper presents a development in qualitative research, the research poem, which has powerful implications for teaching culturally sensitive social work. It explores how the research poem was has been used as a vehicle for teaching students culturally sensitive social work practice with Native Americans.

This paper (in press) is part of a collection asking questions about research-creation, creation as research. It began as a poem performed publicly while walking around a colleague, whose paper I was responding to, with a tensor bandage wrapping and unwrapping, binding and unbinding his arms and torso as I changed direction in my circular windings. Slowly, I placed the lines written on sticky notes on his sweater after reading them. He was a sight, as well as the site of the performance, and together we troubled citational practices and notions of attribution. In a research-creation paradigm, what would these look like and how might they be understood? Are alternative citational practices required as current Western scholarship moves toward recognizing multimodal and performative knowledge production? This paper presents the provocative sight/site/citing of the poem through photographs of the sticky notes paralleled by reflections on this theme.

Samtidens interesse for 'kunst som forskning' kan knyttes til den velkjente og gamle antagelsen at lek og drama er en erkjennelsesmåte. Ved å følge noen av de historiske kildene til kunst-basert forskning møter man en konstruktivistisk epistemologi som er velkjent for dramapedagogikken. Slik får man også grep om noen kunstdidaktiske saertrekk som i dag har mye felles med en " praksis-ledet " forskning innenfor kunstpraksis. Bjørn Rasmussen kritiserer hierarkisk tenkning som forhindrer at kunstdidaktikk anerkjennes som kunnskapsdannende virksomhet i utdanningen. Han skriver at et kunnskapssyn og en danningsteori som forbinder, og som rommer både den aktive og formende erfaring og den distanserte perspektivering er nettopp hva kunstdidaktikken kan bidra med

What if there was a way of thinking about our own teaching as an art practice, and what if our teaching-as-art-practice was the most radical form of expression to ever exist? This book presents an argument for this possibility in two forms: First through a lecture about the latent expertise of everydayness, the overlap of conceptual art and teaching, and the materiality of invisibility. Then, 33 teachers from DC, Virginia and Maryland came together to write 120 pages in 90 minutes. In those pages the reader is treated to multiple lifetimes' worth of sage advice, scholarly and pedagogical inspiration, and conceptualizations for a teaching practice that is simultaneously an art work.

This book was published in collaboration with the Kennedy Center for the Performing Arts in Washington DC. Hard copies of the book can be attained by following the directions on this webpage: https://www.jorgelucero.com/work#/teacher-as-artistinresidence/

This study contemplates one facet of academic motherhood through the use of artful research approaches in qualitative research to examine the (im)balance of being a mother writing academic works while raising and caring for a young child, as presented in an online hashtag Facebook campaign, #amwritingwithbaby. Specifically, this study uses an analysis of online posts and arts-based representations of findings through a comparison of narrative, poem, and word clouds. Through using popular media for representing the findings, this study helps address the accessibility of artful inquiry into the growing body of works seeking equity for women and mothers in academia.

Summary of Issues in Responsible Conduct
in Research-Creation and Proposed Tools for Reflection
This Toolkit was produced as part of the research project Responsible Conduct in Research-Creation:
Providing Creative Tools to Meet the Challenges of an Emerging Field. It was funded by the Fonds de
recherche du Québec (FRQ) as part of the Concerted Action La conduite responsable en recherche : mieux
comprendre pour mieux agir (2016-2018) [Responsible Conduct of Research: A Better Understanding for
More Effective Action]. A brainstorming workshop held in November 2017 was funded by the Social
Sciences and Humanities Research Council of Canada (SSHRC) and several institutional partners.
Project website: www.crr-rc-rcr.ca
REFERENCES

Inequality in Bronze is a two-year project (2018–20) reckoning with the history of slavery at Stenton, a plantation house museum in Philadelphia, by commissioning a new memorial to Dinah, a woman enslaved at the property in the mid-1700s. Drawing on data collected throughout the project, this article argues that historic house museums need to move from “community participation” to “community integration” in their efforts to forefront racial equity. This article asks how we can
redress centuries of erasure and the absence of Black lives at historic sites. It offers points of consideration for other historic house museums contemplating similar projects as the collective work to address the legacies of American enslavement continues.

"By inviting educators from diverse backgrounds to participate in creative conversations I had hoped to reflect on experiences that had helped construct our theories of environmental education, and inform practice. I sought consistency across the espoused ethics of co-participants, namely critical perspectives grounded in environmental justice. However, this quest was interrupted by a growing awareness of the interference of power dynamics between myself and the other participants, and of my own commitment to respect the stories being told. This narrative describes my “dance” of meaning making.
The community dance examining privilege, identity and meaning is a study of how I may be contributing to the same oppressive situations I passionately strive to work against. Concepts of knowledge, power, and identity ebbed and flowed within stories drawn from the mountains of Tanzania to the hills of Colombia, and from the frozen shores of Kirkland Lake to the trout filled streams of Karman, Iran. Making meaning is itself an act of power and privilege, so I danced to make room for multiple understandings of these stories, of environmental education, and of research. This work offers an experience of disruption that raises questions and broadens the inclusion of people, ideas and other life into “accepted” research and pedagogical practices.
Conventions embedded within research and education were disrupted throughout this reflexive process. As the author of this text, I was uncomfortable with the role of being the dominant voice, and consciously chose not to impose my interpretation on the stories shared by co-participants. The struggle to resist the very privilege in which my own education practice and this research process are so deeply steeped revealed normative forces that often threaten to undermine attempts by educators and researchers to act according to critical theories and environmental justice ethics. To accept the invitation to dance with the text is to step into the rhythmic intricacies of a collaborative process of reflexion. Circling hand-in-hand and giving weight to fellow dancers’ movements shifts individuals from being carriers of truths to being community members sharing in the collaborative process of dancing the world into existence."

El vídeo-ensayo como forma de pensamiento audiovisual tiene sus máximos re- ferentes en el denominado cine de ensayo y algunas de sus producciones pueden ser incluidas dentro del ámbito del videoarte. Sus características pedagógicas lo convierten en una estrategia de indagación y aprendizaje audiovisual apropiada para la enseñanza artística, especialmente en la comprensión de las diferentes formas, procedimientos y técnicas relacionadas con el audiovisual contemporá- neo. En este artículo se recoge una experiencia de vídeo-ensayo en el ámbito de la formación inicial del profesorado que sirve para ilustrar su carácter pedagógico y la amplitud de sus posibilidades en la enseñanza.

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O vídeo-ensaio como forma de pensamento audiovisual tem os seus maiores re- ferentes no denominado cinema de ensaio e algumas das suas produções podem até ser incluídas no âmbito da videoarte. As suas características pedagógicas convertem-no numa estratégia de indagação e aprendizagem audiovisual apropriada para o ensino artístico, especialmente na compreensão das diferentes formas, procedimentos e técnicas relacionadas com o audiovisual contemporâneo. Neste artigo dá-se conta de uma experiência de vídeo-ensaio no âmbito da formação inicial de professores que serve apara ilustrar o seu carácter pedagógico e a amplitude das suas possibilidades no ensino.

Questions in Qualitative Social Justice Research in Multicultural Contexts take readers on an accessible and inspiring journey to critically self-reflect on current or future research practices to encourage and facilitate greater equity, inclusion, and social justice in qualitative research.

In a diverse world, "doing" qualitative research needs unpacking and developing awareness of interconnected perspectives and challenges. However, as researchers, there is not always a chance to fully prepare or self-reflect on the processes and experiences. This book raises awareness of key multidimensional aspects of social justice, such as power, privilege, trust, insider-outsiderness, ethics, arts-based, co-produced, and decolonial research. The authors connect theory and conceptual constructs with practical in-field realities, guiding researchers through the dynamic, evolving steps to give voice to and promote social justice practices in research.

This foundational book can be used as a jumping-off point to engage and critically self-reflect about research moving us towards decolonizing research practice, creating more inclusive, equitable, and socially just research. It will be suitable for upper-level and postgraduate students and all researchers interested in qualitative methods in education and the social and behavioral sciences.

In ihrem 2005 veröffentlichten Buch „Kunst aus dem Labor“ thematisiert die Medientheoretikerin Ingeborg Reichle die engen Verbindungen zwischen Kunst und Naturwissenschaften. Standen lange vor allem technische Medien im Zentrum medientheoretischer Erkundungen, so gehören heute biologische dazu: In der BioArt und der Transgenic Art wenden Künstler*innen Methoden der Molekularbiologie an, um genetische Codes zu manipulieren; in der Robotic / Artificial Life Art wird mit computerbasierten Simulationsmodellen gearbeitet. Künstler*innen kooperieren eng mit Naturwissenschaftler*innen, überführen Laborsituationen in den Ausstellungskontext, experimentieren mit gentechnisch manipulierten Organismen und thematisieren in Techno- science die Auswirkungen der Forschungen auf unser Leben.

We examine some new ways of imagining carbon, energy, and energy futures as a possible option for motivating public desire to stop climate change. We argue that refram-ing how we see carbon is core to the project of stopping climate change. Carbon is central to life, and indeed to human beings. The human body is a complex mixture of six elements: oxygen, carbon, hydrogen, nitrogen, calcium , and phosphorus. Approximately 18% of our bodies are carbon. Our children are partially composed of carbon and carbon consumption is a part of children's lives, although their voices are not often considered in debates about climate change. The worlds into which children are born rely on industrial and commercial carbon consumption. However, until the recent rise of global protests about climate change, children's voices and agency have largely been omitted from discussions of carbon consumption. In this article, we bring children into discussions about carbon consumption and carbon imaginaries through examining contemporary perspectives on posthumanism and energy cultures. We bring these together with data from three research projects that each begins to map children's perspectives on carbon production and consumption. In some respects this work is long overdue, as children stand to inherit a precarious global climate that rests significantly on cultural practices, values, and understandings of carbon and energy cultures. Any approach to thinking about carbon and energy cultures is necessarily a posthuman inquiry, because we are all entangled with carbon and carbon imaginaries. We are attached to systems run on carbon, enmeshed with places geared to produce coal, enamored with carbon heavy or "carbon neutral" objects and profoundly entangled with the more-than-human world:. .. phenomena do not merely mark the epistemological inseparability of observer and observed; rather, phenomena are the ontological inseperability of agentially intra-acting "components.". .. phenomena are the ontological entanglement of objects and agencies of observation. Hence it is the ontological inseparability or entanglement of the object and the agencies of observation that is the basis for complementarity. (Barad, 2007, pp. 308-309) Karen Barad's concept of quantum entanglement helps to show the relational and responsive nature of how and where we are attached. Quantum entanglement is considered a "posthuman" concept because it shows how fundamentally the human is composed of and by the more than human. We use the word posthuman to express criticism of the individual subject, the age of enlightenment, and associated beliefs that predominantly White, male, European men and knowledges are the center of our world and knowledge systems. If the White, male, European man can been seen as the model of the human-or as "humanism," 997582C SCXXX10.1177/1532708621997582Cultural Studies <span class="symbol" cstyle="symbol">↔</span> Critical MethodologiesHickey-Moody et al. research-article2021 Abstract In this article, we examine the connection between how we imagine carbon, energy and energy futures, and carbon use. We argue that to act on climate change we must reframe our cultural understanding carbon. Where children have often been left out of discussions of carbon use, we bring children into these conversations about carbon consumption and imaginaries through examining contemporary perspectives on posthumanism and energy cultures. We demonstrate that children's imaginative renderings of possible climate change solutions offer an effectively very different way of connecting with climate change, perhaps a more motivating and inspiring means of relating to the more than human world and reworking our entanglements with energy cultures.

Enlivened by queer and feminist enactments of new materialist, posthuman and affect theory, this chapter explores what has become possible with speculative pARTicipatory activist encounters with young people, educational practitioners and politicians in the field of gender and sexuality education in Wales (UK). Sparked by a throw-away comment of how some boys use rulers to lift up girls’ skirts, the chapter maps what else a ruler can do through a series of five ‘ruler-skirt risings’. Each rising provides a glimpse into the agency of ‘d/artaphacts’ (arts-based research objects) across micro-resonating moments to macro force-fields of change. From fashion activism to curriculum and national policy, every rising takes form and shape to in-form and re-animate how sexism, sexual violence and sexuality education might be felt, noticed and engaged with differently, but never in ways known in advance and always on the move.

As a strong pedagogical movement worldwide seeks to introduce Arts-based pedagogy, Arts-based research and Arts-integration in all areas of knowledge in order to do away with the divide between art/science and art/education, this paper contemplates whether it is possible to think of innovation in education from inefficient, non-transferable, or even unsustainable practices. We look at these methods as part of an exploration that seeks to shine a light on whether Arts-based approaches in education can generate processes that lead to pedagogical and academic innovation.

Art is not created from standardization or schedules imposed from external forces, rather the artist determines the appropriate methodology and process. Children need the freedom and agency to experiment with alternative materials and methods and time to discover the openness of the creative process.

Önmagunk, társaink megismerése, a körülöttünk zajló élet és élettelen megtapasztalása érzékelésünk összetettségén alapszik. A művészetek gyakorlása és fogadása teret ad az emberi lét és érzékelés sokféleségének megélésére. Ebből fakadóan a művészetek misztikus világa a tudományos megismerés tekintetében is érdekes lehet, hiszen az hozzájárulhat a megismerés dimenzióinak tágításához, a pontosabbnak vélt tudás előállításához. Ezért a művészet által megélt élményekhez kapcsolódó és azt a megismerés egyik eszközeként alkalmazó kutatások egyre elterjedtebbek, azzal együtt, hogy a fogalmak használatában, a művészeti eszközök alkalmazásaiban sok bizonytalanság érzékelhető. A tanulmány célja, hogy elméleti összegzést biztosítson a művészetalapú kutatásokról és hozzájáruljon azok további terjedéséhez. Elsőként bemutatja a művészetalapú kutatások fogalmát, határát és típusait, alkalmazási területeit, majd az alkalmazás célját, lehetőségeit és előnyét, végül a művészetalapú kutatási folyamat egy-egy kiemelten jellegzetes elemét.

Este texto aborda una serie de ideas que son el germen y los primeros planteos de mi trabajo de tesis de Maestría en Metodología de la Investigación Científica, que apunta a explorar los terrenos que la práctica artística y la práctica científica comparten en el contexto actual de investigación - creación latinoamericano. Así, se busca entender cómo estas prácticas se ven implicadas una con la otra, aunque se desarrollen en diferentes espacios epistémicos. Focalizando especialmente en la medida en que la práctica artística musical es reconocida y apropiada como proceso de investigación en los espacios que proponen las distintas instituciones y los actores que las conforman, se diseñó una serie de entrevistas con grandes referentes latinoamericanos de la investigación - creación, que si bien está en proceso, deja entrever algunas problemáticas que son recurrentes y que se plantearán a continuación.

"My inquiry will focus on an attempt to locate an ethos of music education. Because I acknowledge that the ethos of a society must logically precede a study of ethics (Ryan, 1972, p. 291, Miller, 1974, p. 309), and given the dramatic changes over the past 30 years in the ways that we create, record, store, access, and perform music, much of my exploration will be positioned in an examination of music and new digital media in the 21st century and how it is used by countless adolescents. Thus, in the development of my line of rhetoric I will (1) begin with basic Aristotelian (1984, 1999) notions of art making, artistic activity, and ethos, (2) discuss the relationship between téchne and technology, and (3) téchne and logo, (4) briefly describe the phenomenon of music making in the digitally enriched 21st century, (5) attempt to discover an ethos of music and music education in the 21st century, and (6) based on the possible discovery of an ethos, determine the ethical outcomes regarding curriculum and pedagogy in music education.

I argue that that the profession has not been responsible in the ways that we have constructed an ethos—any notion of ethos—over the past 80 years, in music education textbooks, music curricula, research, and position documents, and in the ways that we (re)present reasons for why music belongs in the schools. Our profession seems to be grasping at straws in our advocacy for ‘justification’ and ‘academic positioning,’ while we may merely need to identify the individuals and communities of people whose lives have been changed by their experiences with music and enlist them to help us (re)define and refine our role not only in education but in society. At best, we may have an ethos that is antiquated and not related to 21st century youth, and most catastrophically, no sensibility regarding the music identity of the majority of youth in digitally enabled nations. It seems that we possess no center, no unified voice, no sense of music of the 21st century, and no sense of “knowing our market” (see Rideout et al, 2010). We need to (re)elaborate what is perceived as ‘music activity,’ in and out of schools and in structured and unstructured learning situations (Gouzouasis & Bakan, 2011). Moreover, we are not speaking to the very people who can understand the need for music education in the schools—the youth of today, who will become the creators and consumers of music and policy makers of tomorrow. Thus, this paper questions how we can create an ethos of music education for our profession without including the individuals who are being ‘educated’ by our notions of music education—our youth themselves.
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This user-friendly book provides a step-by-step guide to using the five major approaches to research design: quantitative, qualitative, mixed methods, arts-based, and communitybased participatory research. Chapters on each approach follow a unique format—they present a template for a research proposal and explain in detail how to conceptualize and fill in every section. Terminology commonly used within each approach is identified, and key moments of ethical decision making are flagged. Interdisciplinary research examples draw on current events and social justice topics. Unique coverage includes hot topics: replication studies and data sharing, tailoring proposals to different audiences, and more. The book also includes a general introduction to social research; an in-depth, practical discussion of ethics; and a chapter on how to begin a research study, from planning a topic to developing a research question via a literature review.

Includes Pedagogical Features 

Abstract
This paper describes the use of a creative genogram that combines the client's objective and subjective phenomenological experience of his family constellation. The creative genogram includes personal symbols, colors, and shapes, as well as varying the overall page designs and formats of the basic family genogram. Taken together, the objective and subjective attributes of the genograms create a group narrative of the impact of culturally embedded identities on shared familial experiences. The creative genogram technique integrates a contextualized or “objective” experience of reality with a hermeneutic or “subjective” understanding of that experience. Thus, this interdisciplinary approach helps to counteract the flooding of difficult external realities within social work and family therapy, as well as the exclusive focus on subjective reactions within dynamic and art therapy that ignores the social context. The paper describes how creative genograms were applied through personal examples derived from a group of social work students.

A purpose for this study is to explore creative interventions that can help women on their individuation path, based on personal exploration. This exploration utilizes the Jungian concepts of myth and archetypes, in connection to Jean Shinoda Bolen's work (2014) on archetypes and myths of seven Greek goddesses. The paper applied an existential and transpersonal therapy approach in addition to Carl Jung's psychoanalytic theory as a framework when analysing the artwork. Internal pathways of the self were explored through feminine archetypes of the Greek goddesses, art making and analysis of the artwork. For this arts-based inquiry researcher used Moustakas (1990) design, methodology and applications for heuristic research. Data was collected and analysed over seven weeks as a response to the archetype and it included; active imagination, dialoguing, making art, archetypal reflectivity, writing poetry and a journal about the process. Every week included theoretical and practical exploration of one archetype. Processes included understanding the persona, understanding the duality of each archetype, and a self-exploration of shadow work. Exploration used the sacred power of the feminine, rituals, myths, creativity and its transformative power in the process of becoming whole and to promote ownership of an individual's whole Self, and the balance of self-work and internal process. Findings from this study indicate that this process can help adult woman with: self-awareness and self-discovery, individuation, and feminine identity development.

El vídeo-ensayo, como forma de pensamiento audiovisual puede considerarse una forma aislada de creación audiovisual experimental, aunque también conforma una estructura pedagógica de aprendizaje hábil para la alfabetización audiovisual, y un instrumento válido para la indagación en diferentes contextos de investigación, especialmente en Investigación basada en Artes e Investigación Artística. La aplicación de este instrumento como herramienta de investigación, dentro y fuera de las Artes, ofrece distintas estrategias que pueden ser muy útiles en todo tipo de estudios en Ciencias Sociales y Humanidades. Este artículo revisa su desarrollo en diferentes contextos de investigación educativa y los distintos instrumentos metodológicos generados para su aplicación en estas investigaciones, entre los cuales destacan: el vídeo-registro, la vídeo- referencia y la vídeo-evocación. El texto, además, hace referencia a algunos proyectos y programas exhibitivos, como la ‘Muestra Internacional de Videonarración A/r/tográfica’, que desde hace siete años ofrece su cita anual en la Universidad de Granada y en las que se exhiben, revisan y promueven un buen número de estas propuestas de investigación audiovisual que hacen uso de los nuevos instrumentos metodológicos basados en el vídeo-ensayo, posibilitando con ello el acceso a algunas de estas creaciones e investigaciones audiovisuales.

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Video-essays, as forms of audiovisual thinking, can be considered isolated forms of ex- perimental audiovisual creation, although they also constitute pedagogical structures of skillful learning for audiovisual literacy, and valid instruments for inquiry in different re- search contexts, especially in Art-Based Research and Artistic Research. The application of video-essays as a research tool, inside and outside the Arts, offers different strategies that can be very useful in all kinds of studies in Social Sciences and Humanities. This ar- ticle reviews its development in different contexts of educational research, and the differ- ent methodological instruments generated for its application in these investigations, among which the following stand out video-registration, video-reference, and video-elici- tation. The text also refers to some exhibition projects and programs, such as the 'Inter- national A/r/tographic Video Shows' which for seven years has been offering its annual appointment at the University of Granada and in which they are exhibited, reviewed, and promoted a good number of these audiovisual research proposals that make use of these new methodological instruments based on video-essays, thereby enabling access to some of these audiovisual creations and research.