Arts-Based Research

As the use of qualitative inquiry increases within the field of social work, researchers must consider the issue of establishing rigor in qualitative research. This article presents research procedures used in a study of autoethnographies that were written regarding the experience of being Jewish. In this project, the researchers utilized reflexivity, audit trail, triangulation by observer, peer debriefing, member check and prolonged engagement in order to manage the threats to trustworthiness as discussed by Padgett (1998). Implications of the project suggest that research procedures utilized by qualitative researchers to establish rigor are an important way to increase our confidence that the voice of the participants is heard, therefore fitting the mission of the social work profession.

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.

This article argues for the importance of mapping as a multisensory research method in terms of its ability to evoke relationships between place, lived experience, and community. Based on an interdisciplinary summer research course for graduate and undergraduate students that focused on the analysis and design of appropriate development strategies for the El Chorrillo neighborhood in Panama City, Panama, the author describes a research project that combined arts-based research, design and urban planning methods, and ethnography to develop visual fieldwork methods for site-based research, urban planning, and community development in which mapping featured prominently as part of the research. The purpose of this article is to establish an argument for the unique contribution of mapping as a qualitative method, particularly in the ways that contemporary aesthetics of mapping can be used to evoke the lived experience of social, cultural, and politicalissues related to pla

Researchers who draw upon artistic practice as a medium of knowledge creation and representation require and often rely upon skills that are central to improvisation, such as an openness to uncertainty, an attunement to difference and the aesthetic intelligence necessary to track significance. This paper examines art-based research through the lens of improvisation in order to highlight critical challenges and opportunities in this emerging approach to enquiry. Improvisation, with its emphasis on risk, responsiveness and relationship, is at the heart of the artistic process and of art-based research. Researchers who draw upon artistic practice as a medium of knowledge creation and representation require and often rely upon skills that are central to improvisation, such as an openness to uncertainty, an attunement to difference and the aesthetic intelligence necessary to track significance. Examining art-based research through the lens of improvisation may deepen our appreciation for the intricacies of this emerging approach to enquiry, as well as highlight critical challenges such as how to plan for and validate discoveries that arrive by way of surprise.

Internet Memes transverse and sometimes transcend cyberspace on the back of impossibly cute LOLcats speaking mangled English and the snarky remarks of Image Macro characters always on the lookout for someone to undermine. No longer the abstract notion of a cultural gene that Dawkins (2006) introduced in the late 1970s, memes have now become synonymous with a particular brand of vernacular language that internet users engage by posting, sharing and remixing digital content as they communicate jokes, emotions and opinions.
For the purpose of this research the language of Internet Memes is understood as visual, succinct and capable of inviting active engagement by users who encounter digital content online that exhibits said characteristics. Internet Memes were explored through an Arts-Based Educational Research framework by first identifying the conventions that shape them and then interrogating
these conventions during two distinct research phases.
In the first phase the researcher, as a doctoral student in art and visual culture education, engaged class readings and assignments by generating digital content that not only responded to the academic topics at hand but did so through forms associated with Internet Memes like Image Macros and Animated GIFs. In the second phase the researcher became a meme literacy facilitator as learners in three different age-groups were led in the reading, writing and remixing of memes during a month-long summer art camp where they were also exposed to other art-making processes such as illustration, acting and sculpture. Each group of learners engaged age-appropriate
meme types: 1) the youngest group, 6 and 7 year-olds, wrote Emoji Stories and Separated at Birth memes; 2) the middle group, 8-10 year-olds, worked with Image Macros and Perception memes, 3) while the oldest group, 11-13 year-olds, generated Image Macros and Animated GIFs.
The digital content emerging from both research phases was collected as data and analyzed through a hybrid of Memetics, Actor-Network Theory, Object Oriented Ontology, Remix Theory and Glitch Studies as the researcher shifted shapes yet again and became a Research Jockey sampling freely from each field of study. A case is made for Internet Memes to be understood as an actor-network where meme collectives, individual cybernauts, software and source material are all actants interrelating and making each other enact collective agencies through shared authorships.
Additionally specific educational contexts are identified where the language of Internet Memes can serve to incorporate technology, storytelling, visual thinking and remix practices into art and visual culture education.
Finally, the document reporting on the research expands on the hermeneutics of Internet Memes and the phenomenological experiences they elicit that are otherwise absent from traditional scholarly prose. Chapter by chapter the dissertation was crafted as a journey from the academic to the whimsical, from the lecture hall to the image board (where Internet Memes were born), from the written word to the remixed image as a visual language that is equal parts form and content that emerges and culminates in a concluding chapter composed almost entirely of popular Internet Meme types.
An online component can be found at http://memeducation.org/

Being with A/r/tography is a collection of essays that explain and exemplify the arts-based research methodology called a/r/tography. Edited by four scholars who are artists, researchers, and teachers (a/r/tographers), this book is a methodology book for practitioners in arts-based educational research. In addition to an introductory essay which contextualizes and theorizes the methodological framework of a/r/tography, the book is divided into three main thematic sections that are integral to a/r/tographical research: (1) self-study and autobiography; (2) communities of a/r/tographic practice; (3) ethics and activism. The book concludes with a consideration of issues related to assessment, validity, and interpretation.

Being with A/r/tography will be an excellent core text in graduate courses that focus on arts-based educational research, as well as a valuable text in pre-service teacher education programs. The book will also be significant for qualitative research courses in all the social sciences and the health sciences, including communication studies, nursing, counseling psychology, and arts therapy.

The book provides a clear and comprehensive introduction to a/r/tography. Even though a/r/tography as a research methodology is relatively new in the scholarly field, Being with A/r/tography spells out how scholarly practitioners who are artists and researchers and teachers have been pursuing this kind of research for a long time.

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.

Jill Schostak and I wrote this book as part of our evolving interest in doing research radically.  By radically we mean engaging with people's voices to learn how to create the conditions for social justice and for democratising all the organisations of everyday life.  We draw on our own research but also on the ways in which the media is used to shaw people's voices and behaviours.  We explore all the ways in which the desires and demands of elites are inscribed upon minds and bodies as well as how writing may create the conditions for counter inscriptions.  Writing research is to engage politically.  Whether it is the Arab Spring re-inscribing hopes for freedom, the Occupy Movement or young people challenging orthodoxies at home or in classrooms through use of the media, it is the power of writing in its broadest sense that makes the difference.

La investigación es una aportación personal a la didáctica de la enseñanza artística. Se analiza el contexto escolar de la enseñanza secundaria en España en lo que concierne a la educación artística, plástica y visual. Se estudia el tipo de alumnado y profesorado de enseñanza artísticas en la Comunidad de Madrid con un exhaustivo trabajo de campo. La metodología cuantitativa es aplicada en forma de encuestas a un grupo representativo de alumnos con una respuesta del 100% (487 cuestionarios) y profesores de dibujo, con una respuesta del 45% (316 cuestionarios). Ambas se complementan por la metodología cualitativa de las entrevistas realizadas a 14 expertos (adaptación del método Delphi) y análisis de comunicados de colectivos de profesores y artículos de prensa. Se estudian las herramientas, programas y plataformas educativas que traen consigo las Tecnologías de la Información y Comunicación (TIC) y sus posibilidades para el uso en el aula de plástica. Se realiza una prospectiva de futuro sobre el sector. Se entiende la necesidad de una aplicación informática que facilite el uso de Internet en el aula de plástica. Se propone un modelo concreto para la gestión de los contenidos didácticos y artísticos con apoyo de Internet: la Biblioteca Virtual de Enseñanza Artística. Se trata de una página web educativa que cuenta con un motor de búsqueda que funciona sobre una base de datos conformada por 1200 enlaces cuidadosamente seleccionados por su interés para las asignaturas de Dibujo. Está ubicada en el dominio www.artenlaces.com. Esta aplicación informática es una herramienta didáctica que facilita la formación continua del profesorado, el trabajo colaborativo en Red, la creación de nuevos materiales curriculares y la transferencia de contenidos a través de Internet para la enseñanza artística.

There is a widespread idea that in grounded theory (GT) research, the researcher has to delay the literature review until the end of the analysis to avoid contamination – a dictum that might turn educational researchers away from GT. Nevertheless, in this article the author (a) problematizes the dictum of delaying a literature review in classic grounded theory, (b) presents arguments for using extant literature in the substantive field within a constructivist grounded theory, and (c) suggests data sensitizing principles in using literature, which are: theoretical agnosticism, theoretical pluralism, theoretical sampling of literature, staying grounded, theoretical playfulness, memoing extant knowledge associations, and constant reflexivity.

This dissertation is an a/r/tographic inquiry in which I explore how songs and stories about songwriting can serve as a means for theorizing new ways of conducting research in music education. I a/r/tographically braid music, lyrics, scholarship and research, autoethnography, and other creative analytical practices to demonstrate how songs and memories can be used as interpretive texts for understanding artistic identity and the nature of being a musician. Through a collaged and multi-modal method of inquiry, I show how music and its renderings, i.e., recordings, lyrics, videos, memories, and lived shared expressions (e.g., performance) can hold and uncover new ‘knowings’ about music making, the self, and society. Using a bricolaged métissage approach, I explore how and why the ethnographic study of autobiographical material and artistic renderings through (and about) song can broaden understandings of the lived experiences of musicians, music learners, and teachers. Supported by Pinar’s re-conceptualist theory of currere, hermeneutic epistemologies, and praxial approaches to music education, this dissertation exemplifies performative autoethnography as research through music-making. I ultimately arrive at two interwoven outcomes: 1) song may function simultaneously as the method, results, and interpretation of research; and 2) the lived experiences and ‘musicings’ of musicians may be considered as a form of artful scholarship. Digital audio and video files of six original songs are attached to this dissertation not only as data in support of the research, but also as a representation and report of findings through storied/scholarly renderings in lyric, prose, image, and music.

There is ferment in the social sciences. After years of sustained effort to build a science of society modelled on the natural sciences, that project, long treated with suspicion by some, is now openly being rethought. A critical intervention in this period of reflection was Making Social Science Matter (MSSM) by Bent Flyvbjerg, published in 2001. In that book Flyvbjerg challenged the very idea of social science as a science modelled on the natural sciences. Flyvbjerg argued that, as the social sciences study human interactions that involve human consciousness, volition, power and reflexivity, attempts to build generalizable, predictive models such as those for the natural world are misplaced and even futile.

The “Scientific Revolution” refers to historical, social, and institutional changes in thought and belief that unfolded in Europe between roughly 1550-1700. Given that the scientific method is only several centuries old, why aren’t researchers and scholars just as conversant about those successful pre-scientific and artistic bases for knowledge-building and modeling our understandings that preceded the establishment of early scientific methods and arguably laid the groundwork for the revolution to follow? This article begins by exploring the “missing links” and precursors for the successes of the scientific method which are hidden in plain sight in the various arts of memory and other methodological experiments in the rational preservation and advance of experiential knowledge documented most thoroughly between 1300 and the early 1500s during the Renaissance in visual arts, literature, and other symbolic forms. This analysis concludes with some important speculations about the future of arts-based research in light of its illuminated legacy.

Embodied aesthetic pedagogic design is a means of approaching teaching that intentionally attends to holistic embodied aesthetic considerations, reconceptualizes
and destabilizes the teacher role, and develops complicit learning environments. To teach creatively, the teacher must develop an artful relationship between the self and the curriculum, and open avenues for the student to personally engage with, thoughtfully reflect on, and meaningfully organize that curriculum. An arts-based research and learning methodology called performative inquiry is explicated in depth to provide the reader with an understanding of how a teacher can transform curriculum goals into a problem-based learning framework, seek an instructional form that attends to these three design tenets, and thereby develop a creative learning environment that allows access to a multiplicity of possible answers for solving the problem at hand while deeply engaging the
learner.

The paper in CRI_SAS international Journal / Revue internationale du CRIRES: innover dans la tradition de Vygotsky / Vygotsky’s Heritage: Innovation in Education: Contemporary Russian Contributions to Vygotsky’s Heritage (Special Issue), Quebec City, Qc, Canada, 2017. Vol. 4, no 1, pp. 240-262_____________________________________________________________________________________________________Résumé__
The article focuses on the problem of the emotional development constructive response in adolescence, which is of increasing relevance within the context of the rise in negative social manifestations, changes in social situation of development. The aim of this research is to formulate a constructive response model’s development to adolescent frustration from socially advantaged and disadvantaged groups using art-based approaches (specifically art therapy) combined with traditional psychological tests and modeling experiments. The study draws on the concepts of L. S. Vygotsky about the peculiarities of adolescents’ mental development and the role of this period in the formation of personality, as well as various aspects of affect and needs development in childhood (L. I. Bozhovich). The study considers the position of mental states as a particular psychological category and their (states) integrating function, conception of the regulation of mental states (N. D. Levitov), theoretical and experimental development for the diagnosis, management, and directed formation of the mental states (Yu. B. Nekrasova) as well as the concept of experiencing (“perezhivanie”) as described by F. E. Vasilyuk. A range of methods, combining quantitative and qualitative approaches were used in the study: video observation (outlined in the protocols); mathematical statistics; tests and modeling experiments. Experimental studies were carried out over a duration of five years within three different types of schools in the region of Moscow (n= 203, aged 13-15). One conclusion of the experimental studies, the author‘s  program was implemented in a number of educational institutions in Moscow and other regions in Russia.

The article introduces discourse analysis as a fruitful approach to psychotherapy change-process research. Extracts are presented from a successfully resolved, client-specified, problematic theme that was selected from a successful 8-session psychodynamic-interpersonal therapy of a female client presenting with a major depressive episode. The study offers a heuristic demonstrating (a) how resolution of the client's problem evolved from implications raised by the client's own description of her predicament and involved the therapist's legitimation of a morally defensible account of the client's actions and (b) how cultural meanings can be brought into the consulting room as intimately personal problems. The implications of studying therapeutic change as a discursive activity comprising the use and negotiation of sociocultural meanings are discussed.

For over fifty years, successive waves of critique have underscored that the apolitical character of much of Political Science research betrays the founding mission of the discipline to have science serve democracy. The Caucus for a New Political Science was originally based on such a critique, and the Perestroika movement in the discipline included a call for more problem-driven as opposed to theory- or method-driven work that would better connect Political Science research to ongoing political struggles. In recent years, movements for a public Sociology and public Anthropology as well as dissonant movements in Economics and related fields have added to the insistence that social science research was too often disconnected from the real world. Phronetic Social Science has emerged out of the ferment for change in the social sciences, starting with the much-debated book by Bent Flyvbjerg, Making Social Science Matter (Cambridge 2001). Flyvbjerg critiqued the social sciences for mimicking the natural sciences while proposing an alternative approach that focuses research on helping people address the problems they are facing in the context they are facing them. Today, Phronetic Social Science goes beyond the call for an alternative approach to social inquiry and its growing adherents are providing evidence that this alternative approach to doing research can enrich the social sciences by more effectively connecting research to efforts to address real world problems as people experience them. This essay provides a genealogy of efforts to connect Political Science to politics, a review of the major critiques of mainstream research, an explication of the rationale for more problem-driven, mixed methods research, a specification of the key principles of the phronetic approach, and examples of its application in the public realm. The essay concludes with implications for realizing a more political Political Science by way of taking a phronetic approach.

This text aims to present  autoethnography as a method of examining the art & science phenomenon. The meaning of art & science is not limited here to the area of contemporary art. Instead I try to show it as a social phenomenon. In my research autoethnography is combined with art based research and the role of the artist is connected with the role of an academic researcher. This combination is quite complicated, but by preparing an appropriate order of work involved in the case it might lead to really interesting cognitive processes.

Research into the use of transitional objects (Winnicott, 1971) by adult clients in psychotherapy has given little attention to the question of how a transitional object (TO) works. This question is addressed through the use of a semi-structured interview. Data was collected on the clinical practice and theoretical understanding of TO emergence and use of three psychodynamic-interpersonal (PI) and three Gestalt psychotherapists. A grounded theory analysis suggests that a TO works by a process of embodiment which can be structured with reference to a four-level model consisting of physical, process, contextual and conceptual levels. Therapists of both orientations emphasized the TO as a focus of intersubjectivity within the therapeutic relationship. Differences between the PI and Gestalt therapists are also examined. The clinical implications of this four-level model of embodiment for the use of TOs in psychotherapy are explored, together with suggestions for further research.

"Visualizing Art History: Experimental Animation and Its Mentor, Jules Engel" by Janeann Dill, phd, mfa

A dictionary begins when it no longer gives the meaning of words, but their tasks.
--- Georges Bataille

It is most often the case when I refer to my work as experimental animation that I am met with the question, what is experimental animation? I am instantly reminded of a story about Louis Armstrong in conversation with Johnny Carson who asked Armstrong, “What is jazz?” Louis Armstrong enthusiastically responded, “Well if you don’t know what it is, I sure as hell can’t tell you!”

In some ways, Louis Armstrong’s response might be said to be universal for questions having to do with art, in that any attempt to offer definition tends to further confuse, bind, constrict and/or be irrelevant, rather than to clarify meaning. As a scholar and as an artist, I am most interested in the unanswerable. As I understand it, to ask the unanswerable is the beginning of an event … if you will, an event of language, timing and gesture, experimentation and conceptualizing. The more important consideration in a “what is ____?” question is not the answer, but the asking.. How is it we know so little about the art form?

Phronetic organizational research is an approach to the study of management and organizations focusing on ethics and power. It is based on a contemporary interpretation of the Aristotelian concept phronesis, usually as ‘prudence’. Phronesis is the ability to think and act in relation to values, to deliberate about ‘things that are good or bad for humans’ in the words of Aristotle (1976:1140a24–b12). Phronetic organizational research effectively provides answers to the following four value-rational questions, for specific problematics in management and organization studies: 1. Where are we going with this specific management problematic? 2. Who gains and who loses, and by which mechanisms of power? 3. Is this development desirable? 4. What, if anything, should we do about it?

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.

The aim of this study was to examine how transitional objects (TOs) work from the perspective of adult clients in psychotherapy. Data were collected using a semistructured interview with 6 female clients in humanistic psychotherapy. Grounded-theory analysis of this material suggests that a TO works through a 5-phase process of ‘holding’ in which the client successively integrates 3 themes: (a) the continuity of the therapist's existence, (b) connectedness with the therapist, and (c) the development of a new sense of self. A spiral microtheory is proposed that shows how these themes interact across time and relate to the client's experience of shame. The analysis suggests a use of TOs that is broader than D. W. Winnicott's (1953) conception and includes selfobject functions (H. Kohut, 1971).

This study explores the meaning of the death of a companion animal through autoethnographic poetry in conjunction with narrative reflections. This method expands the depth and scope of poetry in qualitative research by transforming expressive works into both the subject and product of inquiry.

This paper provides insights shared at IDEA-Paris 2013 where I presented and performed the keynote address: Theatre and A/r/tography: Engaging with arts-based methodologies. Within this paper I highlight key ideas from the plenary presentation bycritically exploring ways in which a/r/tography and research-based theatre have become dynamic methodological approaches for educational research. I discussthe academic and artistic intersections that these complimentary methodological approaches offer in relation to current literature in the field and recentexamples from artist/scholars. As part of the keynote I invited four emerging researchers to present some of their performative and scholarly doctoral work: Examples from their creative and scholarly research are represented in this article. Their work illustrates effective ways of integrating a/r/tography and research-based theatre as methodological approaches to educational research.

The term ‘phronetic social science’ was coined in Making Social Science Matter (Flyvbjerg 2001). However, as pointed out in that volume and by Schram (2006), phronetic social science existed well before this particular articulation of the concept, but it was just not organized, recognized or named as such. Rather, it occurred here and there as scholars had adopted phronesis-like methods for their own purposes. The present title is the first organized volume of empirical–practical work in phronetic social science. Before Making Social Science Matter, phronesis, as a critical term of Aristotelian philosophy, had been theorized and its continuing importance as a key concept in Western thought had been convincingly argued by distinguished philosophers like Hans Georg Gadamer, Hannah Arendt, Alasdair MacIntyre and Richard J. Bernstein, among others. But no one had developed the theory and philosophy of phronesis into a practical methodology that could be applied by researchers interested in actually practising a phronetic social science. Making Social Science Matter developed such a methodology. Its implications were discussed and developed further in Making Political Science Matter (Schram and Caterino 2006). After these two theoretical–methodological contributions, it was evident that an important next step in demonstrating the usefulness of phronetic social science would be to illustrate, with concrete examples, how applied phronesis works in practical, empirical social science research. The contributions on applied phronesis contained in the present volume make clear that this next step has now been taken.

The first section of this article overviews the historical origins of transpersonal research methods, since 1998, in three developmental phases, including brief overviews of the three original transpersonal research methods-intuitive inquiry, integral inquiry, and organic inquiry. The second section introduces the term transformative research praxis to describe new or renewed visions of transpersonal research as a journey of transformation, some of which have origins in transpersonal psychology and others in other fields. The third section describes three approaches to embodied transformative research praxis, namely a) micro-phenomenology, b) embodied writing, and c) embodied spiritual inquiry; four approaches to imaginal and artistic approaches to transformative research praxis that are ongoing, namely a) intuitive inquiry, b) alchemical hermeneutics, c) imaginal resonance, and d) imaginal inquiry; and three contemporary examples of efforts to advance indigenous-attuned approaches to research in mainstream psychology. Concluding the article with personal reflections on last 20 years, the author suggests that the rapid expanse of transformative approaches to research reflects a shift in consciousness from an epistemology of what is known to how we know. As mystics and philosophers have been telling us for untold centuries, how we know is inseparable from what we know-and comes first. KEYWORDS: transpersonal research methods, transformative research praxis, embodied research, art-based research, indigenous research Twenty years have passed since the late William Braud and I published Transpersonal Research Methods for the Social Sciences (Braud & Anderson, 1998) to meet the unique demands of studying the subtle, spiritual, and often inward dimensions of transpersonal research topics. Well aware of the quantitative and qualitative research methods available at the time, we presented the epistemological and methodological challenge of studying transpersonal topics like so: In transpersonal psychology-which concerns itself with issue of consciousness, alternative states of consciousness, exceptional experiences, transegoic development , and humanity's highest potentials and possible transformation-this tension between subject matter and research is strongly felt. Both students and practitioners ask whether it is possible to research the transpersonal without violating, distorting, or trivializing what we are studying.. .. We maintain that it is possible to conduct significant and satisfying research on all facets of human experience-even the most sensitive, exceptional, and sacred experiences-but only if we modify our assumptions about research and extend our research methods so that they become as creative and expansive as the subject matter we wish to investigate. (p. 4)

With a point of departure in the concept "uncomfortable knowledge," this article presents a case study of how the American Planning Association (APA) deals with such knowledge. APA was found to actively suppress publicity of malpractice concerns and bad planning in order to sustain a boosterish image of planning. In the process, APA appeared to disregard and violate APA's own Code of Ethics. APA justified its actions with a need to protect APA members' interests, seen as preventing planning and planners from being presented in public in a bad light. The current article argues that it is in members' interest to have malpractice critiqued and reduced, and that this best happens by exposing malpractice, not by denying or diverting attention from it as APA did in this case. Professions, organizations, and societies that stifle critique tend to degenerate and become socially and politically irrelevant "zombie institutions." The article asks whether such degeneration has set in for APA and planning. Finally, it is concluded that more debate about APA's ethics and actions is needed for improving planning practice. Nine key questions are presented to constructively stimulate such debate.

In this article, the author explores the uses of poetic forms in qualitative health research, analyzing thematically a poem written from a patient's perspective of being treated in an emergency room. From the themes identified, he created two "research poems" using two formal poetic structures: the French-Malaysian pantoum, and the Japanese-inspired American tanka. The author contextualizes this research through an exploration of the arts and poetry as qualitative research.

Swarm intelligence is the production of generative social space, the agency to “create and open spaces into which existing knowledge can extend, interrelate, coexist, and where new ideas and relationships can emerge prosthetically.” Swarm intelligence is argued to be a liminal, proximal, and distal zone of collective human development wherein memories and experience are made “prosthetic” in both the verb and noun sense of the word—that is, as an adaptive and potentially pedagogical capacity enabling the assimilation of supplemental patterns of behavior and thought, as well as the accommodation of the extant social archaeologies and emerging architectures that might further constitute our identities.

The purpose of this essay is to illuminate the application of arts-based forms of research in music education research. Since substantial literature supports the core renderings of artography as a mode of scholarly inquiry, arts-based research needs to be recognized as a potential mode of research in music education. My composition becomes one example of how I demonstrate metaphor to be transformative as I write autobiography as method that embraces artography—a hybrid research form that in this essay employs narrative, autoethnography, lyrics, poetry, music, and pedagogical inquiry—as a music research method. This entails moving beyond the existing rules-based disciplines of music and music education, with a shift toward an understanding of the importance of a multidimensional approach to the values and subjectivity of music and music education research. Autobiography enables me to interrogate the changes, or ruptures, that un/fold as writing metaphorically draws me into the complexities of diatonic tonality (modality). Thus, metaphor propels me to fuse autobiography and tonality to “clarify the conditions in which understandings take place” (Gadamer, 1975, p. 263). Overall, I propose arts-based educational research as embodied, living inquiry through metaphor, as I write myself through music and text to reconcile the inherent complications of legitimizing arts-based research in music education contexts.

You'll need to have an internet connection and access to Vimeo to experience to total impact of this paper. There are nicely stylized links in the paper that will take you away from the pdf, but if you keep your browser open while you're reading, it works rather smoothly. All the music was recorded in my home studio, some tracks with the help of David Murphy, using Logic and various guitars and equipment (info available upon request).

Um evento como acontecimento. Um livro como ruína de um evento que
aspira a reativar e renovar o acontecimento por outros meios. Um livro como campo aberto de experimentação, não do que foi, mas do que os corpos podem ao se compor com as palavras-imagens que ele carrega junto. Um livro que a cada página afirma a multiplicidade e, em consequência, chama para que entremos nele das mais diversas maneiras. Estas podem ser infinitas, como almejamos que sejam os desdobramentos e compostagens deste livro. No entanto, aqui me limito a três breves entradas... (S. Wiedemann)

Sétima edição do Seminário Conexões:
Deleuze e Cosmopolíticas e Ecologias Radicais e
Nova Terra e…

Um seminário que chega à sua sétima edição, sempre com um
título seguindo de “e” três pontos: nova terra e… máquinas devires e… territórios e fugas e…
Desta vez o Antropoceno, tempo “marcado pelas catástrofes, pelas mudanças climáticas e nossa ação irreversível sobre as condições materiais de existência, sobre Gaia; parece que nos joga em direção ao fim do mundo”. Mas a leitura do livro fará o leitor tomar outro rumo. Luiz Orlandi, Whitehead, Brian Massumi, Charles Sanders Peirce, Aylton Krenak, uma lista de nomes entre autores e citados... e autores citados... e citados autores... A questão via Deleuze e a filosofia da diferença é que a flecha inexorável e irreversível do tempo não vai no sentido que se acreditava, nem é uma só. A flecha vem do futuro, não vai ao futuro, ela também vem do passado, mas de um passado que é presente, lugar em que uma verdadeira pororoca temporal atravessa os que nela conseguem sobreviver. Vivemos hoje e sempre vivemos no entre, acontecemos no meio, como lembra Whitehead; a todo tempo são novos tipos de encontros, como diz Luiz Orlandi. O sujeito nasce do evento, e que evento é este? O encontro, o "entre" forças irreversíveis de futuro, forças irreversíveis de virtuais, forças de encontros entre Caos, Gaia, Chronos e Aion.
Se o senso comum propaga a ideia de um mundo que é levado ao fim, o “fim do mundo”, “o fim do tempo de chronos”, o que este livro aponta é outra coisa, uma leitura necessária: não se trata de um fim do mundo, mas de um mundo inacabado. Só tem fim o que está acabado e é isto que nos relembra a todo tempo a filosofia do eterno retorno das condições do diferente. Daí o “e” três pontos, “e...”. Referência direta a um dos últimos textos de Deleuze, “Imanência: uma vida...”, Imanência-doispontos-uma-vida-três pontos, como já nos lembrava Agamben, ideia que agora reverbera neste livro, neste resultado impecável da organização de Antonio Carlos Amorim, Susana Oliveira Dias e Sebastian Wiedemann. A universidade se mantendo aberta, uma frase que resume todo o livro e que vem em meio ao texto daquele que abriu às leituras brasileiras o denso Diferença e Repetição de Gilles Deleuze, Luiz Orlandi.
Silvio Ferraz (USP)

This paper provides a worked exemplar of psychotherapy research using the approach of conversation analysis inspired discourse analysis (CA/DA), sometimes known as discursive psychology (Edwards & Potter, 1992; Potter, 2003; Potter & Wetherell, 1987). The aim of the paper is to explore the potential usefulness of discursive analysis for qualitative psychotherapy research within a relational centred ethos. The paper presents an analysis of extracts from a case of psychodynamic-interpersonal psychotherapy based on Hobson’s (1985) conversational model. This model has a particular relational focus in assuming clients’ problems arise from relationship disturbances and that the therapeutic encounter is a vehicle for the manifestation, exploration, and modification of such problems. The model is conversational in that intervention consists of therapists’ use of strategies such as negotiation, metaphor, and development of a ‘common feeling language’...

A reference work for specialists in student counselling and for those who employ counsellors in mental health services. It provides an analysis of research in this area and provides useful information on the extent and severity of student mental health problems and the effectiveness of counselling and psychotherapy across the student population. This is the first publication to systematically identify, assess and review research in this area.

Self-study is an approach to the study of personal experience in a social context. What distinguishes self-study from many other methodologies for researching personal experience is that it focuses on the researcher’s own self and experience. Self-study research has so far mostly been initiated and conducted by teacher educators and teachers who study their selves “in action . . . within [their] educational contexts” (Hamilton, Smith, & Worthington, 2008, p. 17) with the aim
of improving their own professional understanding and practice as well as contributing to public conversations about teaching and learning (see, for example, Kosnik, Beck, Freese, & Samaras, 2005; Loughran, Hamilton, LaBoskey, & Russell, 2004; Mitchell, Weber, & O’Reilly-Scanlon, 2005). However, self-study is now increasingly being undertaken by practitioners and scholars working across the human and social sciences (see Pithouse, Mitchell, & Moletsane, 2009b) who have a common commitment to exploring how study of the self “might illuminate significant social questions and make a qualitative difference to shared human experience” (Pithouse, Mitchell, & Moletsane, 2009a, p. 2).
Researchers who adopt a self-study methodology draw on a wide range of mainly qualitative research methods to produce, collect, and interpret data (Pithouse, Mitchell, & Weber, 2009). The use of a variety of methods enables self-study researchers to examine their selves and personal experience from a range of perspectives (LaBoskey, 2004). Methods for self-study can include commonly used
qualitative research methods such as journal writing, interviews, and group discussions. They also often take on creative or arts-based forms, for instance, drama, poetry, narrative, collage, video, and drawing (see, for example, Mitchell et al., 2005; Pithouse et al., 2009; Tidwell, Heston, & Fitzgerald, 2009; Weber & Mitchell, 2004).
In this chapter, I consider three different published examples of drawing as a method for self-study (namely, Derry, 2005; Richards, 1998; and Tidwell & Manke, 2009) to identify some strategies for, and features of, this research method. My discussion explores the nature and value of self-study drawing as a social research method as well as some potential challenges of using such a method.