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There is an urgent need in terms of changing world conditions to move beyond the dualist paradigm that has traditionally informed design research, education and practice. Rather than attempt to reduce uncertainty, novelty and complexity as is the conventional approach, an argument is presented in this article that seeks to exploit these qualities through a reconceptualisation of design in creative as well as systematic, rigorous and ethical terms. Arts‐based research, which ‘brings together the systematic and rigorous qualities of inquiry with the creative and imaginative qualities of the arts’, is presented as being central to this reconceptualisation. This is exemplified in the application of art‐informed inquiry in a research unit for graduating tertiary‐level interior design students. The application is described in this article and is shown to rely substantially on the image and its capacity to open up and reveal new possibilities and meaning.

Arts-informed, visual research was conducted to document the pictorial metaphors that appear among original drawings of information. The purpose of this paper is to report the diversity of these pictorial metaphors, delineate their formal qualities as drawings, and provide a fresh perspective on the concept of information.

The project utilized pre-existing iSquare drawings of information that were produced by iSchool graduate students during a draw-and-write activity. From a data set of 417 images, 125 of the strongest pictorial metaphors were identified and subjected to cognitive metaphor theory.

Overwhelmingly, the favored source domain for envisioning information was nature. The most common pictorial metaphors were: Earth, web, tree, light bulb, box, cloud, and fishing/mining, and each brings different qualities of information into focus. The drawings were often canonical versions of objects in the world, leading to arrays of pictorial metaphors marked by their similarity.

Less than 30 percent of the data set qualified as pictorial metaphors, making them a minority strategy for representing information as an image. The process to identify and interpret pictorial metaphors was highly subjective. The arts-informed methodology generated tensions between artistic and social scientific paradigms.

The pictorial metaphors for information can enhance information science education and fortify professional identity among information professionals.

This is the first arts-informed, visual study of information that utilizes cognitive metaphor theory to explore the nature of information. It strengthens a sense of history, humanity, nature, and beauty in our understanding of information today, and contributes to metaphor research at large.

The authors, seven women–writers–performers–artists–academics, have been working collectively for a year, storying, de-storying and re-storying the experience of our lives. The authors write to “taste life twice, in the moment and in retrospect” (Nin, 1976), to uncover and learn ourselves through writing (Richardson, 1997), to take the “risky” steps of talking to each other about our inner lives (Palmer, 1998). Cognisant of the limitations and masculinities of traditional academic discourses, in form and content, and heavily confined by neoliberal expectations to count and be counted, we write and express the stories of lives the authors did not choose or imagine – lives we are given and live through. Our expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development. The paper aims to discuss these issues.

This paper is designed as a collective memoir.

The authors write and express the stories of lives we did not choose or imagine – lives we are given and live through. The expression inhabits aesthetic, contemplative and sensory ways of knowing and employs poetry, image, song and story to create a polyvocal account of women’s lives, voices, struggles and learning. The authors share here part of our collective memoir and its development.

The research focuses on autoethnography and lived experience.

Auto-ethnography/lived experience offers rich insights into the personal and political actions and actors within higher education.

The Supermodel Astronaut (SMA) Challenge began with a group of women in a graduate class who joined together to take the pledge “I Am Enough.” The goals of the pledge are to practice positive affirmative actions of self-acceptance, self-grace, self-improvement and positive encouragement of oneself and others. The paper aims to discuss this issue.

The SMA Challenge involves an online video pledge to encourage women and girls to demonstrate their opposition to the promotion of singular ideals of body perpetuated through media. Various individuals and groups have created music videos titled SMA to the soundtrack created by Ellen Tift (the originator of the project).

Here, framed by Daignault’s (1983) theories on curriculum construction, the authors critically reflect on their support of the idea of the video, but also their apprehension and insecurities in participating in the video production.

From reflections, writings and dialogic discussions, they determined five embodied frames of mind that supported them in traversing the liminal space of new learning: imagining the possible, learning in doing, settling in vulnerability, journeying through empowerment and heightening self-reflection.

The purpose of this paper is to examine the experiences of aspiring school leaders who utilized artmaking (in this case, photography, poetry, music, collage, and short films) through Microsoft MovieMaker as a means for addressing injustices within surrounding school communities. The paper aims to explore how aspiring school leaders understood contemporary curriculum issues within increasingly culturally diverse school communities in the USA.

This two‐year qualitative study embedded in grounded theory examined the experiences of aspiring school leaders who utilized artmaking (in this case short films through Microsoft MovieMaker) to examine contemporary curriculum issues within surrounding school communities. This study is conducted within the naturalistic tradition.

The significance of artmaking encourages participants to visually articulate the lived realities of disenfranchised populations. Participants engage in artmaking experience self‐transformation and a calling to encouraging human agency.

In the wake of addressing issues of social justice, the highly charged emotions associated with addressing such issues is evident in the range of emotions that surface including, anger, fear, intimidation, deep sorrow, resentment, joy, and others. Very little scholarship exists for aspiring school leaders who confront issues of social justice in relation to the intensity of emotions and their work.

Racialised misrepresentation circulated en masse can be understood as a form of symbolic and cultural violence. Such misrepresentations create a dominant cultural narrative that positions people of African background as violent and troubled and therefore incompatible with Australian society. Young people from various groups have been using arts-for-social-change to challenge and dismantle these imposed misrepresentation and reconstruct narratives that reflect their lived experiences. The purpose of this paper is to explore sound portraits, both the process and product, by tracing the journey of New Change, arts collective comprised of young women of African heritage, who have been pushing for social change.

This collaborative research mobilises arts methodologies, bringing together sound arts, audio documentary and narrative research methods. Data gathering included arts artefacts and interviews with the young women and sound recordings from news media to craft a sound portrait entitled “Battle for truth”.

Battle for Truth is a sound portrait that serve as the findings for this paper. Sound portraits privilege participants’ voices and convey the complexity of their stories through the layering of voices and other soundscapes. This sound portrait also includes a media montage of racialised misrepresentation.

Through their restorying, sound portraits are a way to counter passive and active forgetting and wilful mishearing, creating a space in the public memory for polyphonic voices and stories that have been shutout. Sound portraits necessitate reflexivity and dialogue through deep listening, becoming important sites for reimagining possibilities for social change and developing new activist avenues.

This paper brings together sonic methods, liberation arts and social justice perspectives to attend to power, race, gender and voice.

Working in the academy can be both challenging and exciting as it can be trying and difficult to negotiate if one is unprepared. Past research has acknowledged the importance of reflective practice in order to face such trials positively. This study utilises arts-based/multimodal reflection to contemplate the lived experience of one early career researcher in her first five years of employment. Adopting an arts-based approach, the researcher regularly reflected via the medium of collage. The purpose of this paper is to report on recollaged artefacts that are analysed in relation to meta-semiotic meanings as well as how they correspond to Schwab’s “lines of flight”, revealing both positive and negative acuities. Findings show that taking the time to delineate feelings via arts-based reflection can illuminate silent thoughts and deliberations and support an early career academic in appreciating and improving awareness of higher education regularities. Implications highlight how recollage can be an effective tool for the self-care of early career academics.

Adopting an arts-based approach, the researcher regularly reflected via the medium of collage. This paper reports on recollaged artefacts. These were analysed in relation to meta-semiotic meanings as well as how they corresponded to Schwab’s “lines of flight”, taking both positive and negative acuities.

Findings showed that taking the time to delineate feelings via arts-based reflection can reveal silent thoughts and deliberations and support an early career academic in appreciating and improving awareness of higher education regularities as well as self-care.

Implications highlight how recollage can be effective for early career academics in reflecting on their everyday work and improve self-care.

Practical implications include the fact that readers will be able to adopt the arts-based methods used in this paper in order for them to reflect on their everyday work in the academy. The recollaged practice will improve their self-care and allow time to reflect effectively and creatively.

Social implications include that colleagues could do recollaged practice together. Reflection done collaboratively can also improve self-care and well-being for those working in the academy.

Recollage is a new method of autoethnography the author has developed for the purpose of reflecting on my journey as an early career researcher. Now, in leadership roles, this approach has allowed the author to move forward positively in the academy.

Often, researchers view silence as antagonistic to equity-aimed projects. Because verbal, written, and textually agentive communications are presumed to be the most valid qualitative-research data, moments of silence are under-analyzed. Yet, we argue that silence holds meaning as data and that it is a valid, rich form of communication.

Through this reflective analysis of silence, we invite readers to reconceptualize silence in research from a critical disability-research perspective with emphasis on crip willfulness. We introduce silence as an interpretive, agentive and relational gesture.

We attend to silence as necessary in all research because it helps researchers excavate able-bodied expectations about communication in qualitative-data-collection practices.

We demonstrate that silences in research can be an interpretive, relational, and agentive gesture that can teach us about taken-for-granted assumptions about research practices. Revisiting our research encounters with this framing of silence informed by critical disability studies allows us to question how traditional social science research methods value some modalities of expression over others. Rather than viewing silence in research as moments when nothing happens, we show that silence indicates something happening and is valid data.

This paper aims to explore the concept of information in records and archives management (RAM) from a fresh, visual perspective by using arts-informed methodology and the draw-and-write technique.

Students and practitioners of RAM in Australia were asked to answer the question, “what is information?” in a drawing and then to describe the drawing in words. This produced a data set of 255 drawings of information or “iSquares”, for short. Compositional interpretation and a framework of graphic representations by Engelhardt were applied to determine how participants envision information and what the renderings imply for RAM.

The images reveal an overwhelming recognition in RAM of the diversity of media formats of information and the hyperconnectivity of information in networked information systems; and illustrate the central place of human beings within these systems. These findings offer striking, accessible illustrations of major concepts in RAM and enable new understandings through the construction of stories.

There are both pedagogical applications and practical implications of this work for students, practitioners and knowledge workers. The graphical representations of information in this research deepen the understanding of textual definitions of information. The data set of iSquares provides opportunities to create new storyboards to explain information definitions, practices and phenomena in RAM disciplines, and, to explain related concepts such as data, information, knowledge and wisdom hierarchy.

This is the first study in RAM disciplines to provide visual illustrations of information using graphical image representations.

The purpose of this paper is to explore the use of an arts-based methodology in conducting a doctoral study on The Nile Project, an East African based musical collective. Despite some evidence that music is an effective tool for qualitative inquiry, there are few studies on its use, especially the use of musicking in the interview process.

The author used a qualitative and arts-based research approach.

Outcomes suggest that music may help to create an “in-between” space challenging researcher positionality and giving voice to the “researched.” Music also acted as a bridging agent encouraging open and honest dialogue and relationship building.

Findings suggest that music may be a useful tool for researchers interested in arts-based and participatory methods in qualitative research particularly when interviewing participants with varied linguistic, cultural, political and musical backgrounds.

There is sparse research on the use of musicking in the interview process of qualitative research.