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The purpose of this paper is to illuminate the way in which pre-service teachers adopt ways of thinking critically about learning and practice. It highlights the unfolding of critical dialogue, knowledge and artful action as a way of “reading the scene” (Pahl and McKenna, 2015). The focus concerns mindshifts that occur while learning to be a teacher. The study sets out to seek factors that contribute towards development as professional practitioner.

As part of a much larger study involving ten pre-service teachers, this paper focusses on just one participant named Meredith, a pre-service teacher in her fourth year of her teacher education course. The design constructed draws on the data from Meredith’s interview and conversation, art making and gestural activity while painting and communicating her stories. These narratives from interviews exist in this paper as vignettes and privilege of the interplay of art making, interview and gestural responses. Implementing a framework by Denzin (2001) enables a way of reading to note learning and epiphanic moments that exist for Meredith.

Moment of learning and themes are indicated and suggest that from the original interview there are 11 important moments of epiphanic mindshifts for Meredith.

The method as practice intends to make cogent links to new levels of consciousness by presenting innovative ways in which qualitative research data can be gathered and analysed. Meredith engages in mindshifts that occur as learner and also embraces experiences of praxis as a means of understanding self and teacher identity.

This paper introduces the concept of posthuman co-production. It explores how processual and relational onto-epistemologies inform an artful, response-able (Barad 2007) feminist new materialist praxis that decentres the human and re-centres matter.

Posthuman co-production gives prominence to crafting “dartaphacts” (Renold, 2018); creative research artefacts, carrying “what matters” and enacting change that can be mapped across time and multiple “problem spaces” (Lury, 2020), as an expansive, post-qualitative praxis of slow, co-production.

The paper stories this praxis across three “fugal figurations” providing glimpses into the post-qualitative journeys of assembled dartaphacts in the policy and practice field of relationships and sexuality education (RSE) in Wales. Each fugue hints at the polytical, resourceful and living potential of dartaphacts in the making and their mattering over a period of six years. Collectively, they chart a rhizomatic journey that re-configures co-production as a response-able, becoming-with what matters.

As more-than-human forces for change, dartaphacts continue to surface “the cries of what matters” (Stengers 2019) for children and young people well beyond the periods of funded research and engagement, giving new meaning to the sustainability and material legacies of research impact.

This paper aims to propose to rehabilitate prâxis and revive possibilities of practical wisdom (phrónêsis) and a reinterpret excellence as an ethically committed way for responsible and sustainable form of living, while operating in the midst of a systematically constrained world of neoliberal regimes.

Based on a literature review, this essay first presents some basic understandings of prâxis, practices and its architecture as well as phrónêsis and its interconnection. Further, possibilities for integrating excellence in prâxis and success in poiêtic practice are suggested in form of a critical poiêtic phrónêsis, and some implications are outlined in conclusions.

Considering the systemic constrains of contemporary neoliberal regimes, this paper has shown the significance of a reviving the inter-relational nexus between prâxis, embodied practices, phrónêsis and sustainable action. An integral holonic approach of constrained prâxis was discussed, by which the macro-level is holonically connected to meso-level of likewise constrained practices to micro-level of action and vice versa. In particular, constrained excellence-oriented practical wisdom was connected with constraining result- and success- poiesis in a critical poietic phrónêsis and creative actions in inter-practices as part of inter-prâxis discussed.

The paper is a meta-reflective paper and view point, but links to “prâxis-related research” are offered.

Some practical and political implications are provided.

Some links to social and societal implications are discussed.

The proposed integration of prâxis, embodied practices, sustainable actions and practical wisdom for organisation and in relation to society is genuine and critical. It is orginal in that it provides possibilities to re-assess, re-vive and further investigate the relevance of embodied forms of an integral prâxis, practicing, phronesis and action in and through organizations as well as stakeholder towards a flourishing unfoldment.

The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex “way of knowing” has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived.

The autoethnographic discussion has an overlay of histography as it brings the “real-life” word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method.

In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic “process” leads “psyche” to an empathic space for acceptance of the fugitive selves and demonstrates “queerness” through the narratives as monologues.

The vignettes presented as monologue attest to the authors’ life histories and their “fugitive” ways of being as gay men.

The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations.

Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

The purpose of this paper is to analyze the role of embodied dimensions and relational possibilities of (serious) play at work. It shows how a phenomenological and processual approach can help in developing an integral understanding of (serious) play and its paradox in relation to work and practical wisdom and professional artistry in organizations.

Based on the literature review and phenomenology, the role of embodied dimension, and the nexus of playful practitioners, practices and playgrounds are discussed. Systematically, then the concept of “inter-playing” is proposed as a specific embodied and processual practice. Subsequently, the in-between is shown to be a medium and transrelational nexus for (serious) play that allows a more comprehensive understanding and implications.

Based on the phenomenological and relational approach, the concept of (inter-)play allows an extended understanding of serious play and its paradox as a form of an inter-practice. The mediating in-(ter-)between is revealed as decisive for playful practices and playgrounds in organizations. Serious play is linked to practical wisdom and professional artistry in organizations.

Specific theoretical and methodological implications for exploring and enacting play are offered. It is suggested to take research itself as a form of inter-practice and to enact a more integral epistemology and methodological pluralism, including body-related and art-based approaches and critical issues.

Some specific practical implications are provided that facilitate and enable embodied play and play-spaces in an ongoing, arts-based learning and development process in organizational and educational contexts.

The corporeality of responsive inter-play is seen as connected to sociality and social interaction as self and others are considered as a nexus. In particular, poetic phrónêsis in professional playful practice is linked to social creativity that includes attention and recognition of others and otherness as well as social inclusivity.

By extending the existing discourse and using an embodied approach, the paper proposes a novel orientation for re-interpreting serious play. Equally, it offers the new processual concepts of inter-play and inter-practice that allow more explorations and connections to discourses and practices of phronesis and art(istry).

This research explores the ways in which a pre-service teacher (Deidre) reflects on experiences to develop transformation into a professional educator. This study investigates how pre-service teachers engage in dialogue and art to elaborate and reflect on learning experiences, which provide evidence of mindshift and emergent knowledge and teacher identity.

Often difficult to measure and trace, this work presents the emerging transformation of a pre-service teacher through ethnographic methodology, stories and artful practice.

As part of a larger study, the design reveals transformative mindshift from pre-service teacher reflective stories. Data from interviews and artful practice reveal evidence of moments of pedagogical impact, which contribute to identity and professional practice (Clandinin et al., 2006; Loughran, 2006).

Focusing on “what”, “when” and “how” transitions occur is explored to further understand the professional development in initial teacher education.

Building on research undertaken by Cochran-Smith and Lytle (1999), this investigation draws on artful reflections and stories to evidence elements of powerful pedagogical learning in order to teach in the world of professional practice.

Our individual and collective humanness is integral to the pursuit of learning and, thus, has the potential to bring much richness to discussions in teacher education. Unfortunately, education continues to prioritize cognitive ways of knowing, often at the expense of affective and spiritual knowledge. Drawing on the work of Parker Palmer (1993, 1997, 1998a, 1998b, 2004, 2017) who advocates for integrated ways of knowing and being and Manulani Meyer (2013) who draws on Indigenous knowledges to suggest holographic epistemology as meaning-making, I embrace a photo-poetic method to challenge the tendency in education to distance our minds from our emotional and ethereal selves. Situated within a/r/tography, this inquiry explores the capacity of artful ways of being to overcome the culture of disconnectedness in education.

This chapter advances an articulation of the contemporary knowledge worker as an infrastructural bricoleur. The practical and pragmatic intelligence of the contemporary knowledge worker, particularly those involved in project-based work, reflects an ability to build adaptable practices and routines, and to develop a set of working arrangements that is creative and event-laden. Like Ciborra’s octopi, workers augment infrastructures by drawing on certain forms of oblique, twisted, flexible, circular, polymorphic and ambiguous thinking until an accommodation can be found. These workers understand the non-linearity of work and working, and are artful in their pursuits around, through and beyond infrastructural givens. Modern knowledge work, then, when looked at through the lens of infrastructure and bricolage, is less a story of failure to understand, a limitation in training or the shortcomings of a system, but instead is more a mirror of the contemporary realities of today’s knowledge work drift as reflected in individuals’ sociotechnical practices.

This chapter examines our leadership journey as Black female social justice leaders and culturally responsive leaders from the Caribbean Diaspora in Canada. Borrowing from Mullen, Fenwick, and Kealy (2014) and Campbell’s (2008) notion of leadership as a journey, we critically examine what it means to navigate educational leadership contexts. Through our lived experiences as racialized leaders, border crossing spaces and cultures, and with a deep sense and agency to resolve social inequities and injustice we critically gaze at our leadership contexts. This chapter examines ways we, as critical leaders, challenge inequities, issues of power and marginalization, and find transformative actions and purpose by critically reflecting on our leadership journey. This work will add to the educational leadership discourse by positing ways that leaders can develop agency and engage in leadership that is transformative – bringing theory into action.

This paper aims to explore the implications of applying a Bourdieusian meta-framework to business interaction and relationship building within networks. The motive is to advocate the use of Bourdieu’s work in its entirety rather than sub-optimal use of selected concepts in isolation.

The aim of this conceptual paper is to explore how a Bourdieusian framework benefits understanding of structure/agency relations as a mutually constituted duality within business networks. The concept of duality regard relationships as emergent from synergies between structure and agency made possible by the translational capacity of “habitus”. Habitus is, therefore, the main intersection, catalyst or chiasmus between structure and agency facilitating enacted, emergent properties of business relationships.

The Bourdieusian framework suggests that structures and practices are related by multiple dualities brokered by multiple knowledge forms. The main contribution that this triadic framework brings to debates on structure-agency relationships is mostly contained in the concept of “habitus”, which is identified as a translation vehicle provides critical brokerage between actors’ resource structures and activities. It is a key concept that helps us understand how structures and agentic behaviours are equally important and mutually constituting influences upon emergent properties of business interaction. For business marketing, this means that the habitus of actors’ schemas are both embodied and cognitive. Habitus acts as the main catalyst for emergent and diverse capital resources and a plural set of skills essential for effective practical activities.

The research focus of a Bourdieusian framework is upon investigating a triadic understanding of concepts of habitus, field and practice as elements of a “pan-relational” or mutually constituted amalgam facilitated by a corresponding triadic relationship between three types of knowledge; namely, “illusio”, “phrónesis” and “poíesis”.

By adopting a Bourdieusian framework, this paper can regard the practical development of durable business relationships as involving interactions that adequately co-ordinate the different habitus, sub-fields and practices of parties as shared. The implication is that the practitioner needs to be equally competent in their use of “illusio”, “phrónesis” and “poíesis” as different knowledge forms whose sum is greater than its parts.

The approach reveals that habitus emphasizes that structures are never entirely conscious and calculated schemas as they contain unconscious, embodied habits fuelled by tacit, cultural knowledge infused with symbolism, mythologies and rituals, which are communicated mostly indirectly through analogical reasoning, narrative, heuristics and embodied gestures.