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The purpose of this paper is to offer a picture of the relationship the researchers perceive between the art and research practices, unravelling the ways the authors shape and inform enactment of a purposeful nexus between art making and research.

A hybridised methodology is adopted, where methods integral to narrative inquiry and a/r/tography are drawn together to generate a series of “pictures” of the interplay between research and artistry. Through exploration of critical events, creative prose and artefacts, the paper unfolds the parallels perceived and tensions encountered between the approaches to making art and conducting research.

Borders can create a sense of calm and safety in allowing us to organise and contain information or matter, but they are also provocative in their potential to be crossed. Through this work, the authors chart the borders of the art making and research, and how, why and when these borders might be traversed to augment the integrity of both practices. In unfolding and examining the experiences and the perceptions thereof, the authors articulate ways in which the authors find arts practice to enrich and inhibit the research, and vice versa.

Of particular value in this paper is the way in which the authors not only tell of the experiences as artists and researchers, but also show these experiences through a/r/tographic methods. As such this paper presents an approach to research that is generative, suggesting rather than concluding and challenging rather than resolving, and ultimately offering multiple avenues for artistic and analytic insight.

Since the collapse of the USSR, former Soviet republics have embarked on public service modernization, in most instances drawing on internationally dominant new public management (NPM) principles. Are post-Soviet republics ready for these administrative prescriptions? The paper aims to discuss these issues.

This paper discusses Kazakhstan’s experience with the implementation of NPM through a qualitative case study of the country’s adoption of the European Bologna higher education reforms.

While implementation of the NPM-inspired Bologna program has produced significant achievements, there are also gaps and shortcomings. These are due to a remnant Soviet administrative practices including strong control by educational ministries, as well as incompatible organizational cultures and a tendency toward superficial formalism in the implementation process.

NPM tends to be introduced in a top-down fashion as a taken-for-granted component of state transformation, without sufficient attention to the capacities, cultures and systems required for effective and accountable performance-driven administrative reform.

Kazakhstan’s experience provides crucial insights into the governance structures, professional cultures and managerial capacities required for successful implementation of NPM in post-Soviet states.

This article's purpose is to examine the case for the use of the theatre arts in the evaluation of UK City of Culture (UKCC) programmes, specifically headphone verbatim.

Through an analysis of secondary evidence, supported by some primary research, this article analyses past and present evaluation practices surrounding UKCC programmes and the case for headphone verbatim to be included as a method of gathering and distributing research data. The article also observes the challenges in how data may be disseminated through verbatim theatre performance practices, given the limited examples of its use in this context.

The author argues that the theatre arts can provide a different way of knowing and understanding the impacts of UKCC projects on the host city. Specifically, that headphone verbatim can bring an experiential perspective that is rarely if ever captured by existing UKCC evaluation methods and policymaking in general.

This article details an innovative method of evaluating social impacts associated with UKCC projects.

This study aims to model the creative pedagogy of children's book development and then engages teacher education students in this work, as a way to explore and express conceptions of teacher quality, across cultural perspectives.

This self-study engages a/r/tography and currere to explore teacher quality in a teacher education classroom in a Chinese university. A/r/tography (Irwin et al., 2006) considers teacher quality through the conventional lens based on standards and through a more aesthetic lens shaped by cultural nuances and personal experiences. This self-study engages currere (Pinar, 2004) as a methodology marked by contiguous living inquiry explored with an abstract lens aimed to see openings for insight leading to transformation (Pourchier, 2010).

Discussing similarities and distinctions across the presentation and conceptualization of teacher quality in the created children's books promoted dialogue considering intercultural, international pictures of a caring student–teacher relationship. A/r/tographic, currere approaches to exploring this enhanced reflective insight and supported acceptance of diverse notions of teacher quality.

As 21st-century global societies evolve, the meaning of progress also evolves from vertical linear trajectories to horizontal, webbed transformations, driven by differences leading to rhizomatic global connections. A/r/tography and currere are meaningful methodologies to explore the concept of teacher quality from aesthetic angles and on a more personal level so that our understandings may be shaped meaningfully by more diverse perspectives and voices.

The purpose of this paper is to promote narrative inquiry as a legitimate research approach for artists undertaking postgraduate research higher degrees.

This paper takes the form of a literature review describing practice-led research. It draws heavily on theories of art to support its claims.

In creative arts postgraduate research degrees, where the thesis is delivered in the form of artifacts and an exegesis, new knowledge and understandings are produced in two fields. In the first of these two fields, new theoretical knowledge detailing the conceptual basis for the creative work may contribute to the understanding of the purpose and nature of art. The second field of new knowledge involves artifacts as they can enlarge knowledge about what the author feel and know through images that illuminate experiences and understandings of life. The development and delivery of these forms of new knowledge occur in an interdependent manner.

The original contribution of this paper is the manner in which artifacts are shown to demonstrate the theoretical knowledge claims articulated in the exegesis Furthermore, this paper highlights the significance and value of new knowledge and the manner in which this knowledge is effectively shared.

Health-care student resilience is a well-researched topic, although the concept continues to evolve, not least as “resilience-building” has become an expected feature of health-care student professional education. The study aimed to understand the concept of resilience from the point of view of student nurses and midwives.

The study used a novel arts-informed method, informed by Miller’s and Turkle’s work on “evocative objects.” A total of 25 student nurses and midwives from a London-based university selected “resilience objects” which were photographed and discussed during interviews with an artist-researcher.

Analysis of the interviews revealed that “resilience” was founded on identity, connection, activity and protection. “Resilience objects” were used in everyday rituals and “resilience” was a characteristic that developed over time through the inhabiting of multiple identities.

Given that resilience is intertwined with notions of identity, health-care faculties should enhance students’ sense of identity, including, but not exclusively, nursing or midwifery professional identity, and invite students to develop simple rituals to cope with the challenges of health-care work.

To the best of the authors’ knowledge, this is the first study to locate health-care students’ resilience in specific material objects. Novel insights are that health-care students used everyday rituals and everyday objects to connect to their sense of purpose and manage their emotions, as means of being resilient.

The case study is inspired in Interpretative Phenomenological Analysis (IPA) to make sense of a Relational Model within Artistic Creation (RMAC) developed by the author a long time in their artistic and research practices.

An Interpretative Phenomenological Analysis (IPA) is considered within a case study where the author is simultaneously researcher and participant, using old unsolicited diaries for more than a decade as raw material.

RMAC was previously presented as a tool for creating (maker) as well as a tool for research (researcher) in specific solo performance art projects, being the first time that it is approached through an Interpretative Phenomenological Analysis, bringing new insights into artistic practice and research within their intersections.

This paper brings them the use of IPA in a case study with a researcher-participant to make sense of how RMAC, a model already presented formally and developed for many years, appeared and changed the author's professional and personal life. Also, it is given a new study using diaries as material within IPA.

In this chapter I present a pedagogic encounter with an intense affective scene that occurred at a critical time in my PhD research. The encounter, which I call ‘what happened to data and me’, acts as an illustrative example of what may come from seeking out ways to account for contingency, complexity and contiguity by focussing on affect as a researchable phenomenon and affect as a productive force in a (post)qualitative inquiry. At the heart of ‘what happened to data and me’ is an unravelling of self, prompted by the realization of an onto-epistemological conflict between what my research was trying to do and how I, the researcher, was trying to go about the research. I invite the reader to return with me to ‘the snap’ and together witness how a snap experienced as a pedagogic encounter can create the conditions for transformative learning to occur – a learning that transforms an individual's relations with the world rendering them more capable. In conveying how ‘what happened to data and me’ rendered us (data, me, my supervisors, and more) more capable, I discuss how entering into artful relations with data can reconfigure the researcher–researched–research in affirming ways. I propose artful inquiry to do data in a way that accentuates the art of data, creating the conditions for data to transgress into da(r)ta. I conclude with six insights that researchers interested in ‘the post’ may like to consider. The intention is that hindsight will become foresight, not only highlighting what transgressive data can do but also drawing attention to the potential of critically and creatively engaging with the (post)qualitative inquiry.

The purpose of this paper is to discuss whether artists create research outcomes in a revolving (or spiraling) process? This can be a catch-22 where their work is responding to and forecasting change, while the artist’s voice is often seen as too qualitative to provide research impact for university societies or to be compared with the quantitative data that scientists use.

Where will research methods, qualitative and quantitative overlap? The author knows that both methods are important for ongoing observations about creative arts practice. The qualitative is part of Holmes’ (2011/2012) query about how “knowledge involved in artistic thinking should […] include the issue of how mental images are given creative form, but this is a process that remains obscure in current art research” (p. 2).

For Holmes, “the knowledge product of art research cannot be considered separate from the researcher’s psychic processes; and the currently obscure relationship between artistic production and subjectivity might lead to one of the unique contributions to be made by art research” (Holmes, 2011/2012, p. 2). Holmes’ suggestion provides a strategic link to the way arts and sciences might overlap. “How do artists and scientists find a way to match issues, ideas and theories?” This may be especially so in relation to the integral use of image to empower a message.

This paper offers an original look at how artists empower with image.