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The purpose of this paper is to introduce the practices and findings of a visual inquiry developed by the co‐authors with students in a Business School in the south west of England. The authors are interested in how students engaged with the visual as a practice of inquiry and how this contributed to their development of a critical approach to the concept of ethics in business organisations.

Students visited an exhibition shown as part of the 100 days countdown to the COP15 UN climate change conference, and constructed visual representation of questions and dilemmas related to ethical business practice. The analysis focuses on student presentations, and the discussions that these provoked on the relationship between “business” and “ethical practice”.

Doing co‐inquiry with visual images enabled many students to engage more proactively with ethical dilemmas; to attend to deeply felt values that they were not accustomed to bring into the rule bound environment of the classroom; to develop critical readings of the visual as a discourse about business organisations and their claims to ethical practice; and to create their own visual representations of ethical dilemmas within business practice.

The research methodology brings together inquiry‐based learning and visual inquiry in the context of undergraduate learning in a business school. The paper considers the significance of the methodology and findings as a contribution to visual inquiry methodology and practice, and as a medium for enabling students in a business school to develop their ethical sensibility.

The purpose of this paper is to explore the methodological challenges of developing a shared academic–student discourse of recovery with undergraduate students in their final year at a British business school.

The authors reflect on the meaning of recovery and how it was negotiated and constructed by the relation established between students and academics, by analysing the visual- and text-based materials they produced and the discussions provoked by these materials using symmetric ethnology and content analysis.

The main finding is that students tended to reflect on the real, particularly the social, by creating copies and replicas; the authors, as academics, engaged with this practice with ambivalence. The article concludes that this as an attempt to manage what is felt to be unmanageable, echoing what some authors consider to be a contemporary practice of social justification (Boltanski and Thévenot, 1991) and others consider to be a well-established cultural practice (Taussig, 1993).

The paper contributes to a better understanding of how relatedness and reflexive inquiry become essential for when teaching and that is linked with academics being able to be openly related with students and their situation; to a better understanding of recovery and how it can be co-constructed by academics and students through a share narrative; to a methodology for the analysis of text and images, and its appropriateness for the study of ways in which imagination of the future may be co-constructed; and to an understanding of mimetic objects, replicas and copies.

The paper suggests that this approach could have practical implications when applying co-inquiry approaches of learning, the understanding of institutional and academic meaning of replication and relatedness in academic context of economic crisis.

The authors conclude that academic relatedness and students–tutors engagement is constructed differently when re-considering replication as a way of learning. Preference for copying and pasting found texts and images, rather than creating, served as a way of managing the unknown and of constructing recovery through a process of “mimeting” (Campbell, 2005).

Visual documents (e.g. maps, editorial cartoons, historical photographs, portraits, documentary films, historically-based movies, etc.) are common curriculum resources within social studies classrooms; however, only recently scholars have begun to systematically research ways to more authentically and powerfully center instruction around visual documents. Here, the purpose of this paper is to synthesize relevant lines of inquiry into research-based, wise-practices for selecting and designing visual curriculum materials to help social studies students and teachers think about social phenomenon deeply and in more disciplinary-specific ways.

The authors share recent scholarship that has posited explanations for why visual data tend to afford learners especially powerful opportunities to think critically about the world around them. Throughout the discussion, the authors integrate applicable research-based principles that can guide the selection and design of visual curriculum materials.

Scholars have suggested that visual documents are rarely introduced in educational settings as a means to develop the thinking skills of decoding, interpreting and evaluating pictorial information. The authors argue that these skills are vital civic competencies because the creation and critique of non-written information often mediates modern public issues and social identities.

Informed by strong, consistent research into multimodal learning, visual literacy and the cognitive sciences, the wise-practice scaffolding suggestions the authors provide may help professionals with an interest in social studies education to synthesize theory-based suggestions with practice-based implementations as it concerns visual documents. The authors hope the guidance shared here helps teachers, teacher educators and curriculum designers produce high-quality resources that will engage contemporary students and help them develop civic competence.

First, the authors posit a research-based template, or planning checklist, of wise-practice suggestions to help social studies teachers, teacher educators and curriculum designers select visual documents. The authors then share several digital collection archives that teachers can visit to locate powerful visuals and describe research-based suggestions for designing them for dynamic implementation. Finally, the authors argue for more deliberative space in the social studies curriculum and classroom time for teachers to explore the educative power of centering inquiry-based instruction around visual information.

Plagued by doubt and methodological unease, two researchers from a large Australian study resolve their quandary by revisiting methodological literature related to narrative inquiry, visual approaches and contemporary interviewing to find that the application of poststructuralist theory to methodology provides a useful way of addressing their concerns. Before embarking on extensive writing about the project, they trouble issues of data authenticity, analytic integrity and the problem of voice. The main value of this deliberation is its applicability to the wider discourse about contemporary qualitative inquiry that other researchers facing analytical dilemmas may also find helpful.

This chapter presents a form of both co-participation theory and artful inquiry methodology as useful approaches in carrying out research into the student experience. Participatory Pedagogy is predicated on repositioning participants as co-producers of knowledge by introducing them to important aspects of the research, providing a platform to foster expression and affording opportunities to co-shape the research process. Artful inquiry can take many different forms, but collage in particular has the capacity to bring new meanings to the surface even in well-researched fields, such as the student experience. In supporting a Participatory Pedagogy approach, collage can unpack powerful testimonies of personal experience. A practical application of this pairing is also presented based on research into the student experience. This gives readers an insight into how it can be applied to a study, what its limitations might be and especially how students, particularly those from under-represented backgrounds, can benefit from being involved.

The purpose of this paper is to report on an information gathering study on users’ research data-related challenges and proposals for library research data services (RDS). This study probes how early career researchers visually conceptualize the research process in their disciplines, their self-reported research data challenges, and their recommendations for library RDS.

Two focus group sessions were undertaken with a total of eight early career researchers. Adopting the visual narrative inquiry method, the participants were asked to sketch the general research process in their domain. The individuals’ illustrations of the research process were then used as the basis for reflecting on their data-related needs and potential RDS that would assist them during the research process.

Participants presented a research process that was more personal and, in most cases, more imperfect than the research lifecycle models that academic libraries are increasingly using for RDS development and communication. The authors present their data-related challenges, which included data access barriers, low knowledge of best practices for research data management, the need for a deeper understanding of post-publication impact, and inconsistent awareness of existing library and institution RDS. The authors outline RDS recommendations that participants proposed, which included a web-based tools, customized training sessions, and “distilled” guides to research data best practices.

The study flagged users’ gaps in understandings of existing library and institutional RDS, suggesting that there may be an opportunity to engage users in the design of communications plans for services. The findings from this user study will inform the development of RDS at the institution.

This paper puts forth a methodological approach that academic libraries can adapt for understanding users’ needs and user-generated design solutions.

In this chapter, we explore our experiences of co-teaching an undergraduate elementary teacher education class titled, “Teaching Language Arts in FNMI (First Nations, Métis and Inuit) Contexts.” In our curriculum-making for the course, we drew on Narrative Inquiry as pedagogy, as well as on Indigenous storybooks, novels, and scholarship. We chose to work in these ways so that we might attempt to complicate and enrich both our experiences as teacher educators, and the possibilities of what it means to engage in Language Arts alongside Indigenous children, youth, and families in Kindergarten through Grade 12 classrooms. Thus, central to this chapter will be reflection on our efforts to co-create curriculum alongside of students – considered in their multiplicity also as pre-service teachers, mothers, fathers, brothers, sisters, daughters, sons, etc. – in ways that honored all of our knowing and experience. The relational practices inherent to Narrative Inquiry and Indigenous approaches to education, such as the creation and sharing of personal annals/timelines and narratives, along with small and large group conversations and talking circles are pedagogies we hoped would invite safe, reflective, and communal spaces for conversation. While certainly not a tension-free process, all of the pedagogical choices we made as teacher educators provide us the opportunity to attend to the relational and ontological commitments of Narrative Inquiry, to the students in their processes of becoming, to Indigenous worldviews, and to the responsibilities of the Alberta Language Arts curriculum.

This chapter features our innovative endeavors to inquire into an African-American student's potentially sensitive stories in a methodologically fluid and ethically delicate manner through two generative methods: digital narrative inquiry and musical narrative inquiry. Through a meta-level “inquiry into inquiry” approach, this work explores how we engaged in the digital and musical restorying of the participant's “Wounded Healer” narrative and uncovered its dynamism, cultural richness, and nuances. We subsequently represented the findings in humanizing ways using multimedia and music. Drawing on the insights from exploring these novel methods of digital and musical inquiry, our work illuminates noteworthy elements of narrative research: generativity, transformativity, interpersonal ethics, aesthetic ethics, and communal ethics. Additionally, the potential issue of trustworthiness in fluid narrative inquiries is addressed.

The purpose of this paper is to record Visual Arts education in Western Australia (WA) as it underwent significant change between 1967 and 1987, in administration, policy, curriculum and professional development.

A narrative inquiry approach was utilized to produce a collective recount of primary Visual Arts teacher education, based on 17 interviews with significant advocates and contributors to WA Visual Arts education during the aforementioned period.

This paper underscores the history of the role of Western Australian Superintendents of Art and Crafts and the emergence of Visual Arts specialist teachers in primary schools, from the successful establishment of a specialist secondary Visual Arts program at Applecross Senior High School, to the mentoring of generalist primary teachers into a specialist role, as well as the development and implementation of a new Kindergarten through to Year 7 Art and Crafts Syllabus. It also discusses the disestablishment of the WA Education Department’s Art and Crafts Branch (1987).

The history of primary Visual Arts specialists and advocacy for Visual Arts in WA has not been previously recorded. This history demonstrates the high quality of past Visual Arts education in WA, and questions current trends in pre-service teacher education and Visual Arts education in primary schools.