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Increased emphasis is being placed on developing creative approaches when working with children in research settings, especially with sensitive research topics like violence against children. Community art is a social form of art that gives artists the opportunity to work in collaboration with the public, with the aim of highlighting and addressing specific social issues. This chapter reflects on an art exhibition organised in Reykjavík called Wishes of Icelandic Children. The project was a collaboration between artists and children. The aim of the chapter is to present how an art exhibition may put violence that children experience into focus and encourage attendees to reflect on the subject by looking at descriptive pictures and texts from the Convention on the Rights of the Child and then writing comments about their thoughts and feelings. The research questions are: How do children express themselves about sensitive topics such as abuse and violence? Can community art enable professionals to better support increased participation of children in discussions about abuse and violence? This study involved a qualitative thematic analysis of comments written by children after having seen the exhibition. Three students took part in the analysis process as co-researchers. The exhibition was successful in creating a platform where children could express themselves on topics concerning abuse and violence. Many comments expressed an ardent desire to end violence in society, especially emphasising bullying, which can limit young people's capacity to feel safe and express themselves.

A comprehensive intervention test platform, Valla Coach, including quantitative and qualitative methods to measure and improve work flows on site and promote coaching and collective learning has been developed jointly by researchers and practitioner. The study aims to describe the methodological underpinning of the platform, and discusses the preliminary results and implications.

Expansive Learning Theory grounded in a cultural–historical perspective underpins the conceptual realisation of the test platform. The viability of the platform was tested in four contextually different construction sites (and contractors), combining established and new measurement tools, qualitative intervention approaches and coaching according to the production challenges at hand.

Valla Coach created a space on site where researchers-as-coaches and operatives converged to co-construct (new) knowledge and learn together. The knowledge that emerged from the interactions gained legitimacy through its situatedness and practical value for the operatives.

Valla Coach provides opportunities for researchers and practitioners to probe the taken-for-granted. Moreover, a variety of methods and tools are tested in different contexts. The interventions prompt questioning of assumptions and make contradictions visible. Valla Coach remains work-in-progress and needs further evaluation and validation.

We contribute insights from negotiating socio-technical complexities, evaluating digital measurement tools and technologies and experiences of operatives. Tensions at the interface between the organisation and project are rendered visible.

A bottom–up approach that is a combination of practice-based tools and methods and of theories of learning and sustainable and continuous improvements where the operators are the main actors that enable productive activity.

This chapter discusses the various ways in which audiovisual (AV) media industries have cooperated with the tourism industry and explores the emergent areas for cross-innovation. It demonstrates the gradual mediatisation of tourism, but also how the added value from location tourism has started to affect, for instance, the operation of the film industry. It then discusses the emergence of tourism gamification that came about with the arrival of smartphones equipped with an ever-increasing variety of sensors relevant to location and mobility awareness. The chapter finishes by discussing the affordances and forms of augmented reality being used in the service of the cultural heritage sector and the broader tourism sector.

Covert research has a mixed reputation within the scientific community. Some are unsure of its moral worth, others would proscribe it entirely. This reputation stems largely from a lack of knowledge about the reasons for choosing the covert method. In this chapter, these reasons will be reconstructed in detail and all the elements that will allow one to judge the level of ethicality of covert research will be laid out for the reader. In particular, the chapter will answer the following questions: What harms can result from covert research to the subjects participating in the research? Is covert research necessarily deceptive? In which cases is it ethically permissible for a researcher to deceive? What is the scientific added value of the covert research, that is, what does covert research discover that overt research does not? What are the risks to researchers acting undercover? Finally, some suggestions will be offered to research ethics reviewers to help in their appraisal of covert research.