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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.

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.

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.

This paper explains a collaborative self-study research project that included an evolving arts-based inquiry (ABI) approach. The combined experiences of a visual artist/art educator and a drama educator, informed the design and use of ABI strategies to investigate practices of Australian teacher educator-researchers. These strategies are shared along with results from interviews that reveal the dynamics and value of this particular model of ABI within a larger research project.

ABI was included in the methodology of collaborative self-study. It involved listening to participants’ arts-based and written responses then basing the next provocations on these outcomes. This gave ownership to the group members and reinforced the community of practice foci.

ABI challenged academic identities and practices. It allowed for more enjoyment in the workplace, for reflection and reflective practice to develop. It provided opportunities for shifting perspectives and perceiving teaching practice differently, inspiring more creativity in teaching. It also improved relationships with co-workers and held the group together.

The authors share this research to recommend others a way to collaborate within group research projects.

The authors found it vital to have a co-ABI facilitator from within the group to collaborate with, in order to develop the most appropriate ABI provocations within an emerging research project.

This model of research can generate honest and in-depth insights for participants (members of a community of practice) as to how and why they do the work (practices) they do.

The study’s use of ABI offers an original perspective in the use of this methodology.

Reading the works of Charles Bukowski is a male, and by extension, masculine activity, and as such it can make a female reader feel as if she is trespassing into some male preserve. Arguably, in entering many organisations, women experience similar feelings. The purpose of this paper is to offer an account of the process of reading Charles Bukowski's novel Post Office as a woman.

In order to evoke her response to the text of Post Office and to reclaim her feminine identity in the face of Bukowski's masculinist project, the author adopts a multilayered, art‐based methodological approach using Bukowski's text as well as her own, Bukowski's biographer's, texts of a number of theorists of research methodology, visual illustrations and notes.

Through the original use of arts‐based methodology, the paper offers insights into the embodied, situated experience of reading Post Office, and gives an account of the author's reflections on organisational sexism, brutality and escape in the novel.

Drawing the attention to the multilayered interweavings of novel, author, organisation, analyst and discipline, the paper moves us beyond a representational reading of Post Office to consider the materiality of the text within the productive assemblage of organisational theory.

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.

In the 1950s, Einstein predicted that if humankind is to survive, we will need a substantially new manner of thinking. He believed that our task in life must be to widen our circle of compassion to embrace all living creatures and the whole of nature in its infinite beauty. The combined disciplines of mindfulness, ecopsychology, and sustainability education offer humanity a chance to develop this new way of thinking and being in the world. In this chapter, I describe my experience of teaching and designing curriculum that integrates contemplative practices with sustainability education in the space of higher education. The course I will be discussing, where nature-based mindfulness activities are offered, is called “MindBody Wellness.” As a part of the course, it is hoped that students will cultivate an expanded vision of the self—one known as the “ecological self”—a term coined in the 1980s. The ecological self is perceived to be a wide, expansive, or field-like sense of self, which ultimately includes all life forms, ecosystems, and the Earth. Preliminary research in the field indicates that cultivating loving-kindness and practicing mindfulness leads to a greater level of nature connectedness and need to care for and protect the natural world. However, my colleagues and I did not find this to be the case and needed to explicitly give students instructions to care for the environment.

Preservice English teachers are expected to use literary theories and criticism to read and respond to literary texts. Over the past century, two of the most common approaches to literary encounters in secondary schools have been New Criticism – particularly the practice of close reading – and Rosenblatt's transactional theory, both of which have been expanded through critical theorizing along the way. Elucidated by data produced in iterative experiments with Frost's “The Road Not Taken,” the authors reconceptualize the reader, the text, and close reading through the critical posthuman theory of reading with love as a generative way of thinking outside of the habitual practices of European humanisms.

In “thinking with” (Jackson and Mazzei, 2023) desiring-machines, affect, Man and critical posthuman theory, this post qualitative inquiry maps how the “The Road Not Taken” worked when students plugged into it iteratively in processes of reading with love, an affirmative and creative series of experiments with literature.

This study mapped how respect for authority, the battle of good v evil, individualism and meritocracy operated as desiring-machines that channeled most participants’ initial readings of “The Road Not Taken.” In subsequent experiments with the poem, the authors demonstrate that reading with love as a critical posthuman process of reading invites participants to exceed the logics of recognition and representation, add or invent additional ways of being and relating to the world and thereby produce the possibility to transform a world toward greater inclusivity and equity.

The authors reconceptualize the categories of “the reader” and “the text” from Rosenblatt’s transactional theory within practices of reading with love, which they situate within a critical posthuman theory. They eschew separating efferent and aesthetic reading stances while also recuperating practices of “close reading,” historically associated with the New Critics, by demonstrating the generativity of critically valenced “close reading” within a Deleuzian process of reading with love.

The purpose of this paper is to explore the inter-relationship between choreography and pedagogy. It refers specifically to a Participatory Action Research (PAR) project that dealt with investigations into performance making and the design of a teaching and learning model. Shifts from making performance from a pre-determined starting point to a participatory and interactive process are traced to reveal a “choreographic pedagogy” informed and transformed by the experience of its actors.

The paper includes a brief explanation of the terms and shared features of choreography and pedagogy, and how PAR facilitated a cyclic generation of new findings that drove the research forward. The research question is tackled through concepts, practices and tasks within the four cycles of research, each year with new participants, questions and expanding contexts.

The experience of the research participants reveals unexpected and “unfolding phenomena” that open up spaces for imagining, creating and interpreting, as a “choreographic pedagogy” in action.

The research might appear to be limited to the areas of performance and teaching and learning, although it could provide a model for other subjects, especially for those that engage with creative processes.

The research is a “practice as research” model and has implications for research in education as a practice of knowledge exploration and generation.

It is original and has the potential to inform the ways in which educators explore and expand their disciplines through teaching and learning investigations.