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This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

The development of qualitative research methods addresses the need to explore, understand and interpret complex and subjective phenomena across various fields of study. These methods are guided by methodological frameworks, and data collection involves taking several precautions for observation or interviews. While these guidelines facilitate an emphasis on the objective aspects of discourse, accounting for subjectivity and emotions proves more challenging. However, these subjectivity and emotions are deemed as significant sources of information. In this chapter, we propose an innovative data collection method centred around creating collages and engaging in group discussions to decipher their meaning. Collage serves as a visual medium, and we recommend utilising semiotic analysis tools to comprehend its significance. To gain a more precise understanding of the value of collage as a data collection method, we studied a collage workshop organised by CREE. Through image analysis and exchanges, our findings reveal that collage acts as a physical medium that fosters exchanges, deepens ideas and restricts digressions. Additionally, collage allows for the expression and discussion of emotions linked to the image rather than the individual. The space of intersubjective reflexivity facilitated by collage enables a profound comprehension, critical assessment and augmentation of ideas and the interpretation of emotions without compromising the sensitivity of the author. This chapter’s main contribution is evidently manifested here.

Global brands have become increasingly vulnerable to external disruptions that have negative spillover effects on consumers, business and brands. This research area has recently garnered interest post-pandemic yet remains fragmented. The purpose of this paper is to recognize the most impactful exogenous brand crisis (EBC) and its affective and behavioural impact on consumers.

In Study 1, we applied repertory grid technique (RGT), photo elicitation method and ANOVA comparisons, to identify the most significant EBC, in terms of repercussions on consumer purchases. In Study 2, we performed collage construction and content analysis to ascertain the impact of the identified significant crisis (from Study 1) on consumer behaviour in terms of affective and behavioural changes.

Study 1 results reveal Spread-of-diseases and Natural disaster to be the most impactful EBC based on consumer’s purchase decisions. Study 2 findings uncover three distinct themes, namely, deviant demand, emotional upheaval and community bonding that throws light on the affective and behavioural changes in consumer behaviour during the two significant EBC events.

The collated results of the two studies draw insights towards understanding the largely unexplored conceptualisation of EBC from a multi-level (micro-meso-macro) perspective. The integrated framework drawn, highlight the roles and influences of different players in exogenous brand crisis management and suggests future research agendas based on theoretical underpinnings.

To the best of our knowledge, this is the first study which identifies the most important EBC and explicates its profound impact on consumer purchase behaviour, providing critical insights to brand managers and practitioners to take an inclusive approach towards exogenous crises.

Arts-integration is a promising approach to building students’ abilities to create and critique arguments with data, also known as informal inferential reasoning (IIR). However, differences in disciplinary practices and routines, as well as school organization and culture, can pose barriers to subject integration. The purpose of this study is to describe synergies and tensions between data science and the arts, and how these can create or constrain opportunities for learners to engage in IIR.

The authors co-designed and implemented four arts-integrated data literacy units with 10 teachers of arts and mathematics in middle school classrooms from four different schools in the USA. The data include student-generated artwork and their written rationales, and interviews with teachers and students. Through maximum variation sampling, the authors identified examples from the data to illustrate disciplinary synergies and tensions that appeared to support different IIR processes among students.

Aspects of artistic representation, including embodiment, narrative and visual image; and aspects of the culture of arts, including an emphasis on personal experience, the acknowledgement of subjectivity and considerations for the audience’s perspective, created synergies and tensions that both offered and hindered opportunities for IIR (i.e. going beyond data, using data as evidence and expressing uncertainty).

This study answers calls for humanistic approaches to data literacy education. It contributes an interdisciplinary perspective on data literacy that complements other context-oriented perspectives on data science. This study also offers recommendations for how designers and educators can capitalize on synergies and mitigate tensions between domains to promote successful IIR in arts-integrated data literacy education.

This paper aims to investigate how and when visual referents in brand visual aesthetics (i.e. colours, shapes, patterns and materials) serve as design applications that enable consumer diasporic identity.

This paper uses an innovative methodology that triangulates 58 in-depth interviews with diasporic consumers, 9 interviews with brand managers and designers and a visual analysis of brands (food retailer, spices and nuts, skincare, hair and cosmetics, ice cream and wine) to provide a view of the phenomenon from multiple perspectives.

This study illustrates how and when particular applications and compositions of product and design referents support diasporic identity for Middle Eastern consumers living outside the Middle East. Specifically, it illustrates how the design applications of harmonising (applying separate ancestral homeland and culture of living product and design referents simultaneously), homaging (departing from the culture of living product and design referents with a subtle tribute to ancestral homeland culture) and heritaging (departing from the ancestral homeland culture product and design referents with slight updates to a culture of living style) can enable diasporic identity in particular social situations.

Although applied to the Middle Eastern diaspora, this research opens up interesting avenues for future research that assesses diasporic consumers’ responses to brands seeking to use visual design to engage with this market. Moreover, future research should explore these design applications in relation to issues of cultural appreciation and appropriation.

The hybrid design compositions identified in this study can provide brand managers with practical tools for navigating the design process when targeting a diasporic segment. The design applications and their consequences are discussed while visually demonstrating how they can be crafted.

While previous research mainly focused on how consumption from the ancestral homeland occurred, to the best of the authors’ knowledge, this study is the first to examine how hybrid design compositions that combine a diaspora’s ancestral homeland culture and their culture of living simultaneously and to varying degrees resonate with diasporic consumers.