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This methodological paper connects posthuman conceptualizations of voice with artistic research and examines whether it opens toward different registers and levels of embodied and aesthetic forms of knowing that cut across normative accounts of what it means to know. We start from what Patti Lather calls 'a praxis of stuck places' and ask how to give voice to experiences such as chronic illness and pain, while at the same time disrupting representational forms of illness and pain. To investigate this, we first critically engage with the popular genre of the health diary and its representational form. Secondly, we explore how Lisa A. Mazzei concept of 'voice without subject' can support us in disrupting the normative and representational production of voice, while working with a failing voice. Finally, we analyze the sound installation, A Borrowed Diary —made by M. Broeckmeyer, and explore how it opens up alternative approaches to voice and chronic pain. We will argue that making 'voice without subject' work, touch, and resonate can impact the lives of people who often remain unheard, in that it acknowledges experiences and expressions that are mostly not validated. Creating with 'voice without subject' makes tangible how personal experiences, however, temporarily, contribute to the bigger picture of how we look at and listen to people with illnesses and/or disabilities. [ABSTRACT FROM AUTHOR]

Showcasing plays a fundamental role in arts education programmes. This paper presents an approach to research scenarios which explore 'event-centred' projects. Drawing on arts-based methodologies and research projects, this approach could be extended to the study of seasonal rituals, festivals and other types of organisational settings in which creative work culminates in some type of public display. This paper defines the key features of this method, which draw on Paul Willis' concept of 'grounded aesthetics' and Sarah Pink's work on the sensorial and embodied experience. I discuss the experimentation with various digital media and documentation strategies which adopt a participatory and collaborative perspective. I focus on how the sensorial, multimodal and collaborative approaches to ethnography are used within event-centred research projects which complement more 'traditional' ethnographic approaches. Finally, this paper offers a methodological contribution regarding how to unpack the 'grounded aesthetics' of specific contexts and communities. [ABSTRACT FROM AUTHOR]

Research that 'grows apart' from its original design and proposal is not uncommon, especially when involving participatory and creative methods. However, the disconnect between research intentions and research realization is seldom probed for the insights offered; this paper addresses this gap. Taking up the conceptual lens of research imaginaries, this paper dives into the tensions and discoveries experienced in between the design and the practice of a multi-site participatory research project. The study involved two groups of young people, in two cities in two countries, with a focus on digital lives. In a commitment to collaboration with artists, senior researchers, research assistants, and young people in community spaces, a complex project emerged. This paper describes the tensions and possibilities of an emergent methodology and in doing so argues for increased attention to the movement of research designs; rather than the adherence to them. [ABSTRACT FROM AUTHOR]

This paper presents one aspect of a sociocultural micro-ethnographic study examining how 11- and 12-year-old children formulate meanings when working with an artist in a contemporary art gallery. My primary focus is an examination of methodological contributions emerging from an imaginative coding and analysis of children's art. Ninety-nine artworks were created in collaboration with the artist and were organised and interpreted using a constructionist interviewing coding scheme. This unorthodox approach to visual analysis unearthed information that oral accounts cannot provide alone revealing meanings which would otherwise remain dormant. By intuitively applying the coding framework I expose how participants' meanings are negotiated by appropriating and re-organising cultural concepts into personalised narratives. As such, artworks reveal participants' desires, interpretations and intentions, operating as agentic cultural producers as well as unconsciously reproducing visual epistemologies ubiquitous in Western cultures. [ABSTRACT FROM AUTHOR]

The focus of this paper is on the complex and sometimes contradictory effects of generating films with and about young people who have experienced homelessness, through participatory research. Drawing on two projects – one in Ottawa, Canada, and the other in Manchester, UK – we scrutinise two key aspects of participatory research projects that use film: first, how to appropriately communicate the complexity of already-stigmatised lives to different publics, and second, which publics we prioritise, and how this shapes the stories that are told. Through a theoretical framework that combines Pierre Bourdieu's account of authorised language with Arthur Frank's socio-narratology, we analyse the potential for generating justice versus reproducing symbolic violence through participatory research and film with homeless young people. In particular, we scrutinise the distinct role played by what we are calling first, second and third publics – each with their own level of distance and relationship to the participatory research process. [ABSTRACT FROM AUTHOR]

Interdisciplinarity, multidisciplinarity and counter-disciplinarity are the hallmark of cultural studies and qualitative research, as scholars over the past three decades have discussed through extensive self-reflexive inquiry into their own unstable and ever-shifting methods (Denzin and Lincoln, 2018; Dicks et al., 2006: 78; Grossberg, 2010). Building on the interdisciplinary thought of Jacques Rancière and Caroline Levine on the one hand and traditions of participatory action research and activist anthropology on the other, we bring the methods conversation forward by shifting the focus from disciplines to forms and by making a case for aesthetic practice as qualitative research process. In this paper, the question of methods is approached through the action-based Cartonera Publishing Project with editoriales cartoneras in Latin America – community publishers who make low-cost books out of materials recovered from the street in the attempt to democratise and decolonise literary/artistic production – and specifically through our process-oriented, collaborative work with four cartonera publishers in Brazil and Mexico. Guided by the multiple forms of cartonera knowledge production, which are rooted not in academic research but rather in aesthetic practice and community relations, we offer an innovative 'trans-formal' methodological framework, which opens up new pathways for practitioners and researchers to work, think and act across social, cultural and aesthetic forms. [ABSTRACT FROM AUTHOR]

This paper presents a research project carried out with participatory methodology in which the collaborative creation of an audiovisual has been the driving element of a complex process of inquiry about prison reality. The objective of the project is to describe, reveal and denounce how conjugal and family visits to inmates in prison take place. We have employed artistic co-creation and media literacy as facilitators of the participation of social groups without a voice. The project is structured as a qualitative case study. The participating group consists of six men in a Centre for Social Integration, the social worker and three researchers. The results discuss the possibilities offered by art as a viable social transformative practice. Likewise, the possibilities of art as social activism and as a facilitator of new forms of knowledge accessible to all are analysed. Finally, as a device of digital artivism, the audiovisual will be disseminated. [ABSTRACT FROM AUTHOR]

This article contributes to literature on live methods and specifically to the idea of research as an informed provocation of experience in the context of growing methodological experimentation in social science research. The liveness of our method sits with our close attention to inquiry as encompassing of human/non-human relational encounters that, drawing upon a materialism of lively matter, come together in the form of material thinking. We sought to foster a creative encounter between people with experience of self-harm and published narratives about self-harm in the light of 'provoked perplexity'. We suggest that deliberately 'provoking perplexity' in creative and live methodologies, opens up possibilities for inquiry into the unimaginable and unthinkable. Participating in a series of collaborative, creative (visual art) response workshops, our participants troubled the idea of meaning as neat and coherent, linear and final, showing instead how it dwells precisely in the very process of inquiring by means of creative making that constitutes practice as research. [ABSTRACT FROM AUTHOR]

Reflexivity involves examining one's background and perspectives in relation to the research topic, participants, and the processes and practices of research. Building on the growing field of utilizing arts-based practices in teaching qualitative research, in this article we examine how one doctoral student's engagement with drawing and painting within and beyond a qualitative research class supported her developing reflexivity. Guided by an interactional ethnographic perspective, we conducted domain, taxonomic, and discourse analyses of the student's art, reflection journals, video of a class presentation, and retrospective reflections she wrote three years later. Through these analyses we make visible that reflexivity through art creates potentials for understanding and transcending one's background to create new opportunities for learning about self and research. We also argue that deepening reflexivity requires a commitment to engage in the discomforts of learning in order to develop new ways of thinking and researching. [ABSTRACT FROM AUTHOR]

In this article, we remember experiences of our participation in an artistic event for youth of African descent in a Norwegian city to reflect on the potential of arts-based methods for exploring migrant and diasporic youth identities. Reflecting on the process of curating an event titled Afrikanske Dager in Drammen (African days in Drammen) involving young Africans in a Norwegian city, we demonstrate the methodological potential photography making, exhibition and dance performance. We show how processes of collaborative photography making provide spaces for participants to negotiate and think through identity and self-representation. We tease out the potential of dance choreography and performance as avenues for participants to embody and retell old histories from the archive of African presence in Norway. We discuss how the event making process was the site of unstable hierarchies where roles and positions constantly changed and highlight the power relations involved in the collaborative production of knowledge from artistic practice. [ABSTRACT FROM AUTHOR]

This article considers the ontology of theory as a shaping phenomenon in qualitative research by opening up its intersection with artistic dimensions of knowing and knowledge. We argue that the plurality of practices and perspectives for research hinges on what theory is understood to be. Thus, rather than approaching theory as something predefined, we draw on conceptualizations of the experience of art to articulate the being of theory as an aesthetic renewal of a shared human movement of becoming. We then illuminate theory's potential as a multidimensional artful being by engaging with a subset of photographs of street art collected in Colombia. [ABSTRACT FROM AUTHOR]

This article contributes to literatures on sociological live methods by advocating for 'playing' with the concept of slow methods. Slow methods include a reflexive disposition towards the unfolding of social life in ordinary spaces (dwelling), the use of drawing as an embodied tool for understanding this unfolding (doodling) and the combination of these approaches into writing which deliberately seeks to evoke the liveness of the social world (describing). It draws on an ethnography of a joint-use public-academic library and several scenes selected from its fieldwork. I make three arguments: first, I argue for analogue methods to compliment digitally focussed live methods. Second, I explore the value of slow methods for being drawn into a scene and drawn to see its micro-happenings, particularly in spaces where the social world unfolds in mundane and uneven ways. Third, I argue the approach allows 'shy researchers' to engage attentively and reflexively in the field. [ABSTRACT FROM AUTHOR]

Visual research methods reduce reliance on verbal communication and offer an avenue for non-verbal storytelling. Body mapping is a visual arts-based research method with its origins in art therapy and community development. It has been successfully used to explore embodied experiences of marginalised social groups. Participants engage in sensory and multimodal storytelling by tracing a life-size body outline and adorning it with fabrics, drawings and images to symbolise their views during a guided interview. This approach was used in research to explore birth family contact experiences in New South Wales, where children have ongoing direct contact with birth relatives in long-term care, guardianship and open adoption. Twelve mothers of children in permanent care took part in body mapping to explore their feelings about contact and the support they need to nurture a relationship with their children. Immersion in the artistic process of bringing a representational body to life granted these mothers access to hidden memories about their experience of child removal. They used evocative images to depict system violence and their fight against the erasure of their mother identity as well to envision a positive future relationship with their children. Body mapping potently revealed that traumatic loss resides in the body and resurfaces in encounters with child welfare systems. This has important policy and practice implications, highlighting a need for post-removal therapeutic services to process trauma and sensitive casework to rebuild parent trust and to help carers respond with empathy to their child's mother at contact. This lends support to the usefulness of body mapping not only for research with vulnerable parents, but to its enormous potential as a creative engagement tool for child welfare practitioners. [ABSTRACT FROM AUTHOR]