The non-verbal and the verbal: expanding awareness of practice-led research in creative writings

This paper takes up the concept of practice-led research: research (or the production and performance of knowledge) that is implicit within practice – in this case creative arts practice and more specifically, creative writing practice. Does practice-led research offer new possibilities for recognition of contributions to research by writers? This exploration of creative practice and research stretches out tendrils between creative writing and other art forms. What may the predominantly non-verbal creative arts disciplines offer creative writing in terms of exploring modes of knowledge production and performance?

Dancing the thesis : potential and pitfalls in practice-led research

Practice-led or multi modal these (describing examinable outcomes of postgraduate study which comprise the practice of dancing/choreography with an accompanying exegesis) are an emerging strength of dance scholarship; a form of enquiry that has been gaining momentum over a decade, particularly in Australia and the United Kingdom. It has been strongly argued that, in this form of research, legitimate claims to new knowledge are embodied predominantly within the practice itself (Pakes 2003) and that these findings are emergent, contingent and often interstitial contained within both the material form of the practice and in the symbolic languages surrounding the form.

This paper draws on Dancing between diversity and consistency: Refining assessment in postgraduate studies in dance, a study conducted with funding by the Australian Learning and Teaching Council 2006-2008, to critically examine some of the issues raised by such degrees. The study's structure formed around extensive literature reviews into higher degree dance studies; general examination/assessment discussions at research masters and doctoral levels; and issues arising from the relatively new artistic degrees involving practice components. Focus group discussions and semi-structured interviews with 74 supervisors/examiners, research deans and administrators, and candidates/graduates elicited the views on assessing practice-led dance research of two principal participant groups; the professional dance community represented by Ausdance (The Australian Dance Council) and the staff and student cohort of Australian universities who offered dance or related postgraduate degrees.

Tensions arose through the project specifically in terms of deciding what kinds of articulations of practice-led dance research might be acceptable at the PhD level. Here, we address underlying issues of interdisciplinarity that arise from the current common practice of requiring a written requirement for PhD theses. This leads to a consideration of how differing cultural inflections and practices might be incorporated into our reading and evaluation of theses, how creative approaches to layered documentation can function as durable artifacts of creative research while contributing to the overall 'knowledge generation' of the thesis, and what kinds of language structures, such as metaphor, allusion and symbol, can be co opted to function generative in dialogue with other kinds of texts and discourses.

The aesthetic image : affect and the production of knowledge in practice-led research

This paper addresses the question of how we might provide practitioners with a framework for understanding how affect and aesthetic processes generate images that are implicated in the production of new knowledge in creative arts research. Drawing on the thought of Julia Kristeva, it examines the aesthetic underpinnings of discovery and the significance of this for research training and the development of more effective pedagogies both within and beyond the university.

Child support research in Australia : a critical review

The Australian Child Support Scheme impacts on the lives of many Australian families. Yet the Australian evidence base informing child support policy development is relatively sparse and lacks coherence. In this article, we employ an equity framework to consolidate the published Australian empirical child support research in order to identify gaps in current knowledge and assess the various layers of competing interest inherent therein. While researchers have begun to examine the financial outcomes of the new Australian Child Support Scheme, work is urgently needed to understand the effects that the new scheme has on children, payees and payers, and how these effects operate. We conclude by proposing an agenda for future Australian child support research that focuses on the aims of the scheme and the four equity principles we employ, namely, horizontal, vertical, gender, and intergenerational equity.

Institutional processes and the production of gender inequalities: the case of Australian child support research and administration

This article analyses the administrative and research capture of child support data as a case study of how institutional data collection processes are performative in perpetuating gendered inequalities. We compare interviews with 19 low-income single mothers and their longitudinal survey responses from the same research to reveal how low-income women strategically or inadvertently ‘smoothed’ their experiences when responding to data collection processes. This directly resulted in material and symbolic costs in the form of reduced welfare benefits and limited evidence with which to lobby for policy reform. These processes in turn provided benefits to fathers and the state in the form of reduced child support liabilities and enforcement action, and welfare outlays, respectively. We conclude that current administrative and research data collection practices provide a limited and gendered evidence base for administrative justice and policy reform.

Australasian nutrition research for prevention and management of child obesity: innovation and progress in the last decade.

The Food and Nutrition stream of Australasian Child and Adolescent Obesity Research Network (ACAORN) aims to improve the quality of dietary methodologies and the reporting of dietary intake within Australasian child obesity research (http://www.acaorn.org.au/streams/nutrition/).

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Mothers' experiences of child support: qualitative research and opportunities for policy insight

Child support is one of the defining and under-studied elements of single mothering in contemporary Australia. However, the Australian Child Support Scheme is marked by high levels of debt and unreliable, partial and non-payment, which exacerbate mothers' financial insecurity. Most Australian child support research has focused on the amounts and outcomes of payments. Little is known about how and why mothers and fathers make the child support decisions they do. In this paper, we synthesise data from three interview studies with mothers who were due to receive child support to assess whether they experienced the system as intended. We compare the experience of child support policy 'on the books' with its experience by mothers 'on the ground'. A qualitative approach to mothers' experiences of child support highlights the social meaning of that money and the importance of understanding its transfer and use as embedded in social relations.

Foucault's 'What is an author' : towards a critical discourse of practice as research

A vexed issue for many artistic researchers is related to the need for the artist/researcher to write about his or her own work in the research report or exegesis. In the creative arts, the outcomes that emerge from an alternative logic of practice are not easily quantifiable and it can be difficult to articulate conclusions objectively given the emotional and ideological investments and the intrinsically subjective dimension of the artistic process. How then, might the artist as researcher avoid on the one hand, what has been referred to as 'auto-connoisseurship', the undertaking of a thinly veiled labour of valorising what has been achieved in the creative work, or alternatively producing a research report that is mere description or history?

In this paper I suggest that a way of overcoming such a dilemma is for creative arts researchers to shift the critical focus away from the notion of the work as product, to an understanding of both studio enquiry and its outcomes as process. I’d like to draw on Michel Foucault’s essay ‘What is An Author ‘ to explore how we might move away from art criticism to the notion of a critical discourse of practice-led enquiry that involves viewing the artist as a researcher, and the artist/critic as a scholar who comments on the value of the artistic process as the production of knowledge.

Foucault’s essay provides artistic researchers with a template for more objective and distanced discourse on the practice-led research process and its writing. It allows researchers to locate themselves within contexts of theory and practice and provides an analytical framework though which researchers might locate themselves and their work within the broader social arena and field of research, As I will show with reference to the work of Donna Haraway and a number of commentaries on Pablo Picasso’s Demioselles d’Avignon, an application of Foucault’s ideas need not negate those subjective and situated aspects of practice as research.

The development and validation of Australian indices of child development — part II : validity support

The two outcome indices described in a companion paper (Sanson et al., Child Indicators Research, 2009) were developed using data from the Longitudinal Study of Australian Children (LSAC). These indices, one for infants and the other for 4 year to 5 year old children, were designed to fill the need for parsimonious measures of children’s developmental status to be used in analyses by a broad range of data users and to guide government policy and interventions to support young children’s optimal development. This paper presents evidence from Wave 1data from LSAC to support the validity of these indices and their three domain scores of Physical, Social/Emotional, and Learning. Relationships between the indices and child, maternal, family, and neighborhood factors which are known to relate concurrently to child outcomes were examined. Meaningful associations were found with the selected variables, thereby demonstrating the usefulness of the outcome indices as tools for understanding children’s development in their family and socio-cultural contexts. It is concluded that the outcome indices are valuable tools for increasing understanding of influences on children’s development, and for guiding policy and practice to optimize children’s life chances.

Because it takes a village to fund the answers: Crowdfunding University Research

Whichever way you look at it, online crowdfunding is ramifying. From its foundations supporting creative industry initiatives, crowdfunding has branched into almost every aspect of public and private enterprise. Niche crowdfunding platforms and models are burgeoning across the globe faster than you can trill “kerching”. Early adopters have been quick to discover that in addition to money, they also get free market information and an opportunity to develop a relationship with their market base. Despite these evident benefits, universities have been cautious entrants in the crowdfunding space and more generally in the emerging ‘collaborative economy’ (Owyang, 2013). There are many cultural and institutional legacies that might explain this reluctance. For example, to date universities have achieved social (and economic) distinction through refining a set of exclusionary practices including, but not limited to, versions of gatekeeping, ranking and credentialing. These practices are reproduced in the expected behaviors of individual academics who garner social currency and status as experts, legislators and interpreters (Osborne, 20014: 435). Digitalization and the emergent knowledge and collaboration economies, have the potential to disrupt the academy’s traditional appeals to distinction and to re-engage universities and academics with their public stakeholders. This chapter will examine some of the challenges and benefits arising from public micro-funding of university-based research initiatives during a period of industrial transition in the university sector.Broadly then this chapter asks; what does scholarship mean in a digital ecosystem where sociality (rather than traditional systems for assessing academic merit) affords research opportunity and success? How might university research be rethought in a networked world where personal and professional identities are blurred? What happens when scholars adopt the same pathways as non-scholars for knowledge discovery, development and dissemination through use of emerging practices such as crowdfunding. These issues will be discussed through detailed exploration of a successful pilot project to crowdfund university research; Research My World. This project, a collaboration between Deakin University and the crowdfunding platform pozible.com, set out to secure new sources of funding for the ‘long-tail’ of academic research. More generally, it aimed to improve the digital capacity of the participating researchers and create new opportunities for public engagement for the researchers themselves as well as the university. We will examine how crowdfunding and social media platforms alter academic effort (the dis-intermediation or re-intermediation of research funding, reduction of the compliance burden, opportunities for market validation and so on), as well as the particular workflows of scholarly researchers themselves (improvements in “digital presence-building”, provision of cheap alternative funding, opportunities to crowdsource non-academic knowledge). In addressing these questions, this chapter will explore the influence that crowdfunding campaigns have for transforming contemporary academic practices across a range of disciplinary instances, providing the basis for a new form of engagement-led research. To support our analysis we will provide an overview of the initiative through quantitative analysis of a dataset generated by the first iteration of Research My World projects.

Legitimising children’s evidence: Inclusive participatory research with children with disability

Achieving human rights is at the core of development outcomes, and the achievement of positive development outcomes increasingly relies on evidence-based policy and practice. However, people with disability have been routinely excluded from research evidence and knowledge production, both due to a lack of interest in their issues (Yeo and Moore, 2003) and through an over-reliance on research design that does not address barriers to their participation as research respondents (Wilson et al. 2013). Children with disability are even more marginalised from participation in knowledge production processes and have been passively subjected to research being conducted on or about them, rather than with them (Gray and Winter 2011a). This exclusion is even more evident in developing countries of the global south though with some rare exceptions (Kembhavi and Wirz, 2009; Singal, 2010; Wickenden and Kembhavi- Tam, 2014; Don et al, 2015; Nguyen et al, 2015). This paper reports on the ‘Voices of Pacific Children with Disability’ project (hereafter referred to as the Voices project) which, drawing on the broader field of child participatory research, developed a method for children with disability to competently provide evidence about their needs, aspirations and human rights priorities. Eighty-nine children with disability living in rural and urban areas of Vanuatu and Papua New Guinea (PNG) participated, using a suite of data collection ‘tools’ designed to support children to express their life priorities and human rights’ needs. In this paper we examine a sub-set of this data related to children’s future priorities, the primary one being employment, and explore the utility of such evidence for governments, NGOs and other stakeholders, in shaping policy and service delivery in line with the rights of children with disability. Such data is important when working in an evidence informed way as often these organisations have limited data on the needs and values of the groups they serve.

Creative arts practice, creative industries : method and process as cultural capital

The value of artistic research is related not only to the products of creative arts practices, but also to methodological, material and social processes through which they operate.

This paper argues that although creative arts research methods – the use of personally situated, interdisciplinary and emergent approaches – contradict what is usually expected of research, such approaches underpin the innovative capacity of studio enquiry and its implication for extending practice-led research pedagogy across all research disciplines.

Practitioner perspectives on the family risk evaluation tool : an aide to decision making or 'just another form to fill in'?

The findings of research that explored how child protection practitioners in Queensland used the Structured Decision Making (SDM) tools are presented, focusing on how the Family Risk Evaluation tool (FRET) was used in decision making. The main finding was that the FRET was not used to assist the decision making of practitioners and consequently was ineffective in targeting the children most in need of a service. For practitioners, it was 'just another form to fill in'. As suggested by the participants in this research, a better strategy than the implementation of the SDM tools to improve decision making is the development of practitioner expertise through higher education.