"Flows and catchments" : a mixed method study utilising nvivo to facilitate cross-disciplinary collaboration incorporating practice-based research

This paper responds to the problem of how Practice-Based Research (PBR) can be usefully incorporated into a cross-disciplinary, Mixed Method project design, by considering a non-conventional use of the NVivo qualitative analysis software package. NVivo also proves valuable in maximising the creative-arts practice interdisciplinary potential within PBR itself. The ensuing discussion centres around Deakin University’s ‘Flows and Catchments’ research and teaching initiative.

Is it only 'what works' that 'counts' in new knowledge economies? Evidence-based practice, educational research and teacher education in Australia

Recent texts on globalisation and education policy refer to the rapid flow of education policy texts producing or responding to common trends across nation states with the emergence of new knowledge economies. These educational policies are shaping what counts as research and the dynamics between research, policy, and practice in schools, creating new types of relationships between universities, the public, the professions, government, and industry. The trend to evidence-based policy and practice in Australian schools is used to identify key issues within wider debates about the ‘usefulness’ of educational research and the role of universities and university-based research in education in new knowledge economies.

Is it only 'what works' that 'counts' in new knowledge economies? Evidence-based practice, educational research and teacher education in Australia

Recent texts on globalisation and education policy refer to the rapid ¯ow of education policy texts producing or responding to common trends across nation states with the emergence of new knowledge economies. These educational policies are shaping what counts as research and the dynamics between research, policy, and practice in schools, creating new types of relationships between universities, the public, the professions, government, and industry. The trend to evidence-based policy and practice in Australian schools is used to identify key issues within wider debates about the `usefulness' of educational research and the role of universities and university-based research in education in new knowledge economies.

Collaborative reflective experience and practice in education explored through self-study and arts-based research

Eight teacher educators used self-study methodology to engage in reflective practice to overcome their isolation as individual teachers and researchers, and to facilitate professional development. Their research question asked: How can we continue to develop our teaching practice to ensure we are high quality, contemporary teacher educators? They contributed collaboratively in one overarching research project as well as through several focussed projects that explored issues in their individual teaching practices including: sustainability, creativity, curriculum design, pedagogy, assessment, and the learning experiences for students. This paper explores the outcomes from collaborative inquiry that five of the eight educator/researchers engaged in during a research-writing retreat. It documents their experience using arts-based strategies in which drawings were created about their experiences of engaging in a collaborative project and smaller focussed self-study projects. Analysis involved inquiring into each other’s drawings through recorded conversation. The metaphoric representations found through analysing the drawings provided insight into participants’ teaching practices and identities as teacher educators. Six months later when the participants had developed their projects further and used other artsbased methods to understand these experiences, they reflected on the key issues for their teaching practices that had arisen from undertaking this Collaborative Reflective Experience and Practice in Education research. Arts-based inquiries and reflective analysis over six months, constitute this paper. The experiences and analyses are shared to show how creating and sharing metaphoric meaning of visual representations is useful in self-study research to drill down into the real issues. Importantly, this in-depth sharing provides authentic interdisciplinary links when individual educators share their own approaches to teaching in their disciplined area. Findings suggest that gaining new insights into each other’s discipline-based approaches to teacher education through these methods, revealed different responses to pedagogical challenges and allowed for new possibilities for understanding the landscape of teacher education.

Experiential learning in practice as research: context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is 'aesthetic experience', not as it is understood through traditional eighteenth century accounts, but as 'sense activity'.

In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

Experiential learning in practice as research : context, method, knowledge

Creative arts research is often motivated by emotional, personal and subjective concerns; it operates not only on the basis of explicit and exact knowledge, but also on that of tacit and experiential knowledge. Experience operates within in the domain of the aesthetic and knowledge produced through aesthetic experience is always contextual and situated. The continuity of artistic experience with normal processes of living is derived from an impulse to handle materials and to think and feel through their handling. The key term for understanding the relationship between experience, practice and knowledge is ‘aesthetic experience’, not as it is understood through traditional eighteenth century accounts, but as ‘sense activity’. In this article, I will draw on the work of John Dewey, Michael Polanyi and others to argue that creative arts practice as research is an intensification of everyday experiences from which new knowledge or knowing emerges. The ideas presented here will be illustrated with reference to case studies based on reflections, by the artists themselves, on successful research projects in dance, creative writing and visual art.

Development of enhanced curriculum through student-based research

The introduction of the new “Early Years Learning Framework” (DEEWR, 2009 has shifted, the focus in Early Childhood Centres (ECC) from incidental learning through play, to planning curriculum with play as the vehicle to achieve learning. Our Teaching and Learning Grant Project was intended to identify instances of educator practice that fit with the new framework, and video practitioners’ sessions to select vignettes to use as part of an Early Childhood Science Education Unit. The method of identifying and collecting such illustrations is examined here for its feasibility as a research design to collect data to explore a range of educator practices that fit with the new framework. The data collection method was found useful for these purposes.

Working at the nexus between public health policy, practice and research : dynamics of knowledge sharing in the Netherlands

Background
Joining the domains of practice, research and policy is an important aspect of boosting the quality performance required to tackle complex public health problems. “Joining domains” implies a departure from the linear and technocratic knowledge-translation approach. Integrating the practice, research and policy triangle means knowing its elements, appreciating the barriers, identifying possible cooperation strategies and studying strategy effectiveness under specified conditions.
This article examines the dynamic process of developing an Academic Collaborative Centre for Public Health in the Netherlands, with the objective of achieving that the three domains of policy, practice and research become working partners on an equal footing.
Method
An interpretative hermeneutic approach was used to interpret the phenomenon of collaboration at the nexus between the three domains. The project was explicitly grounded in current organizational culture and routines, applied to nexus action. In the process of examination, we used both quantitative (e.g. records) and qualitative data (e.g., interviews and observations). The data were interpreted using the Actor-Network, Institutional Re-Design and Blurring the Boundaries theories.
Results
Results show commitment at strategic level. At the tactical level, however, managers were inclined to prioritize daily routine, while the policy domain remained absent. At the operational level, practitioners learned to do PhD research in real-life practice and researchers became acquainted with problems of practice and policy, resulting in new research initiatives.
Conclusion
We conclude that working at the nexus is an ongoing process of formation and reformation. Strategies based on Institutional Re-Design theories in particular might help to more actively stimulate managers’ involvement to establish mutually supportive networks.

Developing teacher-researchers: a practice-based Masters of Education

Teachers’ work can increasingly be described as knowledge work conducted in a rapidly changing globalised, digital environment. In order to support contemporary teachers’ work, professional learning needs to be grounded in the contexts and identities of teachers, while engaging them in theoretical discourse. Such an approach challenges traditional approaches to the offering of a Masters in Education by distance learning. This presentation reports on a university-educational authority partnership designed to enable practising teachers to gain Masters qualifications through practice-based ethnographic data collection and research. The context of this partnership is a new professional learning program being offered by Deakin University, Australia and the Catholic Education Office Melbourne. Teachers plan and conduct projects in which they identify an issue to be addressed at their school; research the issue identified; develop and implement an intervention to address the issue; and report on the intervention. Teachers have the option of gaining credit towards a Masters of Education by submitting their work for formal assessment. The participants in this mixed methods study are teachers who are undertaking the post-graduate units embedded in a professional learning program. Teachers are invited to undertake anonymous online pre- and post- surveys with both qualitative and quantitative data collected. Data is also collected through teacher interviews and collection of classroom artefacts including planning documents and work samples. Initial findings illustrate that a practice-based approach to Masters studies engages teachers as creators rather than reproducers of knowledge. The use of a range of print and new digital media both within the design and operation of an online learning environment and pedagogies for effective adult professional learning enable flexible and creative pedagogical responses and knowledge creation by teachers.

Research in practice : an exercise in generative urban massing

The following paper explores practice based research as a means of identifying issues within current urban design methods. It considers the application of parametric systems as a means of addressing these issues. These systems are developed and tested across both Australian and international urban design projects within Grimshaw Architects. A methodology is proposed for the development and application of these parametric tools across multiple scales of design resolution. It reports on the application of a set of parametric urban scale massing tools in real world design projects. This exploration is carried out in distinct phases of design defined by the scale of resolution. The phasing allows for discrete problems to be addressed more effectively at different stages of the design process while still encouraging a seamless, bi directional workflow through a digital master model.

Exploring first year teachers’ identity transformation through theatre-based research

Why are beginning teachers leaving the profession in large numbers? Are they leaving because of their dissatisfaction with teaching? Are they leaving because of the conditions of their work that shape their identity? Teacher identity work emphasises it is important beginning teachers understand their professional identity as something shifting, fluid and emerging – not fixed. These and other water metaphors – such as ‘washout’, ‘sink or swim’, and ‘thrown in the deep end’ – are often used to describe beginning teachers’ experiences. Such words and metaphors assist to portray the fluid and unpredictable nature of identity transformation. However, these survival terms also influence beginning teachers to believe that their transition to teaching will be difficult. Recently there has been an increased concern over beginning teacher attrition linked to the difficulties they encounter in their early years of teaching. Yet the conditions of beginning teachers’ work in Victorian schools in Australia – including the contractual nature of employment of first year (1yr) teachers – encourage these 1yr practitioners to view their work as semi-permanent. As a result these 1yr teachers do not see themselves as teaching for extended periods of time, as was once the case. Throughout 2011 twelve 1yr teachers shared their experiences of identity transformation in semi-structured interviews with the researcher. Their interview data was analysed through a theatre-based research method, examining how first experiences shape teachers’ future practice and identity. This presentation includes excerpts from the theatre-based research performance ‘The First Time’, and expands on the methodological approaches taken to analyse the data in a way that reflects the fluid and unpredictable nature of teachers’ identity formation and transformation. This qualitative study allows categories of description to emerge from the data rather than pre-determining categories of investigation. As such the processes of scripting, rehearsing, and performing, were utilised to analyse and re-present the data. In an aim to uncover questions that have been buried by answers, the research is oriented as a phenomenographic inquiry. This mode of inquiry seeks to describe, analyse, and understand the qualitatively different experiences 1yr teachers undergo in their identity formation and transformation. The results of this research reveal that beginning teachers’ identity transformation through their first experiences have both individual features specific to each teacher’s roles and aspirations, and extra-individual factors such as interactions, affiliations, and status, which shape their identity. Categories of description that have emerged from the analysis include survival, liminal, and hegemonic discourses, artifacts as symbols of belonging, and the impact of the contractual nature of teaching. Implications of this research focus on the importance for beginning teachers to develop an understanding of the transformative nature of identity in relation to the practice of teaching, to counter the negative preconceptions beginning teachers are told to expect as rites of passage upon entering the profession. The research outcomes have implications for teacher educators and in-service teachers negotiating the waters of an ever-changing profession.

Performing beginning teachers’ ‘firsts’: exploring a theatre-based research method

Theatre-based research methods have been employed in a variety of ways to transcend more traditional research methods, and bring research findings to a broader and relevant audience. Performing research to an 'expert' audience is transformative in nature. The audience share a collective understanding of the material presented, where their understandings can be challenged or confirmed. The ethical responsibilities of the theatre-based researcher are therefore paramount in presenting the research in a manner that respects the research participants, and allows the audience to make informed judgements.This paper outlines my experience in devising and performing 'The First Time' - a performance about twelve beginning teachers' firsts. The performance was constructed from their interview data and performed by teachers - most of who are drama teachers – in order to sensitively represent the real stories of the research participants. The research was framed within a practice theory approach (Schatzki 2001) with a focus on the transformation of practices situated within a particular time and place. The method of performing the research to an 'expert' audience of performing arts practitioners, teachers, and teacher educators created an opportunity for both the transformation of teaching practice and the transformation of theatre.The research findings focus on the importance of creativity and flexibility in an approach to both research and teaching. The outcomes of my research have implications for theatre-based researchers, as well as teacher educators, in-service teachers, and beginning teachers. All these practitioners are continually negotiating the waters of their ever-changing professions.

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.