{"title":"Stacey Rossouw in conversation","authors":"J. Wood","doi":"10.1386/jwcp_00026_7","DOIUrl":"https://doi.org/10.1386/jwcp_00026_7","url":null,"abstract":"","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" 37","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41331679","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This case study analyses the role that writing and verbal communication plays when using objects in the collaborative metadesign process. It is common for co-design practices to be introduced in the ideation and other early stages of the design process. In these processes achieving consensus among participants may be critically important. Our research shows that an appropriate physical object can help not only in the initial phase of the process but also in the later stages of designing and production. In this article, we focused on the co-design process carried out by a Japanese craftsman and a group of designers and explored how the artefacts created along the way affected the process of communication. By examining misunderstandings and consensus between the participants, we learnt more about the possible role of objects in bridging the different viewpoints. The results of this study will contribute to the active introduction of metadesign methods in later design phases and, thus, improve the inclusiveness within metadesign projects.
{"title":"Enabling metadesign through an exploration of misinterpretation: Design process verification focusing on the role of objects in the actual production process","authors":"Mizuuchi Tomohide, Okada Eizo, Mizuno Daijiro","doi":"10.1386/jwcp_00029_1","DOIUrl":"https://doi.org/10.1386/jwcp_00029_1","url":null,"abstract":"This case study analyses the role that writing and verbal communication plays when using objects in the collaborative metadesign process. It is common for co-design practices to be introduced in the ideation and other early stages of the design process. In these processes achieving consensus among participants may be critically important. Our research shows that an appropriate physical object can help not only in the initial phase of the process but also in the later stages of designing and production. In this article, we focused on the co-design process carried out by a Japanese craftsman and a group of designers and explored how the artefacts created along the way affected the process of communication. By examining misunderstandings and consensus between the participants, we learnt more about the possible role of objects in bridging the different viewpoints. The results of this study will contribute to the active introduction of metadesign methods in later design phases and, thus, improve the inclusiveness within metadesign projects.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46291260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This editorial highlights the range of approaches within this issue of the journal, many of which allude to the importance of writing and language within metadesigning. In emphasizing their combined importance for mankind’s survival in the Anthropocene it also discusses the need for a better learning framework within higher education.
{"title":"Editorial","authors":"J. Wood, J. Lockheart","doi":"10.1386/jwcp_00024_2","DOIUrl":"https://doi.org/10.1386/jwcp_00024_2","url":null,"abstract":"This editorial highlights the range of approaches within this issue of the journal, many of which allude to the importance of writing and language within metadesigning. In emphasizing their combined importance for mankind’s survival in the Anthropocene it also discusses the need for a better learning framework within higher education.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41774758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article looks at how language can be used in metadesign approaches, processes and tools to foster empathic and considerate design teams. Metadesign places a strong emphasis on language as a tool for designing and communicating. It draws upon my doctoral thesis that considers a range of approaches to co-writing, and our forthcoming book, Metadesigning Designing in the Anthropocene, which offers a range of perspectives regarding what metadesign teams can and should do to foster change now we have reached this existentially precipitous point in human history. The slow languaging approaches, processes and tools described here are used within my workshops with interdisciplinary teams.
{"title":"Languaging designing","authors":"J. Lockheart","doi":"10.1386/jwcp_00027_1","DOIUrl":"https://doi.org/10.1386/jwcp_00027_1","url":null,"abstract":"This article looks at how language can be used in metadesign approaches, processes and tools to foster empathic and considerate design teams. Metadesign places a strong emphasis on language as a tool for designing and communicating. It draws upon my doctoral thesis that considers a range of approaches to co-writing, and our forthcoming book, Metadesigning Designing in the Anthropocene, which offers a range of perspectives regarding what metadesign teams can and should do to foster change now we have reached this existentially precipitous point in human history. The slow languaging approaches, processes and tools described here are used within my workshops with interdisciplinary teams.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47488299","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chris Cook in conversation","authors":"J. Wood","doi":"10.1386/jwcp_00028_7","DOIUrl":"https://doi.org/10.1386/jwcp_00028_7","url":null,"abstract":"","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47830865","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Quality, exegetical writing can be constrained when students marginalize poetic ways of thinking and replace them with carefully edited accounts that reshape the role and nature of emotional response. In the pursuit of rational, theoretically groomed accounts of practice, they can sometimes end up misrepresenting the embodied nature of their inquiries. Considering burgeoning research into poetic inquiry (PI) in the social sciences, this article employs a case study of five doctoral graduates in art and design who have articulated the role of poetic thinking in their creative practice theses. In addition to offering illustrations of how practice-led researchers use PI, the examples demonstrate ways in which poetic approaches can be employed to enhance communicative clarity beyond the constraints of conventional academic writing. Specifically, the examples demonstrate how poetic writing is used to process and articulate indigenous knowledge, enhance embodied thinking and inquiry and deepen levels of reflection and understanding. Such uses can cause a researcher to view the world differently and by extension, expand the nature of what it means to conduct research. In discussing the nature of poetic writing, the article considers three distinct profiles: exegetical writing employed when the nature of the practice is poetic; poetic writing that draws on indigenous approaches to scholarship and poetic writing used as a method for reflection.
{"title":"Resonant voices: The poetic register in exegetical writing for creative practice","authors":"Welby Ings","doi":"10.1386/jwcp_00018_1","DOIUrl":"https://doi.org/10.1386/jwcp_00018_1","url":null,"abstract":"Quality, exegetical writing can be constrained when students marginalize poetic ways of thinking and replace them with carefully edited accounts that reshape the role and nature of emotional response. In the pursuit of rational, theoretically groomed accounts of practice, they can sometimes\u0000 end up misrepresenting the embodied nature of their inquiries. Considering burgeoning research into poetic inquiry (PI) in the social sciences, this article employs a case study of five doctoral graduates in art and design who have articulated the role of poetic thinking in their creative\u0000 practice theses. In addition to offering illustrations of how practice-led researchers use PI, the examples demonstrate ways in which poetic approaches can be employed to enhance communicative clarity beyond the constraints of conventional academic writing. Specifically, the examples demonstrate\u0000 how poetic writing is used to process and articulate indigenous knowledge, enhance embodied thinking and inquiry and deepen levels of reflection and understanding. Such uses can cause a researcher to view the world differently and by extension, expand the nature of what it means to conduct\u0000 research. In discussing the nature of poetic writing, the article considers three distinct profiles: exegetical writing employed when the nature of the practice is poetic; poetic writing that draws on indigenous approaches to scholarship and poetic writing used as a method for reflection.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48916847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article consists of two parts, Introduction and/or Conclusion and a Meditative Enquiry, to be read in any order, if indeed we do ‘read’ meditative enquiry. Meditative enquiry here concerns the meditative writing and/or reading of this article on presence. The enquiry is divided into numerous subheadings that encourage a slow and circular, rather than linear, narrative, and a participative reading approach, in which each section aims to return to, or arrive in, the present moment. The materiality of our presence is continuous, whether or not we are conscious of being in the present. The article also enacts resistance to, or an apparent inability of conscious awareness to arrive in, and stay with, what is happening in this moment. Implications are, firstly, the unmaking of: a qualitative researcher-participant’s ‘Self’; and the autoethnographic self within writing as creative practice. Secondly, validating a dual contribution of meditation to philosophy and writing on presence.
{"title":"A meditative enquiry into presence: Unmaking the autoethnographic self","authors":"T. Stephens","doi":"10.1386/jwcp_00020_1","DOIUrl":"https://doi.org/10.1386/jwcp_00020_1","url":null,"abstract":"The article consists of two parts, Introduction and/or Conclusion and a Meditative Enquiry, to be read in any order, if indeed we do ‘read’ meditative enquiry. Meditative enquiry here concerns the meditative writing and/or reading of this article on presence. The enquiry\u0000 is divided into numerous subheadings that encourage a slow and circular, rather than linear, narrative, and a participative reading approach, in which each section aims to return to, or arrive in, the present moment. The materiality of our presence is continuous, whether or not we are conscious\u0000 of being in the present. The article also enacts resistance to, or an apparent inability of conscious awareness to arrive in, and stay with, what is happening in this moment. Implications are, firstly, the unmaking of: a qualitative researcher-participant’s ‘Self’; and the\u0000 autoethnographic self within writing as creative practice. Secondly, validating a dual contribution of meditation to philosophy and writing on presence.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45582938","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students, trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect to be expressed in a safe but emancipatory learning architecture.
{"title":"Affective digital presence: How to free online writing and drawing?","authors":"Francis Gilbert, M. Matthews","doi":"10.1386/jwcp_00023_1","DOIUrl":"https://doi.org/10.1386/jwcp_00023_1","url":null,"abstract":"Online learning can be an alienating experience; students can feel their emotions are disregarded, marginalized or even viewed as hindrances as they try to motivate themselves to learn, staring at the dancing pixels of their illuminated screens. They feel at a remove from other students,\u0000 trapped in other rooms, far away from them. The closeness of bodies in a shared physical space is raised as an absence. And yet, we contend in this article that connecting with affect in online learning spaces could build connectivity that counteracts the alienation of social distancing. Raw\u0000 creative affective discourses can be challenging, and uncomfortable for others to take in but they are necessary online. We show that using non-digital practices such as drawing and writing freely, without inhibitions, can immeasurably enhance the online experience, giving a space for affect\u0000 to be expressed in a safe but emancipatory learning architecture.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48290002","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Having recently given, and published in Third Text referee journal and Third Text Online, a series of articles on mask, class and carnival, I was recently invited to write a text to accompany an exhibition relating to masks. Mask, Masque, Masc was a group exhibition hosted online between 14 and 31 May 2020. It was curated by Marc Hulson, Alessandra Falbo and Rolina E. Blok, and hosted by Five Years and Darling Pearls & Co at Platforms Project Net 2020 (see: http://www.fiveyears.org.uk/archive2/pages/277/Masc_Mask_Masque/277.html. Accessed 28 July 2021). This article is a transformed version of that text, edited and extended to suit this journal and the requirements and suggestions of the journal’s reviewers. It starts out with an epigraph taken from Nietzsche, followed by two quotes from Walter Benjamin that relate writing playfully to ‘magic’. It later turns towards a conclusion with two more fulsome quotes from F.W. Nietzsche, which dispute the priority of truth and claim that every word is a mask. The piece aims to encourage and support newcomers to writing, as well as non-native speakers and those from less privileged backgrounds; any and all of whom might nervously feel that their own writing is in some way illegitimate. I draw upon my experience as an arts lecturer and arts writer, as the article becomes an example of an autobiographical strain in my work that uses first-person narratives to explore ways in which writing, education (in general) and art education (in particular) might contribute to or help us negotiate class consciousness and cultural barriers. The article discusses ways in which new technologies invite and allow new voices to gain confidence in writing, and also alludes to ‘masks’, ‘imposters’ and ‘imposter syndrome’ (initially nominated as a feminist concern). It attempts to help and to advise aspiring writers by ‘dis-spelling’ myths of writing as transcendent, privileged and thereby socially divisive, and promotes the idea of writing as a material process (no less ‘magical’ for that) open to all. Interestingly, the title of this article alludes to its own word count, and thus the title had to be changed each time the article was edited and as it grew into the approximately 6,000-word essay it is now. As well as being, in this and other ways, self-reflexive and self-conscious, the writing becomes self-deconstructive towards its conclusion, tugging at a certain ‘masc’-ulinity concerning the sources and motivations for the writing and of the author that might otherwise remain masked to the author. This allows the piece to end by extending the implications of a purported écriture feminine to become an encouragement to more and different ‘others’ to find a way, and to find their way, to and through writing, meanwhile expanding on the many ways in which we might deploy a new-found freedom to write according to the model of words as masks, of writing as a masque and of the author as masked.
最近，我发表了一系列关于口罩、课堂和狂欢节的文章，并发表在《第三文本裁判》杂志和《第三文字在线》上。最近，我受邀写了一篇与口罩有关的展览文章。Mask，Masque，Masc是2020年5月14日至31日在网上举办的一个群展。它由Marc Hulson、Alessandra Falbo和Rolina E.Blok策划，并由Five Years和Darling Pearls&Co在Platforms Project Net 2020上主持（见：http://www.fiveyears.org.uk/archive2/pages/277/Masc_Mask_Masque/277.html.访问日期：2021年7月28日）。这篇文章是该文本的转换版本，经过编辑和扩展，以适应本期刊以及期刊审稿人的要求和建议。它以尼采的题词开始，然后是沃尔特·本雅明的两句名言，将写作戏谑地与“魔法”联系起来。后来，它又引用了F.W.尼采的两句精彩的话作为结论，这两句话对真理的优先性提出了质疑，并声称每个单词都是一个面具。这篇文章旨在鼓励和支持新来的写作者，以及非母语人士和来自弱势背景的人；他们中的任何人都可能紧张地认为自己的写作在某种程度上是非法的。我借鉴了我作为艺术讲师和艺术作家的经验，因为这篇文章成为了我作品中自传体风格的一个例子，它使用第一人称叙事来探索写作、教育（一般而言）和艺术教育（特别是）可能有助于或帮助我们克服阶级意识和文化障碍的方式。这篇文章讨论了新技术邀请和允许新声音在写作中获得信心的方式，还提到了“面具”、“冒名顶替者”和“冒名者综合症”（最初被提名为女权主义关注的问题）。它试图通过“解构”写作的神话来帮助和建议有抱负的作家，认为写作是超然的、特权的，从而导致社会分裂，并提倡写作是一种向所有人开放的物质过程（同样是“神奇的”）。有趣的是，这篇文章的标题暗示了它自己的字数，因此每次编辑这篇文章时，标题都必须更改，随着它发展成为现在大约6000字的文章。除了在这方面和其他方面具有自我反射和自我意识外，写作在结束时也变得自我解构，在写作和作者的来源和动机方面产生了某种“男性主义”，否则作者可能会对此视而不见。这使得这篇文章的结尾扩展了所谓的女性标准的含义，鼓励更多不同的“其他人”找到一种方式，找到自己的方式，去写作，并通过写作，同时扩展了我们可以利用新发现的自由的多种方式，根据文字作为面具的模式来写作，把写作当作面具，把作者当作面具。
{"title":"Six thousand masks for one imposter","authors":"P. O’Kane","doi":"10.1386/jwcp_00021_1","DOIUrl":"https://doi.org/10.1386/jwcp_00021_1","url":null,"abstract":"Having recently given, and published in Third Text referee journal and Third Text Online, a series of articles on mask, class and carnival, I was recently invited to write a text to accompany an exhibition relating to masks. Mask, Masque, Masc was a group exhibition hosted\u0000 online between 14 and 31 May 2020. It was curated by Marc Hulson, Alessandra Falbo and Rolina E. Blok, and hosted by Five Years and Darling Pearls & Co at Platforms Project Net 2020 (see: http://www.fiveyears.org.uk/archive2/pages/277/Masc_Mask_Masque/277.html.\u0000 Accessed 28 July 2021). This article is a transformed version of that text, edited and extended to suit this journal and the requirements and suggestions of the journal’s reviewers. It starts out with an epigraph taken from Nietzsche, followed by two quotes from Walter Benjamin\u0000 that relate writing playfully to ‘magic’. It later turns towards a conclusion with two more fulsome quotes from F.W. Nietzsche, which dispute the priority of truth and claim that every word is a mask. The piece aims to encourage and support newcomers to writing, as\u0000 well as non-native speakers and those from less privileged backgrounds; any and all of whom might nervously feel that their own writing is in some way illegitimate. I draw upon my experience as an arts lecturer and arts writer, as the article becomes an example of an autobiographical strain\u0000 in my work that uses first-person narratives to explore ways in which writing, education (in general) and art education (in particular) might contribute to or help us negotiate class consciousness and cultural barriers. The article discusses ways in which new technologies invite and allow\u0000 new voices to gain confidence in writing, and also alludes to ‘masks’, ‘imposters’ and ‘imposter syndrome’ (initially nominated as a feminist concern). It attempts to help and to advise aspiring writers by ‘dis-spelling’ myths of writing as transcendent,\u0000 privileged and thereby socially divisive, and promotes the idea of writing as a material process (no less ‘magical’ for that) open to all. Interestingly, the title of this article alludes to its own word count, and thus the title had to be changed each time the article was edited\u0000 and as it grew into the approximately 6,000-word essay it is now. As well as being, in this and other ways, self-reflexive and self-conscious, the writing becomes self-deconstructive towards its conclusion, tugging at a certain ‘masc’-ulinity concerning the sources and motivations\u0000 for the writing and of the author that might otherwise remain masked to the author. This allows the piece to end by extending the implications of a purported écriture feminine to become an encouragement to more and different ‘others’ to find a way, and to find their\u0000 way, to and through writing, meanwhile expanding on the many ways in which we might deploy a new-found freedom to write according to the model of words as masks, of writing as a masque and of the author as masked.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42367658","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions. The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course.
{"title":"Cardography as a research method through writing and drawing in higher education workshops","authors":"Ana Isabel Serra de Magalhães Rocha","doi":"10.1386/jwcp_00022_1","DOIUrl":"https://doi.org/10.1386/jwcp_00022_1","url":null,"abstract":"This article is supported by the author’s experience through a methodology created during her Ph.D. thesis ‘The experience of book’s place at the university’, also during COVID-19 restrictions. The student transformed public presentations into collaborative research\u0000 workshops, where new interrelations and concepts occurred rooted in arts-based research methodologies, exploring art and education, in its scope. Cardography is an invented designation based on a/r/tography, as a creative living research methodology that uses cards as a device for a\u0000 visual inquiry, considering that each book’s page is a card to be written or drawn (digital or paper), documenting the dialogic process during each research workshop. The research result contemplates an artistic object, which is displayed afterwards in university and art exhibitions.\u0000 The reader is invited to follow a fil rouge alignment, inspired by a book structure, reflecting upon concepts and research methods not yet implemented at the art education doctoral course.","PeriodicalId":38498,"journal":{"name":"Journal of Writing in Creative Practice","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42667931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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