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School psychology has heavily relied on quantitative methodology to create and sustain our knowledge of best practices regarding academic, behavioral, and mental health outcomes for students. Nevertheless, underlying assumptions of the neutrality of quantitative data have obfuscated how school psychology research has perpetuated oppressive ideologies and practices, which directly harm students from marginalized identities. This paper demonstrates the need for employing a critical lens when engaging in and consuming school psychology research that utilizes quantitative methods. One such framework is QuantCrit, developed in the United Kingdom, which intentionally integrates Critical Race Theory tenets into the development, analysis, and interpretation of quantitative data. We explore specific examples of the insidious ways that 'presumed neutral' quantitative approaches have led to the perpetuation of oppressive practices in the following key areas of school psychology research: (a) discipline disproportionality, (b) special education disproportionality, and (c) school accountability metrics. Furthermore, we provide recommendations for both utilizing and publishing quantitative research that moves school psychologists towards more equitable practices for children and families across the globe. [ABSTRACT FROM AUTHOR]

The materialist conception of art understands art in relation to the material conditions within and by which art is produced and consumed. For cultural psychology, the materialist conception of art has been useful for developing insights into how individual perceptions are shaped, and are shaped by, culture as a collectively produced and historically embedded site of meaning-making. However, in much of cultural psychology, the relationship between progressive politics and the materialist conception of art remains under-appreciated. In this article, I consider how cultural psychologists might strengthen this relation through artistic shock, that is, a subjective, perceptual, and/or historiographical rupture brought about through the experience of art. In particular, I outline how Bertolt Brecht and Walter Benjamin theorised and practiced artistic shock, and examine what the work of these thinkers could mean for cultural psychologists working with political collectives to grapple with psychopolitical questions related to subjectivity, contradiction, and memory. I conclude by reflecting on how future work that seeks to politicise cultural psychology might engage with the materialist conception of art. [ABSTRACT FROM AUTHOR]