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Gender inequality and sexual violence (SV) are rampant in Kenya. However, survivors infrequently report sexual violence to the police, and among those who do, their cases are unlikely to be thoroughly investigated, correctly documented and successfully prosecuted. This chapter discusses factors that have limited our progress in understanding more about the prevalence and nature of sexual violence in Kenya. It outlines the historical context of SV against women in Kenya, as well as research on experiences of SV across the life course, medico-legal responses and new research directions for improving the efficacy of SV response, prevention and protection. This chapter will be of particular interest to health and social care professionals who are currently engaged in or are considering carrying out work in low- and middle-income countries—specifically Kenya and other East African countries—and professionals with an interest in carrying out applied research in this field.

In order to carry forward the excellent traditional culture of the Chinese nation, new media technology has played an important role. The new media’s transmission ability and artistic display ability are outstanding, which can perfectly integrate the flash point of traditional culture and let it bloom with vitality. New media has a unique way of development, so that colleges and universities can cultivate Chinese excellent traditional culture, master the basic concepts of traditional culture, and make better contributions to the revival of the great “Chinese dream”. Therefore, this paper explores the inheritance and innovation of traditional culture from the perspective of new media, and puts forward guiding suggestions by investigating the status quo, opportunities and challenges of traditional culture inheritance and innovation in Colleges and universities. The effectiveness of the proposal is verified by questionnaire survey in Colleges and universities. Results the response is good, and it is worth promoting to the universities.

We are Karen, Caroline and Elmira and we are three nurses who are engaged in PhDs with the Person-centred Practice Research Centre at Queen Margaret University (QMU), Edinburgh—although Elmira is registered at The University of Malta. In this chapter, we explore how phenomenological and hermeneutic approaches can offer one methodology to come to know and do person-centred research. We will take you, the reader, on a journey to show how we evolved the chapter; how we worked together, shared our experiences on how we believe phenomenological and hermeneutic approaches have strong connections to person-centred research. Within this chapter, you will hear the individual perspectives of the three of us. Yet will be able to feel how the three authors as unique individuals came together as one. We believe that three key messages emerge from this chapter. Firstly, phenomenology and person-centredness can be interwoven and intertwined through its strong connections for not only doing research, but our worldviews. Secondly, the hermeneutic process tries to see beyond what we take as obvious and straightforward. It encourages us to recognise alternative viewpoints and thus can shift our focus to what does it mean to be a person in the world. Thirdly, the process of becoming an engaged observer can help person-centred practice researchers to understand the importance of knowing who we are, knowing others, and developing practices as relationally based experience, which in turn contributes to meaning-making on the whole experience of being person-centred.

Traditional (news) media companies are increasingly facing rising participation in their discussion sections and a simultaneous surge of abusive contributions. Legally required to prevent the dissemination of hate and threats, manual moderation is an increasingly daunting task for journalists and part-time community managers. Consequently, many comment sections are closed for economic reasons world-wide. While there is ongoing academic and practice research on machine learning (ML) systems to detect abusiveness or hate, the focus typically remains on this limited technical task. Integrations into systems for practical community management are still rare. Based on eleven semi-structured interviews with experts of four German newspapers of varying size (incl. an observation of their working patterns), complemented by insights from workshops on community management, we could identify five major functional requirements for creating such integrated systems. This range goes from the need for increased transparency and controllability to better support for team-based community management. In this paper, we outline each requirement’s origin and implications for the development of integrated, artificial intelligence (AI)-enhanced comment moderation support system (CMSS).

As the integration of culture and technology continues to deepen, the need for cultural self-confidence is further enhanced. Aiming at the lack of traditional cultural connotation in the design of soft smart knitted garments, this paper discusses the traditional artistic characteristics of Indigo Print in southern Zhejiang area by using the literature comprehensive method and practice research method, and further studies the application of artistic elements of Indigo Print in soft smart knitted garments. From dyeing and finishing, weaving, pattern, process re-creation and design, etc., in combination with the requirements for style design characteristics of soft smart knitted garments, the traditional cultural elements of Indigo Print were integrated into soft smart knitted garments, creating an innovative style of knitted garment integrating soft smart technology and culture, so as to increase the added value of knitted garments, exhibit cultural self-confidence and innovation, and make products more competitive in the market. It is of great significance for the transformation and upgrading of the traditional knitted garment industry.

Scenario-based design thinking aims to improve students’ design ability, creativity as well as learning transfer ability by the improvement of teaching techniques, innovation of teaching methods and teaching practice. The “Little Sun” stroller design project is introduced into the teaching practice process. Different scenario prototypes are completed and tested after understanding and exploring the scenario, and researching the needs and prioritizing them to create new ideas. The above process can be cyclical, showing a non-linear characteristic. This product design teaching practice research is based on real projects, which is an active exploration and useful attempt for scenario-based thinking in industrial design professional courses.

With the progress of society and the development of science and technology, people are gradually entering the computer age. The advent of the computer age provides unprecedented entrepreneurial opportunities for modern college students, as well as opportunities to build models for the development of composite design human resources. Today, with the rapid development of science and technology, the relationship between computer science and technology and other industries is getting closer. As a modern university student, we must thoroughly study the relevant knowledge of the Internet and cultivate our own algorithmic thinking to lay a solid foundation for entrepreneurship and work after graduation. Based on the actual situation, this article introduces the training model of composite design talents, and explores how to practice the training model of composite talents in teaching. The purpose of this article is to conduct innovation and practice research on the “1 + N” composite design talent training model under computer networks. In terms of methods, we mainly cultivate the design ability of students by strengthening the teaching of basic professional knowledge, and train composite design talents in design competitions, and promote the three aspects of the school-enterprise cooperative teaching model to change the original teaching model. In terms of experiments, it is mainly taught by a class of the undergraduate major co-constructed by the New Higher Education Group, and it is tested at the end of the class time. The exam is over and the students are surveyed. It was found that the passing rate was 90%, and the overall score was good, of which 10% failed, 25% passed, 55% good, and 10% excellent. It shows that the overall teaching effect is worthy of admiration. More than 60% of people said they were satisfied with the teaching mode, and only 18% said they were not satisfied with the teaching mode, indicating that the “1 + N” composite design talent training model is feasible under the support of this data.

This chapter addresses the variety of approaches taken in the written element of the modern PhD in composition in the UK. The background to this is established through reference to two distinct but related strands of argument: whether composition is research, and what role (if any) the written word should have for composers working in academia. This background is established through an overview of current practices, before discourse around the veracity of composition as research is explored. The intertwined histories of these debates form a context for understanding the variety of approaches to the written element of composition PhDs. A survey of those who have completed or are undertaking a PhD in composition in the UK provides qualitative and quantitative data. 102 survey responses are analysed and presented, as issues of methodology are highlighted in the context of established practice research (P-R) literature, primarily informed by other arts disciplines. The authors codify the array of approaches exposed by the survey respondents, proposing a model in which the emphasis may be on one of three areas—technical commentary, conceptual/aesthetic framework and reflexive account—or balanced between two or more of them. The relationship between this model and extant P-R methodologies is highlighted as the authors explore the varied approaches reflected in the survey responses. The authors conclude by reflecting on the two possible purposes of doctoral composition programmes: as training in or research through composition. The need for methodologies of composition research to be documented more thoroughly is highlighted alongside issues with the delivery of doctoral composition programmes, as the authors acknowledge the progress that has already been made in other P-R disciplines.

The development of camera phones in the late 2000s has generated new ways of making mobile art. Wayfaring, co-presence and mobility are concepts through which mobile media art can be reimagined. Our ability to easily document our movements through everyday life has shifted how we think about film and photography. This is the background for our creative practice research practices. Our overarching research asks: “What new forms of screen production are emerging through wayfaring with a smartphone in hand and in what ways is creative practice research engaging with these forms?” In this chapter, we explore how screen practitioners can think about their work pre-development in both practical and philosophical ways, by presenting a candid account of our own practices. This chapter is an expanded and revised version of an earlier work (Kilby and Berry 2018).

Step 2 of the EBP practice decision-making process centers on efficiently locating the best available and relevant practice research. This chapter will offer a detailed introduction to both print and online research information resources available for EBP. Both aggregated sources and individual article sources will be addressed. Approaches to efficiently and effectively search for practice research are also offered. This will guide clinical social workers to finding specialized research knowledge for practice.

This paper includes a work report of two reconstruction projects realized at the research department “digital reconstruction” at TU Darmstadt. A special focus is on the importance of the urban context and its digital 3D reconstruction for the particular research project and its challenges related to the working process and model structures. Furthermore, current research questions like e.g. documentation, standards, methodology and archiving are interlinked with this.

The development of camera phones in the mid-2000s has generated new ways of making mobile art. Wayfaring, co-presence and mobility are concepts through which mobile media art can be reimagined. Our ability to easily document our movements through everyday life has shifted how we think about film and photography. This is the background for the creative practice research discussed here. This chapter asks: “What new forms of creative expressions are emerging and in what ways is creative practice research engaging with them?” The authors cast themselves as digital wayfarers whose online and physical worlds are entangled in urban and coastal places to research some of the creative possibilities to photographers, artists and writers presented by the extreme accessibility of smartphones. In this chapter, the focus is on the making of creative works.

CDIO model is a kind of engineering education mode that aims to cultivate students’ engineering application ability and effectively solve the employment problem. Taking Electric Power System Analysis as an example, this paper expounds the characteristics and implementation process of CDIO mode in the process of teaching, summarizes the role of CDIO model in engineering education, and improve the quality of double-ability teachers, create project implementation situation, plan teaching materials, innovative evaluation assessment system and other means to improve and perfect the implementation of CDIO mode in the course of teaching. After the teaching of the test and practice, it proved to have achieved good results.

In order to understand creative practice, one firstly needs to understand the current research literature into creativity. We then have a basis for examining ways of researching creativity, particularly in relation to screen production. There are a number of possible research approaches. Using a framework that is common to all research, be it objectivist, subjectivist or constructionist, one could research screen production by taking a traditional research approach such as textual analysis or ethnography or by, instead, undertaking a creative practice research process while producing audio-visual material for the screen using a practitioner-based enquiry (PBE) approach. This chapter outlines the ontological and epistemological basis of PBE, describes and justifies its general use as a research tool to examine the creative process, outlines how it is used to research screen production as a specific form of creative practice, and finally, provides empirical examples of its application.

This chapter explores what can happen when creative practice research meets ethnography. While ethnography has a long and proud history, creative practice is a relative newcomer as a research methodology. Often creative practice research in the screen production areas is obsessed with representation. Filmmaking, photography and screenwriting suggest representational research strategies with a strong focus on artifacts as texts. Over the last decade there has been a push in creative practice research toward research that emphasises the experiential. Ethnographic writing strategies provide useful alternatives and additions to reflection on process as a way of constructing knowledge. Ethnographic approaches capture the nuances of the experiential, affective and sensory aspects of everyday life. This chapter argues that there is much to be gained from mingling creative practice research with ethnographic approaches to research.

This chapter proposes a methodology for moving-image creative practice research which centres on qualities and practices of attention. This is about attending to the formal properties of the medium in the moment of ‘making’ whilst taking into the field of attention all of the other complex processes involved in moving-image production. The chapter reflects on how these materialities interrelate and give rise to the practitioner’s research ‘acts’. In this way, methodology is found in every instance as a unique set of processes, where the entanglement of the theoretical terrains, the materiality of the medium, and the researcher’s own experience of making come to bear on the work we call the research artefact. Here, the question of methodology remains flexible, malleable, and transformable.

Screenwriting practice is now a flourishing mode of research within universities internationally, whereby the act of writing a screenplay or developing screenplay works is not only understood but also celebrated as a legitimate form of knowledge discovery and dissemination. The resulting work of this creative practice research, which we might call the ‘academic screenplay’, thus functions simultaneously as a method of research enquiry and a ‘non-traditional’ research artefact. In this chapter, we explore what it means to develop and write a screenplay in the academy, under the conditions of and for research. By positioning screenwriting alongside and in between the disciplines of creative writing and screen production, we reflect on how it can draw from both disciplines at different times and for different purposes and can be influenced by their specific—and sometimes contradictory—discourses. By doing so, the chapter provides a comprehensive overview of screenwriting as a growing mode of research, and its practice as an important addition to the academy.

To embark on the making of a feature film is sheer madness. Yet some of us cannot help but be driven to engage with this form by adopting creative and managerial methods, routines, processes and discourses that help us navigate our way towards creating some kind of impact. In this chapter, I seek to describe and articulate an example of a film project as research, with a particular emphasis on looking at how documentation and critical reflection form the core methodology of the project. In the madness that is filmmaking, how can methodology and method be employed to provide the basis for rigour in the research enquiry?

Screen production research brings new knowledge to the practice of filmmaking, screenwriting, and digital media production. This type of creative research is attractive to those who have worked professionally, are aspiring to do so, or want an academic career specialising in screen production practice. Choosing an appropriate methodology, epistemology and ontology that supports an enquiry into practice requires a deeper appreciation of the philosophical position of the researcher, who chooses to examine their subjective point of view through their creative practice. This chapter provides an explanation of an appropriate research design to allow a screen production researcher to logically defend their research enquiry and decision to use practice, be that filmmaking, screenwriting or editing, as a method that leads the research process. This aligns with practice-led, research-led, practice-based and practice as research, which are popular approaches used in creative practice research enquiries.

Research-based creative practice documentaries pursue unexplored lines of inquiry and sensory trajectories. This chapter discusses two creative practice documentary projects that I have developed in the Northeast Indian state of Assam. My discussion takes up how the historical contexts of where I work inform the directions of my practice. My interest in documenting Assamese cultural practices as containers of living knowledges constitutes a counterpoint to dominant modes of representing the region that are identified with the ‘counter-insurgent gaze’ (Baruah 2005). The chapter raises my processes for developing Kamakha: Through Prayerful Eyes (2012) and When Women Weave (work-in-progress) to illustrate how documentary aesthetics construct meanings and discourses. I specifically discuss the influence of observational cinema and my approach to social aesthetics devised through haptic audio-visuality.

Our ability to play with smartphone camera apps and share our moving images with location-based overlays is giving rise to new opportunities. Smartphone cameras can no longer be readily dismissed as toys, rather they are better considered as vehicles for serious play and creative practice. This chapter provides an overview of key research and issues relating to mobile film-making and video from a perspective informed by creative arts practice research as well as ethnography. It emphasizes sharing and emergent socialities as a key aspect of mobile media and how these influence, and in turn, are influenced by creative practices and aesthetics associated with film-making and photography.

Within the context of child mental health across the UK, a practice research network, Child Outcomes Research Consortium (CORC), has been formed and is committed to collating and using outcome data to inform clinical and service decision making. CORC began with 4 subscribing organizations in 2004 and has grown to approximately 65 in 2015. Based on this experience, learning about how such data are to be used safely and effectively to support performance management and service improvement are discussed. One challenge is that any attempt to measure the “impact” of a service using a given “outcome” is complex. Within psychotherapy in general, and in work with children and families where there are multiple perspectives in particular, this question raises a number of dilemmas. For some professionals, the whole notion of quantitatively measuring such human qualities is questioned. Despite these challenges, CORC has been pioneering in supporting its members to collect and cautiously make use of information with a particular emphasis on outcomes from the service user perspective. Such challenges may be recognized in other countries as well, and CORC aims to share learning to help mitigate these barriers.

The purpose of this chapter is to explore what can happen when creative practice research meets ethnography. While ethnography has a long and proud history, creative practice is a relative newcomer as a research methodology. It is a bricolage where methods such as participatory action research are appropriated and adapted to fit into the worldviews and epistemologies that underpin creative practice research. This chapter will argue that there is much to be gained if ethnographic strategies are pressed into the service of creative practice research. At the same time, ethnographers have much to learn from creative practice research with its emphasis clearly being on the making or doing of a creative output from a creator’s or insider’s perspective informed by critical thinking and an interrogation of others that have gone before them. There is also much ethnographer can poach from creative writing pedagogies such as the importance of work shopping and a practical knowledge of genre conventions and narrative forms.

The rate of change in mobile media over the last decade has been huge. In 2005, a fellow academic in new media told me that mobile phones were only good for voice conversations and texts. He gently suggested I was wasting my time with my experiments with the camera and the screen because it was a toy and a gimmick, and that no one would ever watch movies on mobile phones. This chapter will reflect on how these changes have impacted on creative practices and will open out ways of imagining futures for mobile media and creative practices with smart mobile devices. It will draw together how ethnographic approaches with smartphones and other mobile devices can extend creative practice research into new directions including augmented reality (AR) and virtual reality (VR).

In the mobile internet era, the meaning of a product depends much more on “scenario”, emphasizing better thinking about the future from the present. The competition on the mobile internet is essentially the vying between scenarios. Based on the analysis of user scenarios and the professional insights, designers can adopt efficient and rational design strategies. Through case studies on user scenarios, designers can evaluate the effects and changes a new design and a new product cause on different customers’ psychology and behavior. Then they can employ targeted measures in design, so as to realize the design goals, promote customers’ understanding and acceptance, and even create both commercial and customer values by product innovation.

The chapter starts by outlining the current and future scenario related to pharmacy practice research. This chapter then sets the scene by discussing issues that are pertinent for practice research. These issues are changes in population demographics; changes in technology, the role of the pharmacy as an institution and consumer behaviour; as well as changes in the pharmacy profession. It also outlines the major shifts in pharmacy practice research, which include interprofessional collaboration and teamwork with patients, describing and measuring outcomes of interventions as well as patients’ cultural diversity. It concludes by drawing attention to methodologies that would be most commonly used in future pharmacy practice research. Some of the future methodological challenges could be the emergence of big and complex data sets, dealing with electronic health records and pharmacy practice researchers’ adoption of a myriad of mixed methodologies.