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This Research Note discusses when creative practice becomes practice research and the challenges for and approaches to the documentation of this. It asks the practitioner-researcher to consider why and how they archive their practice, and then, when and what they need to archive. Practice research has been recognised in academia for 40+ years, expanding rapidly since around the millennium. Preservation and sharing is of critical importance to the continuing development of practice research and fundamental to the development of an integrated ‘Web of Arts’. The contribution made by this paper is to seek to bridge the diverse disciplinary perspectives involved in this process. The problem of documenting practice as research sometimes feels as though nothing can be resolved until everything is resolved (by the arrival of an archival infrastructure that works for us!). This paper suggests some choices or workarounds for the practitioner-researcher related to the current degrees of development towards that infrastructure and it also critiques some current archival developments. [ABSTRACT FROM AUTHOR]

Musical instruments are not static and neutral technological objects, but objects we shape through our designing and performing practices. Along these lines, various authors have argued for the relevance of practice research in the New Interfaces for Musical Expression (NIME) field. Most of these contributions tackle interface evaluation or issues related to musical practice. In contrast, technical processes are typically addressed from linear, goal-oriented narratives based on technical implementation that consider the instrument merely as a technical artefact. In this paper, we critique such technoscientific narratives through science and technology studies, human-computer interaction, design and NIME literature. We propose Technical Practice Research as an alternative mode of research in technical practice that places the locus of knowledge production in the practice rather than the technical artefact, by focussing on the first-person and real-time nature of technical practice. Although framed in the context of NIME, this proposal extends to other fields in which technical and creative practice are intertwined. [ABSTRACT FROM AUTHOR]

The social work profession has enhanced its research capabilities since the 1991 Task Force on Social Work Research. However, these impressive changes have not closed the research-practice gap or made substantial contributions to empirically supported social work practice knowledge. Modified challenges as presented by Feldman are offered along with suggested recommendations. [ABSTRACT FROM AUTHOR]

There is no agreed framework for classifying what is, and is not, design practice research. This is a problem at a time when funders are interested in supporting practice research in the university context and look at design research as an example. This article addresses this challenge. Based on the key themes identified from a literature review—situated understanding, networked knowledge production, community of validation, and the knowledge status of objects produced through designing—we propose two frameworks. Collectively, the classificatory framework (specifying conditions) and the analytical framework (identifying outcomes) distinguish practice research in design from just practice on the one hand, and just research on the other. While allowing for historical and contextual variation, the approach offers a way of classifying practice research in design that is supported by practice researchers and that funders understand, without having to insist that there is something "ineffable" or ultimately inexpressible about practice research. [ABSTRACT FROM AUTHOR]

This article introduces ‘The Creative Triad’, a novel framework that integrates three distinct perspectives – Researcher, Practitioner, and Spectator – to examine the creative process in videographic criticism. This framework facilitates a deeper understanding of the dynamic interplay between creative practice and theoretical inquiry within academic research. The development of the project unfolds through these perspectives: first, embodying the role of the Researcher, where theoretical insights inform the creative approach; second, assuming the position of the Practitioner, where the creative component, grounded in tacit knowledge, evolves through practice-led methodologies; and third, adopting the standpoint of the Spectator, where the production and outcomes of the creative practice are critically evaluated. These perspectives were not rigid and often intertwined throughout the iterative creative process and this triadic approach allows for a comprehensive exploration of how theory and practice can inform and enrich one another in videographic research. This methodological framework extends the thoughts of other creative thinkers, such as Graeme Sullivan, who introduced the concept of transcognition (Sullivan 2001) to create a confluence approach that utilises three perspectives – that of, the Researcher, Practitioner, Spectator. [ABSTRACT FROM AUTHOR]

Aboriginal children are overrepresented in Australia's child protection system, and limited tools are available to assist with connecting these children to their culture. The Stitching Our Future Together (SOFT) Program, developed in consultation with Aboriginal and non-Aboriginal peoples, services, and other specialists, is used within the Department of Communities' Child Protection and Family Support (CPFS) Division in Western Australia to address big emotions and safe behaviours with Aboriginal children in care. This study used phenomenology and social constructivism to explore CPFS staff's perspectives and experiences of the SOFT Program. Seven semistructured in-depth interviews took place with CPFS staff. Five themes were identified: the SOFT Program and its use, culturally responsive practice, facilitating relationships, communication, and recommendations and implementation challenges. Participants expressed that the SOFT Program fostered an understanding of, and communication about, pertinent issues such as family and domestic violence, drug and alcohol addiction, mental health, and child neglect and abuse. The findings show how staff described the program's capacity to help them navigate complex situations, highlighting the need to incorporate more culturally centred and creative-based work into child protection practice. IMPLICATIONS The SOFT Program positively supports culturally responsive practice and facilitates relationships and communication for child protection workers and children in care. The integration of creative and legislated practices assists with personalising and enhancing the effectiveness of child protection work with children in care. [ABSTRACT FROM AUTHOR]

Insights have been developed into social media influencers and marketing strategies which aid book discovery and sales. However, less is known about the distinctions in the use of social media platforms in the comic, zine, and art publishing sectors. Focusing on the author's use of Instagram in her artist-publisher-researcher practice, this article analyses the role of the platform and conceptualizes its use in the performativity of post-digital authorship. The article introduces the concept of post-digital authorship, in which a process-based performance of content aims to build identity, participation, and recognition connected to live and virtual events and digital and print formats of micropublishing. The contribution of this paper is the relative un-performance of the author on Instagram, amidst the micropublishing strategies in the community of comic, zine, and art publishing, in comparison with authors in other sectors of the publishing industry. [ABSTRACT FROM AUTHOR]

The study presents findings about social work leadership from a formative dialogue research project following an ongoing service development project in a Norwegian social services office. From observation of team meetings and individual interviews with the leader and middle managers the study contributes to research on the meaning of social work leadership when changes are made within an organization. Traditional leadership theories often focus on individual leadership qualities, grounded in binaries of leaders and followers, but this study’s findings support newer theoretical approaches that underscore the importance of approaching leadership within a social constructivist framework, highlighting the processual and relational aspects of leadership. The study adds to the call for more qualitative studies that capture the complexity of social work leadership. One particular finding in this regard is narrativity as a promising approach for the understanding of leadership as co-production between stakeholders. The study has implications for both practice and education, as it is relevant for understanding leadership issues in social work contexts, which should to a greater extent be a topic in social work education. [ABSTRACT FROM AUTHOR]

Organizational support represents a critical driver of practice research projects. This analysis includes four international examples of such support (Norway, Finland, Belgium, and USA and China). The four studies capture the similarities and differences between university support and national government support. The analysis is placed within the context of defining practice research and the core components of organizational support. The findings emerged from presentations in a Practice Research Collaborative sponsored by the International Community on Practice Research in Social Work. The conclusion includes a discussion of a cross-case analysis along with the identification of implications for practice research studies in social work and affiliated professional disciplines. [ABSTRACT FROM AUTHOR]

Video games are a contradictory medium. Players often experience failure while playing a game, sometimes repeatedly. We do not usually enjoy failure. And yet, players clearly take great pleasure in the process of play. This practice research begins with the deceptively simple question: Why?

To conceive a philosophy of art education that is removed from actual practice would belie the extraordinary experience of developing and making practice. In this article, I propose to explore the philosophical implications of art practice being an experience of the 'daily extraordinary.' A view of practice as being at once stretching and comfortable, takes the artist and viewer's responses to the strangeness of the everyday: the delightful, the shocking, or even the miraculous, in what appear to be simple and mundane experiences. If we perceive learning in the arts as a pursuit of ideas, affect and expression that occurs in regular practice, there is an inclusivity that renders both learning in the arts and philosophy of art education accessible to everyone. In this article I will refer to the Goldsmiths Centre for Arts and Learning's research programme of 2022–2023, in which events and connected teaching activities practised being All For the Arts. With visiting speakers, museums and galleries and postgraduate students, CAL researched how the vitality and challenge of art practice, which includes the individualities and expression of persons and histories made ordinary and invisible, could bring the value of learning in the arts to the fore. Including reflections from contributors such as John Baldacchino, A Particular Reality, Carol Wild, Danny Braverman, Raphael Vella, Kevin Tavin and Andrea Kárpáti, we explored inclusivity in art practice from the daily extraordinary of each speaker's developments in educational research. Also, in the company of representatives from arts organisations such as Entelechy Arts, Autograph ABP, Whitechapel Gallery, Young V&A and Bow Arts, we considered the amazing and essential factors of inclusivity in the arts – that could be encountered on a daily basis. I will gather meeting points here among this incredible range of contributors. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Academic Library & Information Science is the property of Anhui University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Objective: The study aims to investigate what design practitioners and healthcare facility managers deem as important benchmarking metrics worldwide, investigating country differences in benchmarking usage and which metrics are prioritized. Background: Benchmarking is a regular practice in the healthcare sector, both for clinical and managerial aspects to compare, measure, and improve standardized processes. However, limited knowledge is available about benchmarking procedures in hospital planning, design, and construction. Methods: A web-based survey was designed, revised, and pilot-tested in five countries; it was adjusted according to local experts' suggestions and submitted globally via SoSci multilingual platform to persons involved in hospital design, research, construction, and facility management. It was composed of closed questions on 5-point Likert-type scale ranking frequency or importance and open-ended questions divided into six sections. Two hundred and eighty full responses have been collected. Statistical analysis was performed via PowerBI and R-Studio, while qualitative analysis was performed via MAXQDA. Results: The findings reported allow for both specific insights per each country or category as well as enabling general considerations of a practice that is becoming always more international with 30%–50% of respondents working in the international context. The evaluation of the survey highlights the most important benchmarks, among others. For example, for respondents from the top five countries (Sweden, Spain, Germany, Italy, and the United States), the most important metric for benchmark comparability is whether the project was new construction, new construction attached to an existing hospital, or interior renovation. Construction date, client type (public vs. private), and country of location were also generally rated as the most important metrics by respondents. Other metrics that were consistently rated as important globally included inpatient unit layout, walking distances, number of floors, and whether all patient rooms are private. Space-related metrics are considered very important elements in the design and planning of healthcare facilities worldwide. Regarding cost-related metrics, all countries consider the ratio construction cost per building gross area as the most important. Conclusions: Benchmarking emerges as a relevant tool for hospital design and planning as it can support efficiency, standardization, and confidence; currently, benchmarking is still underutilized due to the challenge of international comparison, access to data outside each specific company, and variation design metrics nationally. Benchmarking strategies should be further investigated to support knowledge exchange and to ensure reliable and comparable information globally. [ABSTRACT FROM AUTHOR]

Copyright of Psyke & Logos is the property of Dansk Psykologisk Forlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In current practice, landscape professionals are often required to provide ‘evidence’ of how their completed projects perform over time. However, few practitioners have knowledge of data collection methods or the resources, including time or money, to carry out structured post-occupancy evaluations of their built work. Using a case study approach to methodically describe and assess landscape architecture projects, as proposed by Francis (2001), is a way to systematically record project information and build a knowledge base about the design, construction, and project performance. Francis’ work informed the development of the Landscape Architecture Foundation’s Case Study Investigation (CSI) program, launched in 2010 with the aim of assessing landscape performance through the lenses of sustainability. The recently established Landscape Foundation of Australia is adapting the CSI Program for the Australian context. This article briefly traces the development of the case study method for documenting and assessing landscape performance, and how an Australian version will extend the original research-practice CSI model that has proven so effective.

Hospital social workers advocate, facilitate and communicate with patients, families, healthcare professionals, and communities. These activities, in which hospital social workers relate to different parties and aim to strengthen relationships between them, have been referred to in the literature as boundary spanning. This study explores hospital social workers' boundary-spanning competencies associated with their boundary-spanning activities. The data were from in-depth interviews with 19 hospital social workers in Norway. A hybrid analysis was performed, combining initial inductive coding of themes with subsequent deductive coding based upon a conceptual framework. Four themes emerged: (1) Being informed, (2) Content knowledge, (3) Tailoring and (4) Self-knowledge. The findings contribute to specifying central boundary-spanning competencies. Implications of the study for social work practice and education are provided, along with recommendations for further research. [ABSTRACT FROM AUTHOR]

Copyright of China Journal of Social Work is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The recent advent of virtual photography and artificial intelligence (specifically AI photography and diffusion models), presents a major challenge to both photographers and photography theory. All our common-sense assumptions about the ontology of the image now seem to be falling apart. Are these interlopers really photography? Can we hear the final death knell for the erstwhile medium in this era of ever-increasing media convergence and virtualisation? This practice-led investigation of these new media forms draws on the author's recent creative work in virtual photographies, and similar interventions by other photographers and new media artists, seeking to augment and expand their practice using these new tools, whilst querying what photography really means today. From in-game photography to virtual exploration using Google Street View, to AI photography using the latest denoising diffusion models (such as Midjourney), there are surprising commonalities to explore between them, linking these new practices of image-making firmly back to traditions of lens-based photography. Rather than seeking a detailed map of this difficult new terrain, or a definitive ontology of emerging virtual photographies, the author reframes the discourse around practice, examining both photography as an evolving set of practices and also notions of media hauntology – specifically the spectral ways in which new media technologies are always haunted by prior practices and modes of communication. The importance of the frame to both traditional photography and new practices of virtual photography, is suggested as a vital and persistent dimension in photographic authorship. With that authorship increasingly contested by new generative methods, easy appropriation and AI image-making, the act of framing may become the best litmus test we have, for whether or not a photograph should be considered 'real' or valued. [ABSTRACT FROM AUTHOR]

In this article, I present and critically examine the ways in which I conceived my recent musical composition, 'The Land of Nod' (from At Night for clarinet quintet), as an adaptation of Robert Louis Stevenson's poem of the same name, with close reference to Marie-Laure Ryan's theoretical frameworks for the analysis of transmedia narratology and 'storyworlds', and Byron Almén's A Theory of Musical Narrative. As a relatively rare example of scholarship that intersects the fields of adaptation, music theory, and practice (as) research, I situate this work within its wider disciplinary context, and consider the possible benefits that such interdisciplinarity and methodological eclecticism can offer, especially for creative practitioners in music. [ABSTRACT FROM AUTHOR]

This essay draws on the author’s experience as founding editor of the videographic Journal of Embodied Research (JER), as well as their own artistic research practice and critical theories of embodiment and identity, to examine shifting relationships among the textual, the audiovisual, and the videographic. Addressing each term in sequence, the essay builds on the idea of embodied research, and the experience of developing a style guide for JER, to rethink the textual and the audiovisual in the context of the videographic. As the space of videographic thought becomes ever more fluid and all-encompassing, it is incumbent upon filmmakers of all kinds to critically reexamine the ways in which video remains entangled with bodies, places, and the still-powerful technology of the written word. To support such a reexamination, approaches to academic filmmaking and the video essay should be put in conversation with practices of embodied research.

Increasingly, doctoral education is being challenged to reflect and act on issues of access and equity. I argue that in art and design the expanding doctoral expectations and emphasis on doctoral community impact the multiple and intersectional concerns around diversity, equity and belonging that urgently need to be acknowledged and addressed. The benefits of community are widely acknowledged in the literature on doctoral education, and it is increasingly recognised that there are specific nuances to the needs of practice research doctoral communities. Prompted by insights from interviews with art and design doctoral researchers, I examine available data on participation in doctoral research in art and design in the United Kingdom in conjunction with literature on doctoral education and practice research. My aim is to highlight concerns relating to privilege and belonging in art and design doctorates that should make us increasingly uncomfortable. I believe that as a community art and design in higher education urgently needs to actively consider these issues. As well as indicating the necessity for further research, I argue that conversations are needed to devise and advocate for more inclusive and culturally responsive doctoral education specific to the needs of practice research in art and design. [ABSTRACT FROM AUTHOR]

This essay offers a critical introduction to the circulation of racial materialities, and especially whiteness, in North American and European academic contexts. It proposes that we can escape from the dominant epistemology of identity as a fixed attribute of individuals without losing the urgent and much-needed analytics of identity as social and material force. In the gap between "identity politics" and a richer critical politics of identity lies the difference between a discursive public sphere of agonistic conflict and one of potentially transformative relationality. Drawing on critical race theory and especially black radical thought, my analysis rejects the reduction of identity to discrete census categories and attempts to situate contemporary scholarly practices in the context of a planetary decolonial movement. If "identity" today is all too frequently dismissed by a methodological whiteness that strictly separates it from materiality, politics, and knowledge, then a dramaturgical or choreographic analytics of race might better address how racial materialities operate both above and below the level of individual bodies, subjects, and citizens. Synthesizing practical insights from artistic research and performing arts with critical theories of race and identity, this essay refers to some of the author's recent personal experiences at academic events in order to describe and analyze whiteness as a form of social choreography. [ABSTRACT FROM AUTHOR]

In this article, we reconsider elements of Agre's critical technical practice approach (Agre, 1997) for critical technical practice approach for reflexive artificial intelligence (AI) research and explore ways and expansions to make it productive for an operationalization in contemporary data science. Drawing on Jörg Niewöhner's co-laboration approach, we show how frictions within interdisciplinary work can be made productive for reflection. We then show how software development environments can be repurposed to infrastructure reflexivities and to make co-laborative engagement with AI-related technology possible and productive. We document our own co-laborative engagement with machine learning and highlight three exemplary critical technical practices that emerged out of the co-laboration: negotiating comparabilities, shifting contextual attention and challenging similarity and difference. We finally wrap up the conceptual and empirical elements and propose Reflexive Data Science (RDS) as a methodology for co-laborative engagement and infrastructured reflexivities in contemporary AI-related research. We come back to Agre's ways of operationalizing reflexivity and introduce the building blocks of RDS: (1) organizing encounters of social contestation, (2) infrastructuring a network of anchoring devices enabling reflection, (3) negotiating timely matters of concern and (4) designing for reflection. With our research, we aim at contributing to the methodological underpinnings of epistemological and social reflection in contemporary AI research. [ABSTRACT FROM AUTHOR]

New Music inherently challenges norms of performance practice, expression, interpretation, perception, and audience reception. Given the centrality of these themes to musical performance studies and the significant recording and performance traditions of many works of New Music, it is surprising that so little attention has thus far been dedicated to this repertoire. In response to this lacuna and Clarke and Doffman's (2014) prospective paradigm for a performance studies of New Music, this article offers a close reading of the relatively limited empirical performance literature, highlighting the novel and varied epistemological affordances of the works in question, with consideration for repertoire chosen; selection of recordings; methodological approaches; themes addressed; the relevance of score analysis; the role of the performer; and the import of the research for audiences. I then contribute my own practice-based research on Stockhausen's Klavierstück X (1961), illustrating the creative potential of self-reflexive performance analysis for performers of complex music. I thus offer a state of play for empirical research, while showcasing further aims and objectives, allied to the peculiar exigencies, performance ecologies, and aesthetic qualities of New Music. [ABSTRACT FROM AUTHOR]

In an alliance of science and civil society as well as the social, digital and agricultural sectors, the Alterperimentale (Age-Periphery Experiment) project brings together competences from different social sectors in order to meet the challenges of demographic structural change processes regionally and to enable good living in old age in rural areas. The focus is on the participatory design of socio-technical, socio-ecological and socio-spatial innovations in the areas of public services, health, care, agriculture and digitalisation. The basic idea of the alliance is to establish decentralised practical research centres as local places of knowledge transfer with and for older people for the design of sustainable living and working environments. [ABSTRACT FROM AUTHOR]

This article presents key concepts for collaboration, participation and co-production in practice research, based on a cross-analysis of three research cases. The article aims to explore questions such as: 1) Who should be involved? 2) What preconditions are necessary from all participants? 3) What nuances arise in the process of becoming a partner? The article investigates how partnerships, participation and knowledge production can be performed in social work practice research, and highlights that any collaborative process is complex, and the questions may thus be intertwined. Such processes require researchers to be aware of the communicative, power-relational, dialogical and democratic processes involved. One of the key takeaways from the cross-analysis is that successful collaboration demands conscious attention and effort towards effective communication, power-sharing and democratic processes. [ABSTRACT FROM AUTHOR]

In this paper, we (two researchers and three practitioners from Singapore) reflect on the challenges and opportunities of practice-research collaborations. While researchers and practitioners share a common goal to improve services, challenges can arise due to differing perspectives and priorities and power dynamics between team members. However, diversity of perspectives can enrich the research process when strengths of practitioners and researchers are utilised. Collaborative relationships can be optimised with careful selection of the appropriate team members, effective communication, and by practicing reflexivity. Our reflections highlight the benefits of practice-research collaborations and the importance of navigating partnerships to achieve shared outcomes. [ABSTRACT FROM AUTHOR]

Despite shifting attention from whether practice research is advantageous to doing practice research better, the organisational role of internal social work intermediaries beyond initiating practice-research partnerships, especially in Asia, is less understood. Using a multi-modal qualitative case study approach, across project conceptualisation, implementation, and dissemination, we first documented the initial benefits and challenges of an internal Singaporean social work intermediary bridging practitioners and researchers. Subsequently, we described how the intermediary seized opportunities and went beyond mere stakeholder bridging by defining engagement terms and creating, using, and opening up a practice-research space. Implications for internal intermediaries and organisational functions are discussed. [ABSTRACT FROM AUTHOR]

Robert Hylton is a first-generation UK hip hop theatre practitioner, who is currently writing a PhD at the Centre for Dance Research Coventry University on the nature of transmission of knowledge in black British Popping. Jonathan Burrows is a choreographer and Associate Professor at C-DaRE Coventry, who has worked for many years with hip hop artist Jonzi-D, mentoring hip hop artists interested in theatre practice. Robert and Jonathan have shared a long and ongoing conversation over many years about the nature of hip hop and its uneasy relationship to contemporary dance. The following text reflects that conversation, focussing specifically on the nature of practice in hip hop dance including transmission of physical and philosophical knowledge, respect for lineage, innovation and the relationship or not to academic research and the space of theatre. [ABSTRACT FROM AUTHOR]

This writing is about the relationships between artistic processes, artistic works, and how we might frame these as practice research. It has two aims: 1) to describe when artistic processes are framed as practice research through written forms, and the implications of this timing; and ii) to propose that our responsibility as practice researchers is to draw our work deeply into dialogue with other artistic work that exists in tangible ecosystems of artistic practice. The alternative is the status quo in which we rely on arguments made by the authority of totemic theoreticians who exist beyond our communities of practice. These ideas are not specific to dance practice research, but rather are about practice research more broadly. As part of the writing I use as an example an artwork of mine that emerged through body-based practices – Children of the Soil – to explore the messiness of how we might reliably produce practice research while respecting the unfinished thinking of the artwork itself. [ABSTRACT FROM AUTHOR]

This paper discusses home as a stage and its intersection with new technologies through an autoethnographic recollection and analysis of practice research, whose processes and methods are entangled with both digital and domestic environments on the virtual stage of Flanker Origami, a live online performance on Zoom devised by Organic Theatre. Premiered as part of the digital programme of the Edinburgh Festival Fringe 2021, the performance is discussed as a case study of shifts in practice driven by the COVID19 pandemic in the real home of the two devisers/performers. This enquiry introduces and discusses home-specific performance as a practice research methodology, which exploits the deep nexus between home, identity and gender in the digital staging of the domestic in Flanker Origami. Analysing online training, hybrid scenography and digital performativity specific to the performers' home, this practice-based investigation evaluates the benefits and challenges of developing online theatre in a situation of social confinement. The conclusion evidences that home as a digital stage was instrumental in reconfiguring notions of self and authenticity in performance processes driven by the pandemic, while creatively reframing the familiar and the domestic to expand and innovate artistic practice at a critical point of social and personal vulnerability. [ABSTRACT FROM AUTHOR]

In this article, we analyse and reflect on the complex interweaving of documentary strategies and the five levels of performance that we designed in a small-scale community-centred collaborative documentary project entitled Shama. Shama Ethnic Women's Trust is one of the first NGOs in New Zealand established and run by ethnic migrant women for ethnic women and their families. Applying a filmmaking-as-research methodology, the project's aim was to respond to the scarcity of screen representation of ethnic NGOs. The purpose was not only to convey information about Shama's activities and services but also to convey a sense of the internal culture of the NGO and its community spirit. The portrayal of minority groups in community production often leads to an outsider-looking-down approach. We felt that providing an insider view was more important than simply conveying the facts efficiently about the organisation. This goal led us to apply a collaborative documentary practice, avoid an expository style, characterised by a single authoritative voice, and opt for a mix of performative and observational strategies, in which multiple voices and modes of address are featured. By shifting modes of address, we explored the ways in which a short, no-budget documentary could represent the complexity of this NGO. [ABSTRACT FROM AUTHOR]

The Australian social work course accreditation standards aim to ensure graduates have an understanding of the social, cultural, and political structures that influence psychosocial wellbeing. Unlike the previous standards, the current standards do not require the curricula to address specific knowledge and skills for working with people who live with severe mental distress or mental health conditions that might result in diagnoses such as schizophrenia, personality disorders, and bipolar disorder. Anticipating the revision of curricula resulting from these recent changes to the accreditation standards, four social work academics from across three Australian universities engaged in a peer review of mental health social work curricula. By exploring the purpose, emphasis, and challenges in curriculum design, this stage of the review aimed to identify the positioning of future curricula to prepare graduates who embrace the complex array of opportunities and demands of social work practice in this field. Our investigations confirmed diversity in mental health social work practice, revealing mental health social work curricula must meet multiple and evolving agendas. IMPLICATIONS International calls for transformative approaches to mental health present opportunities for enhanced recognition of the social justice orientation of social work. The absence of an accreditation requirement to address social work practice with people who live with severe mental distress or low prevalence mental health conditions might prove a regrettable gap in Australian Social Work Education Accreditation Standards 2021. Further collegial discussion and debate about the beneficial outcomes of mental health social work curricula are desirable. [ABSTRACT FROM AUTHOR]

Australia and the UK share many historic connections. These connections have influenced developments in welfare systems, and the bi-directional migration of social work practitioners between Australia and the UK has helped to support the sharing of knowledge in social work education, research and practice. However, developments in practice research in both countries has largely been influenced by local activity rather than cross-national collaboration, though there have been similar growth trajectories. This article uses a comparative case study methodology to analyse the development of practice research in Australia and the UK since the Salisbury Statement on social work practice research. Each case study explores and provides examples of the nature of the relationship between practitioners and academic researchers; how practice questions are generated; how methodologies are selected; how data are collected within social work practice and the impact of practice research on practice in both countries. The comparative analysis provides a unique insight into how local, and often small, projects provide a more significant narrative about the creation of knowledge in social work practice. These insights have the potential to inform and stimulate the development of practice research in other countries which are earlier in the journey towards practice-driven research. [ABSTRACT FROM AUTHOR]

This article makes the case that building landscape architecture’s procedural knowledge – defined as a collectively-shared and critically-examined understanding of the diverse ways landscape architects design – is of critical importance to the profession and discipline, especially if the profession desires to become more relevant and valuable to society as a whole. Knowing-how to design is the core knowledge-base of the field. Landscape architects’ abilities to view complex situations holistically, engage in ethical deliberations, envision new possibilities, and weigh alternatives from multiple perspectives is the key to their design expertise. This design expertise is needed in order to create designs that respond to the complex problems of today’s society. More procedural knowledge is needed: (1) so that landscape architects can learn from each other, (2) so that beginning landscape designers have clear models upon which to build expert knowledge, and (3) so educators do not have to rely only on their personal experiences when teaching design. Because good designing responds holistically within particular circumstances, it is challenging to develop transferable knowledge about designing, but there are models from practice research that suggest how it could be done.

A research–practice partnership (RPP) is a collaborative, long-term partnership between researchers and practitioners. Autoethnography is a form of qualitative research where researchers recount stories of their personal experience to reflect on and better understand the wider cultural, social, and political world around them. In this paper, we demonstrate a collaborative approach to autoethnography that can serve as a useful tool for studying and transforming school culture with teachers and administrators in a middle school. We identify the key components of our approach and provide a detailed summary of how each element was applied and highlight the ways the inquiry process contributed to self and school-level transformation. We also discuss the advantages and disadvantages of using autoethnography for RPPs in schools and discuss future directions for methodological development [ABSTRACT FROM AUTHOR]