'Parallaxic Praxis' offers an overview of an innovative framework for research design. Its focus on interdisciplinarity, multi-modalities, arts integration, cross-sector partnerships, community engagement, and knowledge mobilization is exactly what is needed to tackle complex 21st century problems.
Diane Conrad, PhD
Professor Drama/Theatre Education
University of Alberta, Canada
Based on a research model grounded in imagination as method, this bold and important book, dramatically and clearly moves a new tradition of post-qualitative research forward. Fully grounded theoretically, this book presents the reader with several highly developed examples of the parallaxic praxis model within different disciplinary traditions. It is a must have for all researchers wanting to reclaim humanity from a dehumanizing-technocratic reality.
Ralph Raunft, PhD,
Professor of Art (Emeritus), College of Creative Arts
Once again I am transformed by the work of Pauline Sameshima, Patricia Maarhuis, and Sean Wiebe. In their latest book, Parallaxic Praxis: Multimodal Research Design they present a model of inquiry that is relational, contingent, artistic, and generative. For those of us working in dialogic and relational research, I consider this accessible and profound book a must read.
Richard Sawyer, PhD
Professor of Education, College of Education
Washington State University
The authors open a lyrical, transcendent, and deeply credible research framework complete with its own lexicon, modalities, and practical conventions. Prepare to re-think everything.
Eric Hamilton, PhD
Professor of Education, Pepperdine University
Sr. Program Manager, International Bureau of Education, UNESCO
Parallaxic Praxis is a research framework utilized by interdisciplinary teams to collect, interpret, transmediate, analyze, and mobilize data generatively. The methodology leverages the researchers’ personal strengths and the collective expertise of the team including the participants and community when possible. Benefits include the use of multi-perspective analyses, multi-modal investigations, informal and directed dialogic conversations, innovative knowledge creation, and models of residual and reparative research. Relying on difference, dialogue, and creativity propulsion processes; and drawing on post-qualitative, new materiality, multiliteracies, and combinatorial, even juxtaposing theoretical frames; this model offers extensive research possibilities across disciplines and content areas to mobilize knowledge to broad audiences.
This book explains methods, theories, and perspectives, and provides examples for developing creative research design in order to innovate new understandings. This model is especially useful for interdisciplinary partnerships or cross-sector collaborations. This book specifically addresses issues of research design, methodology, knowledge generation, knowledge mobilization, and dissemination for academics, students, and community partners. Examples include possibilities for scholars interested in doing projects in social justice, community engagement, teacher education, Indigenous research, and health and wellness.
List of Figures
List of Tables
Foreword by Carl Leggo
Chapter 1 Introduction
Arts Integrated Research
The Concept of Parallax
Chapter 2 Phases of the Model
Phase I – Data Collection
Phase II – Analyses
Phase III – Renderings
Chapter 3 The Catechization Process
The Catechization Worksheet
Theoretical Foundations of the Catechizations
Toward Polysemic Frames
Chapter 4 Theoretical Underpinnings of the Model
A Pedagogy of Parallax
Materiality & ‘Ma’
Reparative Residual Research
Variations on the Model Design
Chapter 5 Cross-Domain Discourses
Dialogue and the Construction of Meaning
Chapter 6 Ethics of Art & Simultaneity
Ethics in Arts Integrated Research
Navigating Trauma and Suffering
The Ethics of Simultaneity
Tracing the Development of Ethical Frameworks
Making as Ethical Constructions of Our Futures
Chapter 7 Examples
Example 7.1: Replies to Wounds
Example 7.2: Women and Meth Renderings
Example 7.3: Scholarly Engagement Through Making
Example 7.4: Generating Self
Example 7.5: Constructing Pre-Service Teacher Identities
Example 7.6: A/r/tography and Teacher Education
Example 7.7: Sympathizing with Social Justice
Example 7.8: Climbing the Ladder with Gabriel
Dr. Pauline Sameshima is a Professor and Canada Research Chair in Arts Integrated Studies at Lakehead University. Her interests are in creativity, imagination, community health, and curriculum theory. As a practicing artist, poet, and designer, Sameshima’s interdisciplinary projects use the arts to catalyze innovation, generate wanderings, and provoke new dialogues through creative scholarship. She is the Editor-in-Chief of The Journal of the Canadian Association for Curriculum
Studies and curates the Lakehead Research Education Galleries. Website: solspire.com
Dr. Patricia L. Maarhuis is a researcher, educator, and artist in Health & Wellness Services at Washington State University. Her interdisciplinary research projects and artwork focus on the intersections between high-risk behavior, cultural context, the aesthetic dimensions of education, and experiential learning. She designs curricula and teaches faculty, staff, and healthcare professionals on research-based interventions and education strategies for adults with high-risk health experiences such as violence, trauma, substance abuse, and mental health concerns across multiple university departments. Website: Inbricolage.com
Dr. Sean Wiebe is an Associate Professor of Education at the University of Prince Edward Island, teaches courses in multiliteracies, curriculum theory, and critical pedagogy. He has been the principal investigator on four Canadian Social Sciences and Humanities Research Council funded projects exploring the intersections of creativity, the creative economy, language and literacies, and arts-integrated inquiries. One of his projects, based on findings generated from multiple sites across Canada and using the parallaxic praxis model, investigates how establishing a creative ethos in schools might support teachers as contributors to Canada’s creative economy.
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