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The purpose of this paper is to offer a picture of the relationship the researchers perceive between the art and research practices, unravelling the ways the authors shape and inform enactment of a purposeful nexus between art making and research.

A hybridised methodology is adopted, where methods integral to narrative inquiry and a/r/tography are drawn together to generate a series of “pictures” of the interplay between research and artistry. Through exploration of critical events, creative prose and artefacts, the paper unfolds the parallels perceived and tensions encountered between the approaches to making art and conducting research.

Borders can create a sense of calm and safety in allowing us to organise and contain information or matter, but they are also provocative in their potential to be crossed. Through this work, the authors chart the borders of the art making and research, and how, why and when these borders might be traversed to augment the integrity of both practices. In unfolding and examining the experiences and the perceptions thereof, the authors articulate ways in which the authors find arts practice to enrich and inhibit the research, and vice versa.

Of particular value in this paper is the way in which the authors not only tell of the experiences as artists and researchers, but also show these experiences through a/r/tographic methods. As such this paper presents an approach to research that is generative, suggesting rather than concluding and challenging rather than resolving, and ultimately offering multiple avenues for artistic and analytic insight.

This chapter examines cultural value creation through the 24 Carrot Gardens Project. Initiated by artist and curator Kirsha Kaechele of the Museum of Old and New Art, the vision of 24 Carrot Gardens is to ‘sow seeds of lifelong learning’ in the areas of health, well-being and sustainability across school communities in Tasmania, Australia. What has eventuated over its five years is a complex relationship between the artful ‘gold standard’ delivered by professional artists and a contemporary art museum with an integrated teaching and site-based learning across the arts and sciences. Designed in response to the local environmental, cultural and socio-economic context, 24 Carrot Gardens has contributed to a growing sense of community engagement, interdisciplinary learning and a strong foundation of networked donor investment. With these multilayered interests across a diversity of stakeholders and partnerships, many competing systems of value are at play, with the potential to contribute a new value creation. Firsthand accounts of project contributors are situated amongst the scholarly literature to produce an examination of value exchange and creation including the cultural values identified in 24 Carrot Gardens: artistic and creative, economic and industrial and education and environmental. Following this interrogation of the expressed values in this case study, we offer a foundation for a new framework for understanding local cultural value.

This chapter considers young people’s experiences of inequality as being unemployed in a small seaside town in the United Kingdom which has high levels of deprivation. It draws upon qualitative data from a study undertaken with 52 young people aged between 16 and 24, undertaken in 2015, to examine the impact of the economic recession on their lived experiences of seeking work and poverty. All the young people who participated in the study stated that they wanted to work but that there simply were not jobs available for them to do. What work they could find was often poorly paid, temporary and involved travel which they could not afford. The financial sanctions imposed on them by the Job Centre resulted in extreme hardship, hunger and homelessness. Often the young people talked about various forms of crime including drug-dealing and drug-taking as a way of dealing with the consequences of unemployment.

This paper aims to conceptualise the residential and psychiatric hospital as a space where criminality and social harms can emerge. Because of recent media scandals over the past 10 years concerning privately-owned hospitals, this study examines the lived experiences of service users/survivors, family members and practitioners to examine historic and contemporary encounters of distress and violence in hospital settings.

The study consists of 16 biographical accounts exploring issues of dehumanising and harmful practices, such as practices of restraint and rituals of coercive violence. A biographical methodology has been used to analyse the life stories of service users/survivors (n = 9), family members (n = 3) and professional health-care employees (n = 4). Service users/survivors in this study have experienced over 40 years of short-term and long-term periods of hospitalisation.

The study discovered that institutional forms of violence had changed after the deinstitutionalisation of care. Practitioners recalled comprehensive experiences of violence within historic mental hospitals, although violence that may be considered criminal appeared to disappear from hospitals after the Mental Health Act (1983). These reports of criminal violence and coercive abuse appeared to be replaced with dehumanising and harmful procedures, such as practices of restraint.

The data findings offer a unique interpretation, both historical and contemporary, of dehumanising psychiatric rituals experienced by service users/survivors, which are relevant to criminology and MAD studies. The study concludes by challenging oppressive psychiatric “harms” to promote social justice for service users/survivors currently being “treated” within the contemporary psychiatric system. The study intends to conceptualise residential and psychiatric hospitals as a space where criminality and social harms can emerge. The three aims of the study examined risk factors concerning criminality and social harms, oppressive and harmful practices within hospitals and evidence that violence occurs within these institutionalised settings. The study discovered that institutional forms of violence had changed after the deinstitutionalisation of care. These reports of violence include dehumanising attitudes, practices of restraint and coercive abuse.

People have unconscious motives which affects their decision-making and associated behavior. The paper describes a study using thematic apperception test (TAT) to measure how unconscious motives influence travelers' interpretations and preferences toward alternative tours and hotels. Using the TAT, the present study explores the relationships between three unconscious needs: (1) achievement, (2) affiliation, and (3) power and preferences for four package tours (adventure, culture, business, and escape tours) and for seven hotel identities (quality, familiarity, location, price, friendliness, food and beverage, and cleanliness and aesthetics). The present study conducts canonical correlation analyses to examine the relationships between unconscious needs and preferences for package tours and hotel identities using data from 467 university students. The study scores 2,438 stories according to the TAT manual to identify unconscious needs. The findings indicate that (1) people with a high need for affiliation prefer an experience based on cultural values and hotels that are conveniently located, (2) individuals with a high need for power indicate a preference for high prices and good value for their money, and (3) people with a high need for achievement prefer a travel experience with adventure as a motivation. The study findings are consistent with previous research of McClelland (1990), Wilson (2002), and Woodside et al. (2008) in exploring impacts of the unconscious levels of human need.

It has often been said that a great part of the strength of Aslib lies in the fact that it brings together those whose experience has been gained in many widely differing fields but who have a common interest in the means by which information may be collected and disseminated to the greatest advantage. Lists of its members have, therefore, a more than ordinary value since they present, in miniature, a cross‐section of institutions and individuals who share this special interest.

The purpose of this study is to analyse the concept of dark tourism and apply it to the Valley of the Fallen in Spain, a controversial monument that is a symbol of the Spanish Civil War and the subsequent dictatorship.

First, the authors carried out a literature review to get an insight into the concept of “dark tourism”, the types of existing dark tourism and the methods that are applied to the main cases around the world. Then, the authors analysed the case through a content analysis of press articles and interviews.

The authors propose a way to change the current symbolism and connotations of the Valley of the Fallen towards a new symbolism engaging all the stakeholders involved, from a dark tourism point of view.

Applying this new symbolism requires attaining a difficult consensus that Spain has not yet been able to put into practice.

The dark tourism framework is an opportunity to link both economic and educational objectives, co-working on a model of consensus, but there is a gap in the literature on dark tourism in terms of Spain’s history. This strategy could be also applied to other controversial heritage with similar characteristics, according to different positioning classifications.

This chapter explores the multiple levels of authenticity involved in son et lumière and projection mapping. Light shows are increasingly staged at historic sites, using monumental buildings as canvases. The use of light allows the buildings to communicate, giving them a performative, additional dimension, generating multiplicity, where the same architectural structure or place is encountered simultaneously in both its light and physical forms. The effect is hyperreal, transforming buildings into simulacra, versions of distorted reality, where no original exists. As the building appears to move, the mind simultaneously informs the viewer that it is static, evoking a co-created tourist experience. Light shows, arguably staged by “imagineers”, reflect the increasing move toward the spectacle essential for creative and experience economies.