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This study aims to offer an original criterion of assessment for examiners of practice-based doctorates in contemporary arts practices, based upon the degree of intrigue, perceptual and conceptual, afforded by the research outputs. It is argued that intrigue is the necessary stimulus for the states of attention required for the recognition of fresh understanding and the acquisition of new knowledge from such outputs. The paper is intended to support doctoral students structuring theses for such research, those responsible for assessing proposals in university cross-disciplinary research committees with limited experience of practice-based research and the examiners of such research.

Acknowledging the several decades of work already published on practice-based research, this study adopts an aesthetic cognitivist position from which the visual arts are construed as powerful means of deepening our understanding, a source of non-propositional knowledge on a par with, although qualitatively different from, the way that the sciences are accepted as the means to propositional knowledge.

A case study demonstrates the efficacy of applying the proposed criterion in the assessment of practice-based doctoral research.

Within the social context of academic research, the article strengthens the validation of practice-based research.

The terms perceptual intrigue and conceptual intrigue are coined as values implicit in aesthetic cognitivism; they are construed as the initial stimuli for the state of attentiveness required for fresh understanding, and the degree of balance between them is proposed as an original criterion for the assessment of practice-based research.

The management of children′s literature is a search for value and suitability. Effective policies in library and educational work are based firmly on knowledge of materials, and on the bibliographical and critical frame within which the materials appear and might best be selected. Boundaries, like those between quality and popular books, and between children′s and adult materials, present important challenges for selection, and implicit in this process are professional acumen and judgement. Yet also there are attitudes and systems of values, which can powerfully influence selection on grounds of morality and good taste. To guard against undue subjectivity, the knowledge frame should acknowledge the relevance of social and experiential context for all reading materials, how readers think as well as how they read, and what explicit and implicit agendas the authors have. The good professional takes all these factors on board.

This paper comes from workshop activities and structured reflection by a group of artists and researchers who have been using artistic practice within research projects aimed at enabling researchers to collaborate with communities. The paper aims to discuss these issues.

Three out of four in the group have a practicing creative background and their own studio/workshop space.

Artists are often employed – whether in schools or research projects – to run workshops; to bring a distinctive set of skills that enable learning or collaboration to take place. In this paper the authors reflect on the different meanings and connotations of “workshop” – as noun (as a place where certain types of activity happen, a bounded space) and a verb (to work something through; to make something together). From there the authors will then draw out the different principles of what artistic practice can offer towards creating a collaborative space for new knowledge to emerge.

Key ideas include different repertories of structuring to enable different forms of social interaction; the role of materal/ality and body in shifting what can be recognised as knowing; and the skills of “thinking on your feet”, being responsive and improvising.

The authors will conclude by reflecting on aspects to consider when developing workshops as part of collaborative research projects.