Donna Frost

Design and methods 107 4 were already part of the data set, and the presentations and dialogues experienced during the CCCI group meetings were audio-recorded and selectively transcribed and/or key-points were recorded on whiteboards or flip charts during the meeting and later photographed, digitally transcribed or both. Notice what we noticed Central to step ii (Experience) in both halves of the lemniscate cycle, was recognising and capturing the experiences deemed relevant to the study of professional artistry. The focus of the particular inquiry cycle helped determine the relevance of an encounter to the inquiry. We needed, however, to remain open to and be prepared for unanticipated valuable moments within practice or during our CCCI meetings. We therefore agreed to ‘notice what we noticed’ (Coats, 2001 ; Mason, 2002 ; Leggo, 2008 ; Titchen & Kinsella, 2019 ) while practising, presenting or observing. This meant paying particular attention to our bodily reactions such as sensations and physical and emotional reactions to the situations we encountered or observed (Scott-Hoy & Ellis, 2008 ; Titchen & Kinsella, 2019 ). We agreed to note these and record them in some way, even if we were not sure what they signified at that time. Once we had noted and captured them, by mentioning them during CCCI meetings for example, or in field notes during practice situations, a research log or even on note paper, we were able to return to them during reflection and explore them further (Darawsheh, 2014 ). This strategy drew particularly on the methodological principles of an inclusive epistemology, of paying attention to our critical and creative ways of doing and being and accessing our unconscious responses (cf. Kinsella, 2018 ; Titchen & Kinsella, 2019 ). It was intended to help us navigate and explicitly use our subjective position, a way of finding a balance between detachment from and engagement within the situation. Noticing what we noticed helped us to be aware, or become aware, of what was significant, or salient (Enosh & Ben-Ari, 2016 ; Titchen, 2004 ) in the moment. This information was then available, at that time or later, for reflection. iii) Creative response This thirdstep in theCCCI inquirycycle (seeagain theFigure 4 . 5 fold-out) paysexplicit attention to the embodied and embedded nature of our experiences in the world and, specifically, bringing what we know unconsciously, bodily and metaphysically into consciousness (cf. Gendlin, 2003 ; Rose, 2016 ; Kinsella, 2018 ; Williams, 2019 ). In this part of the process the inquiry participants responded creatively to the event just experienced. This step was undertaken in silence and was aimed in the first instance at making the implicit and tacit aspects of the professional practice visible,