Donna Frost

Design and methods 109 4 material which they wanted at the time, from those available. In the RN inquiry I was always the facilitator of this part of the process. Within the NP inquiry there was active experimentation with different forms of creative expression, and different inquiry members took the lead, in some of the later meetings, with facilitating the creative process. Goal of the creative response In both loops of the lemniscate process, working creatively was aimed at explicating the practice episode or presentational experience quickly and laying the groundwork for new insights, as well as giving room to express the more ineffable aspects of our (bodily and emotional) reactions. The expression of felt sensations, emotional impressions, and spiritual connections or disconnections, for example, in a form that made them visible, firstly to the individual and also in a way that could be sharedwith others. As well, it was in this step that we foregrounded and explicitly engaged our embodied knowledge and creative ways of being, making meaning, understanding and critiquing. There are many examples in the literature of creative methods being used to render the intangible tangible (eg. Patton, Higgs, & Smith, 2011 ; Dewar, 2012 ) and thereby available for reflective consideration (Alvesson & Sköldberg, 2009 ; Darawsheh, 2014 ; Enosh & Ben-Ari, 2016 ), to learn about and from the metaphysical aspects of our being (eg. McIntosh, 2011 ; van Meer, 2016 ; Titchen, Cardiff, & Biong, 2017 ) and in the creation of potentially transformative spaces (eg. Hardy, Bolster, Kelly, & Yalden, 2011 ; Seeley, 2011 ). In some circumstances creative expression is regarded as indispensable to rigorous research design. This is the case within co-operative inquiry, for example, where an extended epistemology is recognised (Heron & Reason, 2008 ; Mullett, 2008 ; Hopkinson, 2015 ), and for those working within a critical creativityworld view (eg. van Lieshout, 2013 ; Kinsella, 2017 , 2018 ; Middleton, Mackay, Riley, & Stephens, 2018 ) or acknowledging aspects of critical creativity in their methodology (eg. Cardiff, 2012 ; Indar, Espin, LeGrow, & Janes, 2018 ; Williams, 2019 ). In the CCCI process the goal of creative expression was likewise multifaceted. This step was helpful when working through a puzzle or conundrum being faced in the course of the inquiry, or as part of reflective interpretation of experience or data. It also helped us to come to the essence of the experience fairly quickly and be able to identify the salient points, particularly important when time was short. Although the creative expressions became part of the data set, they were not created with the intention of display after the fact, neither was it the artistic merit of the creative expression that was the focus. In this step of the CCCI design it was, as described