Donna Frost

Chapter 2 50 Finally, the knowledge and experience generated by the encounter contribute to the further development and deeper embodiment of the artistry of the professional (eg. Andresen and Fredericks, 2001 ; Austen, 2010 ; McGinley, 2009 ; Mulcahy, 2013 ), particularly when the professional has become able, perhaps with facilitation, to pinpoint or articulate these aspects of their practice and/or its development (Schön, 1983 ; 1987 ; 2001 ; Titchen, 2019 , Titchen & Kinsella, 2019 ). 5 . Professional artistry involves the professional perceiving and responding holistically, creatively and critically Attune, attend; still. Imagine, invite, shape, sense: Clarity, purpose Bring into being Spiral down, unique response, focused action, dance. This aspect of professional artistry refers to the professional engaging wholly (Goldstein, 1998 ) with and making sense of the particular professional situation in which they are acting. Using all their senses and drawing on their personal and professional characteristics, or, as Titchen ( 2019 ) says, the various ‘dimensions of self’ (p. 50 ), the professional dialogues critically and creatively with the practice situation and comes to a cognitive and/or bodily understanding of the particular action required. Perception and understanding lead to the unfolding of a unique creative response in action (eg. Fish, 1998 ; Cowan, 2007 ; Titchen, 2009 ), delivering, in turn, new information. Gore et al ( 2000 ) describe this as part of the ongoing exploration of alternatives and Grainger ( 2003 ) insists that this complex, emergent response, or performance, must not be divorced from the hidden processes by which it is underpinned. These generally non-linear processes (Andresen and Fredericks 2001 , Fish and de Cossart, 2006 , 2007 ), lead to appropriate action, taken intentionally and with confidence (Radovich and Higgs, 2001 ), and are often able to prevent escalation or minimise problems; therefore the extent of the holistic action is not always visible to an outside observer (Wright, 2004 ). These aspects of professional practice cannot be explained or achieved with technical skill alone. Key within this aspect is the professional’ s ‘ framing’ (Schön, 1983 , p. 40 ) of the practice problem: determining which aspects are salient and have priority (Titchen, 2000 ) . Schön ( 1987 ) saw this process as transactional as, although the practitioner