Donna Frost

Philosophical foundations and methodological principles 81 3 and preconscious forms of knowledge, expanding the scope and depth of critical dialogue with others’ (p. 17 ). Use of creative expression and artistic and cognitive critique enables identification and examination of false consciousness (van Lieshout, 2013 ), the deconstruction and reconstruction of moments of crisis (Boomer & Frost, 2011 ; van Lieshout, 2013 ) and deep exploration of self (Kinsella, 2017 ), facilitating the emergence of new possibilities for action and overcoming barriers to new ways of being and doing (Mekki, 2015 ; Kinsella, 2018 ; Williams, 2019 ). Of particular interest within CCCI is the potential of creative expression and reflexivity to facilitate collaboration among inquiry members with respect to the co- production and collaborative critique of knowledge and the co-creation of shared understandings (Heron & Reason, 2001 ; Boomer & McCormack, 2007 ; van Lieshout & Cardiff, 2011 ; Mekki, 2015 ). These processes are captured by the several of the metaphorical principles for human flourishing described by Titchen and McCormack ( 2010 ). The principle of ‘Creative effectiveness’ (p. 540 ) represents the explicit blending of the critical with the creative, enabling improvisation, enjoyment of creative expression, sometimes rapid shifts of perspective and opening up of possibilities. Within CCCI this principle primed us to pay attention tomoments of flowand effectiveness and to look for such moments in our practice and our inquiry work together. As well, we used artistic approaches to symbolise, re-present and explore our experiences, insights and understandings, combining these with critical questioning to test our assumptions and ideas. The metaphorical principle of ‘Movement in the stillness’ sounds like a paradox, but it is the essence of creativity (Titchen & McCormack, 2010 , pp. 540 - 541 ). It is about letting go of the old so that the new can come, creating the stillness of reflection and contemplation and thereby room for movement. Within CCCI this principle came into play when we created time and space within which we could stop, slow down, focus and be still, pay attention to what was happening and be open to what could happen. Additionally it meant learning to accept and tolerate the unknown and feelings of uncertainty while working through a process, noting and accepting old or ingrained ways of doing and being, paying attention to letting them go and opening ourselves up to new ideas or possibilities and trusting that we would get to an outcome even if the outcome was at that point unknown. Acknowledging times of crisis or turbulence within the CCCI, learning to channel the energy as facilitator and group members so that it could be transformed into a creative and positive impulse are examples of the metaphorical principle called ‘Energising forces’ (Titchen & McCormack, 2010 , p. 540 & 541 ). Creative expression