Researchers in the arts and humanities are often expected to ‘have’ or ‘choose’ a method, assuming methods are pre-existing entities, available to reach for and be applied. But method can be conceived in another way: as an emergent property of the ongoing dialogue between the researcher and the object of study.
How can we move toward more expansive and creative forms of method?
What is the relationship between method and imagination?
In what ways might greater attentiveness to the poetics of method enhance existing research approaches?