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The arrival of post-qualitative arts methodologies is unsurprisingly a critique of the metanarratives that have reduced the complexity of methodology to the instrumentalism of the methodical. Locating their work in the theoretically innovative post-qualitative, the authors affirm imagination as method. They detail how in the creative moment(s) of making there is not only a positive entanglement of the researchers’ relational constructions of knowing, knowledge, the self, and the world; but also a recognition of moral obligation. Because the content of what is imagined is both within and beyond shared perceptions, imagination as method can be detailed and precise; it can be coherent, informative, convincing, even compelling action, but it is always imaginative – and this is its promise for post-qualitative research. The authors suggest that a politics of the imagination turns away from the source of contention to generate new networks and systems of social relationships: it is not a resistance but a making. As a political imagination, research is the generative poiesis that emerges through and within specific acts of creation and generation. An example of a collaborative poetry writing practice is used to demonstrate imagination as method and to fractal the notions of value-creation, meaning-making, and imaginative play within the Canadian arts education research context.
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