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Dementia is arguably one of the biggest challenges facing society today, impacting millions of people worldwide. Nonetheless, there is only a relatively small body of research exploring what it is like to live with dementia from the perspectives of people who have this condition. This is partly because of the (implicit or explicit) belief that people with dementia lack insight into their condition and cannot talk about their experiences clearly. In this article, I argue that such beliefs are typically both erroneous and unhelpful, and that there is great value in seeking to illuminate the lived experiences of people with dementia. I present an interpretative phenomenological analysis of data from semi-structured interviews with six participants who had moderate dementia. I elicit five themes from this analytic process, and discuss the three most prominent here: awareness and understanding of dementia, clarity and confusion, and social support and relationships. I mobilise these themes to narrate the lived experiences of people with dementia, demonstrating their awareness both of the difficulties presented by dementia and of the negative perceptions of others.

Intro -- Copyright Page -- Contents -- Introduction -- 1: Little griefs -- 2: Reasoning backwards -- 3: WTF -- 4: Pick a crisis -- 5: Trivial pursuits? -- 6: A hundred billion neurons -- 7: Skin -- 8: The end of the beginning -- Further reading -- Acknowledgements -- Back Cover

For many, the arts and sciences stand at opposite ends of an unbridgeable divide: the sciences, rigid, objective, systematic and authoritative; the arts, fluid, subjective, dynamic and capricious. Yet, there is a long history of productive dialogue and interconnection between these fields. Arts-based research represents a particularly fertile form of arts/science interaction. This paper interweaves poetry, theoretical discussion and empirical research to make the case for spoken word poetry as an arts-based method of inquiry that can provide a radically different way of doing, being and collaborating in and through research. With reference to the innovative method of 'collaborative poetics' and to the work of youth slam/spoken word educators, I argue that social scientists and spoken word practitioners can learn much from one another's tools, techniques and ways of thinking, creating new forms of knowledge, redefining the audience/author relationship, and facilitating a 'critical resilience' which enables both individual fortitude in the face of adversity and a means through which to challenge the conditions that give rise to this adversity. The paper thus considers how spoken word as participatory poetic inquiry enables participants, researchers and poets to address the critical complexities and challenges of contemporary life.

In this conference essay, we reflect on a sandpit, organized by the AHRC Everyday Creativity Research Network on the theme of place-making and everyday creativity. We begin by introducing the Everyday Creativity Research Network and the problems faced in defining everyday creativity, which was a key objective of this sandpit. We then discuss the program and major themes identified during the event. We distinguish between the concepts of "space" and "place," with particular consideration into how these concepts shape policies on everyday creativity. "Spaces of opportunity" is proposed in this context as a potential term that offers a framework to understand subjective and collective uses of creativity. We also identify constraints that hinder everyday creativity, including limitations on resources and lack of access. We explore how present models of creative initiatives are restricted by bureaucratic procedures that necessitate a focus on output as a measure of impact. We conclude by reflecting on future actions for this Network to propose alternative models of creative initiatives that encourage everyday creativity in a way that minimizes judgments and barriers while respecting local understandings of creativity.

There is robust evidence supporting the positive impacts of the arts on health and wellbeing; however, researchers suggest that the poorest in society are significantly less likely to engage with the arts than the wealthy. In this article, we describe a creative, community-university partnership between the Hangleton & Knoll Project and the University of Brighton, where we aimed to investigate and tackle this "participation gap." Using the participatory arts-based method of collaborative poetics, we found that, contrary to claims in the literature, local residents valued and engaged with a wide range of art forms; however, their access to the arts was limited by issues including money, travel and illness. By communicating these findings creatively to a broad range of stakeholders, we were able to stimulate greater investment in the arts locally, with steps taken towards the establishment of a dedicated community arts venue. In this article we reproduce some of the arts-based outputs we created, using these to criticize the reductionist understanding of the arts that lies beneath "participation gap" claims and to demonstrate the enormous potential that can be unlocked when universities and local communities collaborate creatively as equal partners.