We set up the workshops with two aims. The first was to investigate the opportunities as well as the problems with using non-traditional forms of evidence. For critical and creative research today, what might count as evidence could include a persistent feeling, an account of a nightmare, a tweet, a nightclub flyer, or a discarded object. How can we do justice to these objects in our research and thinking? What must we learn or unlearn in the process? The second aim was centred on writing. We wanted to encourage more attention to the craft of writing and to the constitutive power of description. We started from the position that everything was evidence, but that it wasn’t always clear what it was evidence of. To make something evidential means activating it – through some form of mediation (for us it is writing, but it could be performance, or filmmaking, or drawing etc.). This means that writing (or any other forms of rendering) is not the epiphenomenon of a method but lies at its centre.