This article addresses alternative models for a reflexive methodology and examines the ways in which doctoral students have appropriated these texts in their theses. It then considers the indeterminate qualities of those appropriations. The paper offers a new account of reflexivity as “picturing,” drawing analogies from the interpretation of two very different pictures, by Velázquez and Tshibumba. It concludes with a more open and fluid account of reflexivity, offering the notion of “signature,” and drawing on the work of Gell and also Deleuze and Guattari in relation to the inherently specific nature of “concepts” situated in space and time.
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