Dissertations / Theses: 'Research-led practice'

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Stevenson, Kylie J. "Creative River Journeys: Using reflective practice to investigate creative practice-led research." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2025.

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This ‘Creative River Journey’ doctoral study explored the processes of art practice and knowledge-making by six artist–researchers engaged in creative higher degrees by research (HDR) at Edith Cowan University (ECU) in three arts disciplines—performing arts, visual arts, and creative writing. The study applied the Creative River Journey (CRJ) reflective practice strategy, originally applied as the River Journey tool in music education (Burnard, 2000; Kerchner, 2006), but further developed by the researcher into a three-phase reflective practice strategy for its application in complex practice-led research projects over the extended period of the participants’ HDR studies. Six rich cases studies of HDR artist– researchers, and their reflective practice and practice-led research, resulted. The researcher took an a/r/tographical approach (Irwin & de Cossen, 2004) and specifically focused on inquiring into the intersection between arts practice, practice-led research, and HDR creative arts training and pedagogy. The study addresses three questions in relation to these three concepts about what the application of the CRJ strategy to the creative process elucidated for, and about, the HDR artist–researcher. A fourth question addresses the experiences and evaluations by participants of the CRJ strategy. The ‘Creative River Journey’ study aimed to examine the way that reflective practice and the CRJ reflective strategy might add to emerging practice-led research methodologies for individual artist–researchers and the field of practice-led in general. In the past decade, there has been a significant continued discussion about the nature of research in the creative arts (for example, Nelson, 2013; Barrett & Bolt, 2007; Smith and Dean, 2009). This study adds the perspective of the HDR artist–researcher engaged in a creative arts doctorate to this discussion. The study’s HDR perspective joins existing Australian contextual reviews of practice-led research, for example, effective supervision of creative practice higher degrees (Hamilton & Carson, 2013a), and examining doctorates in the creative arts (Webb, Brien & Burr, 2012). This study advances this discussion by providing rich case studies of HDR practice-led research from the outsider perspective of the researcher whilst, at the same time, providing a unique insider perspective as the researcher acts as a co-constructor of the participants’ reflective practice, and as the participants independently document their creative practice and reflective practice strategies. This thesis will demonstrate that the CRJ reflective strategy is an innovative way of exploring the relationship between the creative and critical components in creative arts higher education degrees. The strategy generated knowledge about how each artist–researcher engaged in a meld of practice and research in the art-making process within practice-led research, and brought to light key critical moments in the practice-research nexus. Of consequence to the knowledge outcomes for the HDR artist–researchers in the study is how these captured the phenomena of their praxis, and thus was a useful documentation approach to their practice-led research. This thesis will make evident the ‘Creative River Journey’ study’s contribution to the rich established field of practice-led research in general, made possible through the deliberate pedagogical interventions of the CRJ reflective strategy.

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Latham, Philip. "Void, a comic novel : practice-led research into humour." Thesis, Keele University, 2017. http://eprints.keele.ac.uk/4259/.

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This thesis comprises a critical essay and practice-led research in the form of a full-length novel, Void, that constitutes my original contribution to knowledge. The critical essay comprises three principal chapters, the first of which is a memoir that discusses the early comic influences that have shaped my creative imagination in the form of the films of Laurel and Hardy, Harold Lloyd and Will Hay. The second chapter considers humour and science fiction, concentrating on the origins and definitions of science fiction and then focussing on Douglas Adams’ The Hitch Hiker’s Guide to the Galaxy novels and how his comedic techniques relate to Void. The third chapter considers the methods to generate humour that I employ in my own text, through the framework of the origins of comedy, the leading theories of humour, the associated incongruities of situation, character and language and my use of intertextuality to incorporate elements of Adams’ novels into my own. The final section contains Void, my debut humorous novel that blends elements of romance, science fiction and action-adventure.

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Black, S. "Illumination through illustration : positioning illustration as practice-led research." Thesis, University of the West of England, Bristol, 2014. http://eprints.uwe.ac.uk/23970/.

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This thesis represents a practice-led enquiry into contemporary illustration from a UK perspective. This thesis argues for illustration to be recognised as an inductive practice-led research process, within both education and developing criticism. The methods and methodological discussion to support this are derived from the practical aspect of the enquiry. The inductive approach outlined through the methods chapter focuses on the benefits of removing the known outcome from projects, and of illustrators maintaining their own practice alongside commissioned work. The discussion of methods proposes that the commissioned strand of illustration adopts research in illustration as research for illustration. The discussion of performative forms adopted within illustration contributes to the discourse surrounding practice-led research outcomes, in particular Brad Haseman’s performative paradigm for creative arts research. The methodological approach is proposed as a supplementary strand of teaching, which equips illustrators with long-term skills to generate their own projects and employment. These enable illustrators to be flexible and able to adapt to economic and technological changes to industry practice. The thesis examines research processes within illustration which are transferable to different contexts. These include the increase in digital screens and their time-based communications, and the development of three-dimensional objects and environments within the field. The practical work undertaken employed these processes and generated a contribution to the growing discourse surrounding contemporary illustration in the UK. Illustration suffers from a lack of published analysis and as a result its critical discourse is limited. Therefore this study bases its argument upon themes identified within existing illustration commentary, the work of key practitioners, and my studio practice. The focus of research undertaken is mainly on self-initiated projects, but includes commissions where the outcome is not prescribed from the outset. Conversations with Matthew Richardson, Luise Vormittag, Steve Braund, Andrzej Klimowski and Henrik Drescher provide supplementary primary research. The outcome is a contribution to the development of a critical framework derived from practice, which acknowledges the shortcomings of existing frameworks available. The thesis proposes that the concept of time be adopted as a key characteristic of illustration, the discussion of which references Henri Bergson, comics and artist’s books. The utility of time lies in its productive application to both the production and analysis of work. Illustration’s unique negotiation of time through spatial manifestations is used to situate the field in relation to key shifts within culture such as Fredric Jameson’s postmodernism and Nicolas Bourriaud’s altermodernism. The thesis outlines the diversity of temporal achievements within illustration in this regard, and calls for greater recognition of illustration practice and discourse within such discussions of the time we live in.

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Haslem, Neal Ragnar, and neal@nealhaslem net. "The practice and the community: a proposition for the possible contribution of communication design to public space." RMIT University. Applied Communication, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080212.165002.

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The practice of communication design has developed from a visual-communication service industry into a multi-facetted profession, directly involved with the maintenance and creation of social and cultural capital. The ancestry of communication design has led to its continued perception as a neutral tool for the achievement of communication. This research project aims to investigate the possible contributions of communication design as a practice, if it were to re-align its goals towards supporting and facilitating the community within which it is practiced. This research project is about the communication designer and the communities within which they practice: clients; target markets; companies; managers; neighbourhood groups; groups in a particular place and time; communities of practitioners; and emergent or yet to emerge communities. The project investigates designer agency and the ways for a communication designer to work holistically within communities: being or becoming part of them; working through and with them toward the achievement of communication goals. As much as it is about communicating, it is also about community. It is about designers working as conduits, facilitating and enabling the communities of their practice to find expression. It is about a democratisation of communication design authorship and power. It is about the design process as an educational process - all parts and participants within a design projects' community learning and teaching simultaneously. The research project encompasses a series of component projects, across a range of different media, using a practice-led-research framework and a reflective practitioner methodology as the key investigative tool.

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Hudson, Roland. "Strategies for parametric design in architecture : an application of practice led research." Thesis, University of Bath, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524059.

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A new specialist design role is emerging in the construction industry. The primary task related to this role is focused on the control, development and sharing of geometric information with members of the design team in order to develop a design solution. Individuals engaged in this role can be described as a parametric designers. Parametric design involves the exploration of multiple solutions to architectural design problems using parametric models. In the past these models have been defined by computer programs, nowcommercially available parametric software provides a simpler means of creating these models. It is anticipated that the emergence of parametric designers will spread and a deeper understanding of the role is required. This thesis is aimed at establishing a detailed understanding of the tasks related to this new specialism and to develop a set of considerations that should be made when undertaking these tasks. The position of the parametric designer in architectural practice presents new opportunities in the design process this thesis also aims to capture these. Developments in this field of design are driven by practice. It is proposed that a generalised understanding of applied parametric design is primarily developed through the study of practical experience. Two bodies of work inform this study. First, a detailed analytical review of published work that focuses on the application of parametric technology and originatesfrompractice. This material concentrates on the documentation of case studies from a limited number of practices. Second, a series of case studies involving the author as participant and observer in the context of contemporary practice. This primary research of applied use of parametric tools is documented in detail and generalised findings are extracted. Analysis of the literature from practice and generalisations based on case studies is contrasted with a review of relevant design theory. Based on this, a series of strategies for the parametric designer are identified and discussed.

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Bryant, Stephen Peter. "Practice-led research into music : a synergetic trifecta of glissandi, microtonality, and isorhythms." Thesis, University of Central Lancashire, 2016. http://clok.uclan.ac.uk/18594/.

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The contribution to knowledge, and the core of the research, is a tonal foundation based on glissandi using compositional techniques derived from synergy of glissandi, microtonality, and isorhythm. The techniques are performed on specially constructed guitars in 18, 24, 30, and 36 tet (tone equal temperament). Guitar based musical artefacts demonstrating some possible techniques are arranged on two compact discs: CD1 ‘Experimental Miniatures’ and CD2 ‘After Twelve’.

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Mafé, Daniel. "Rephrasing voice : art, practice-led research and the limits and sites of articulacy." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/32131/1/Daniel_Maf%C3%A9_Thesis.pdf.

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While my PhD is practice-led research, it is my contention that such an inquiry cannot develop as long as it tries to emulate other models of research. I assert that practice-led research needs to account for an epistemological unknown or uncertainty central to the practice of art. By focusing on what I call the artist's 'voice,' I will show how this 'voice' is comprised of a dual motivation—'articulate' representation and 'inarticulate' affect—which do not even necessarily derive from the artist. Through an analysis of art-historical precedents, critical literature (the work of Jean-François Lyotard and Andrew Benjamin, the critical methods of philosophy, phenomenology and psychoanalysis) as well as of my own painting and digital arts practice, I aim to demonstrate how this unknown or uncertain aspect of artistic inquiry can be mapped. It is my contention that practice-led research needs to address and account for this dualistic 'voice' in order to more comprehensively articulate its unique contribution to research culture.

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Matthaei, Nerida K. "Recontextualising my choreographic self: Conceptual and processual strategies for rerouting practice." Thesis, Queensland University of Technology, 2018. https://eprints.qut.edu.au/116353/1/Nerida_Matthaei_Thesis.pdf.

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This practice-led research project defines a methodological basis for the recontextualisation and rerouting of this artist-researcher's choreographic praxis. This was achieved via experimenting and testing new contemporary strategies underpinned by embodied reflexive practices and creative case studies, which resulted in the creation of new performance works. The study provided the researcher with mechanisms to articulate, recontextualise and interrogate processual choreographic complexities. Situated in the shifting landscape of the independent choreographer-dancer-producer, it identifies that investigating processual choreographic innovation has been vital to the researchers ongoing artistic development and acknowledges this necessity for the broader field of contemporary choreographic practice.

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Sade, Gavin John. "Envisaging alternatives for practice : a study into the way concepts of sustain-ability can be explored within an interactive media arts practice." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/53314/1/Gavin_Sade_Thesis.pdf.

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This practice-led study explores different ways the subject of sustain-ability can be addressed within an Interactive Media Arts practice. The exploration encompasses three creative projects, Charmed, Distracted and e. Menura superba. Grounded in an ecological philosophy inspired by vegetarianism and the critical design philosophy of defuturing, the work shows how such a philosophical position can guide the redirection of practice. The concern for sustain-ability within my practice, and more generally the question of Interactive Media Arts and sustain-ability, I refer to as a problématique. The objective of this study is not one of finding an answer or a truth to an instrumentally posed question, but to explore the complexities of the problématique through a program of practice and intellectual investigation. The aim being to redirect my practice and to find a renewed raison d’être for practice through a process of opening up, encountering, and discovering otherwise unknown possibilities for practice. In the context of sustain-ability, this opening up of possibilities can be considered a form of futuring. A futuring I argue is only possible if the things we take for granted as integral aspects of our being, practices and life worlds, are revealed in ways that estrange them, rendering them visible in ways that allow questioning and change.

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Clarke, Rebecca. "What feels true? : sifting through belongings." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/54666/1/Rebecca_Clarke_Thesis.pdf.

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This practice-led research project explores how, after a successful first experience writing a poetic solo theatre work derived largely from autobiography, I sought to find personal connection and satisfying ‘authenticity’ in the writing of a more difficult, nonautobiographical second work. Via reflections on practice, through an autoethnographic narrative, the project also evokes a practitioner’s struggle to self-educate, survive personal, life-changing loss, and manage heightened professional stakes. In doing so, it reveals essential lessons in acknowledging, accepting and following ‘what feels true’, to remember and consider in future writing.

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Ryan, Kathryn Mary. "Pieces of practice | avian spaces." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/12008.

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This research paper is written in a first-person narrative style. The style mirrors the practice-led research methodology I have used which privileges process over resolution and acknowledges that making can be both generative and interrogative. More traditional research methods rely on distancing the researcher from production and placing them within an external framework. Practice-led researchers “construct experiential starting points from which practice follows. They tend to ‘dive in’, to commence practising to see what emerges. They acknowledge that what emerges is individualistic and idiosyncratic.” In this paper the reader is taken on a journey from the spaces of the future, present and past in search of the ‘unfound’. The ‘unfound’ is also to some extent ‘unknown’, but occasionally reveals itself in the text through accidents of poetic association between objects, art and literary moments. The space of the paper is also an avian one. It doesn’t interrogate the material egg and bird object motifs in my practical work, but occupies the air to which these forms owe their qualities of transience, agility and fragility. It is this element that exemplifies the space of my works production. Instead of dissecting and pinning down this element (which would be antithetical), I have tried to occupy its spirit. A substantial part of the paper is made up of footnotes and references to exterior sites, elements that in this paper are far from peripheral. They are employed here as literary devices that enable a visual and conceptual illustration of the distance between process and analysis. Alberto Manguel wrote that “all writing depends on the generosity of the reader.” This paper requires a ‘generous reader’ willing to follow an experimental journey. 1. Brad Haseman, ‘Tightrope Writing: Creative Writing Programs in the RQF Environment’ http://www.textjournal.com.au/april07/haseman.htm 2. Alberto Manguel, A History of Reading (London: Flamingo, 1997), 179.

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Adams, Suze. "Location, dislocation, translocation : navigating a space between place and becoming through practice-led research." Thesis, University of the West of England, Bristol, 2012. http://eprints.uwe.ac.uk/16667/.

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The focus of this thesis is the experiential landscape viewed through the lens of a performative visual arts research inquiry. The project explores the dialogue between practice and theory through a series of research projects that focus on the experiential inter-relationship of body and place, incorporating still and moving imagery, sound, text and performance. The inquiry follows an understanding of the body as a site of cross-fertilisation and proposes that the oscillation between an experience of landscape and the reception of artworks (between engagement, understanding, articulation and artefact) aids reflexive creativity in the maker and encourages audience reception. Through exploration, examination and rigorous analysis, this practice-led study applies an affirmative criticality to the concepts of dwelling and becoming, and lays the foundation for a reappraisal of notions of home and identity in theory and in practice. Contextualising these theoretical concepts, indicative creative projects are outlined throughout. An extended review of Communion, an artwork first performed in 2008, is pivotal to understanding my expanded research practice through a conjunction of media and a series of collaborations. Personal projects are examined here alongside relevant artworks by other practitioners – namely Ana Mendieta, Roni Horn and Tacita Dean. Following a largely phenomenological methodology, embodied practice forms the basis of an argument that proposes that attention to the localised specificities of place is a productive means through which to reconsider our relationship with the experiential landscape. In this regard, offering new interpretations and understandings of the inter-relationship between a place and a self, and raising questions around issues of belonging and identity (personal, social and cultural). The discussion rests on an understanding that subjectivity is multiple and hybrid and that the potential of becoming is (arguably) important to more ethical, inclusive understandings of belonging on a range of scales, from the immediately local to the global, the personal to the socio-cultural. The enfleshed self and located place in this study are understood to be continually in process – sites of constant (re)negotiation; intimately connected, physically and psychologically co-constituted, and informed and performed by each other in practice. Chapter One lays the foundation for my discussion, outlining early research and giving an overview of debates surrounding practice-led research in the visual arts before detailing the position and particular approach taken in this project. Informed by a range of cross-disciplinary writers including art historian/curator Miwon Kwon and cultural geographer Doreen Massey, Chapters Two and Three examine issues of place and embodied practice and detail the phenomenology and temporality of place as explored, understood and (re)presented in this research project. Visual examples of relevant works by other artists are given together with personal artworks through which the terms location and dislocation are expanded. In Chapters Four and Five, I examine the concepts of dwelling and becoming in relation to notions of home, belonging and identity as explored in the context of two specific locations – both places I call ‘home’. Here, the words of Luce Irigaray, the artworks of Ana Mendieta and the observations of Edward S Casey inform practical research and the dynamic role of the body in the synthesis of practice with theory is highlighted. Again, examples of personal artworks are reviewed at length alongside those of other artists. In the final chapter, Chapter Six, I discuss the interplay between practice and theory with regard to the philosophical understanding and practical application of photography in this project. The concepts of affect and haptic visuality are examined and particular attention is paid to the oscillation between presence and absence – as experienced in the lived landscape and as reflected through the photographic image. Texts by Roland Barthes and Jean Luc Nancy inform empirical research and, in the dialogue between embodied experience and abstract ideas, the visual examples from personal projects (as well as other artists) are pivotal. Research in this doctoral project is progressed throughout via an interactive exchange between practice and theory where the lived and the learned both play important roles and together serve to deepen corporeal and conceptual understandings. The body is understood as a site of cross-fertilisation in the performativity of practice where a diverse range of influences and references intertwine and constantly merge to blur the boundary between practice and theory. In this respect, a performative writing style is employed in order to reflect the locus of research (the phenomenological landscape) as well as the performativity of the dialogue between the abstract concepts and concrete particulars that together inform this inquiry. This thesis further proposes that performative writing strategies are necessary in order to adequately reflect embodied research and that, in this respect, the project serves not only as a model for dissemination of practice-led research within the visual arts but across the disciplines.

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Vones, Katharina Bianca. "Towards the uncanny object : creating interactive craft with smart materials." Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/2d9a7303-4fd7-4110-ae83-6438904108a5.

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The increasing prevalence of digital fabrication technologies and the emergence of a novel materiality in contemporary craft practice have created the need to redefine the critical context of digital jewellery and wearable futures. Previous research in this area, such as that presented by Sarah Kettley (2007a) and Jayne Wallace (2007), has provided the foundations for further enquiry but has not been advanced significantly since its inception. The artistic research presented in this thesis focuses on how smart materials and microelectronic components could be used to create synergetic digital jewellery objects and wearable futures that reflect changes in the body of their wearer and their environment through dynamic responses. Laying the foundations for a theory of Interactive Craft through evaluating different aspects of creative practice that relate to responsive objects with a close relationship to the human body is at the centre of this enquiry. Through identifying four distinct categories of wearable object, the Taxonomy of the Wearable Object is formulated and clearly delineates the current existing conceptual, technological and material perspectives that govern the relationships between different types of wearable objects. A particular focus is placed on exploring the concept of Digital Enchantment and how it could be utilised to progress towards developing the Uncanny Object that appears to possess biological characteristics and apparent agency, yet is a fully artificial construct. The potential for the practical application of a design methodology guided by playful engagement with novel materials, microelectronics and digital fabrication technologies is analysed, taking into account Ingold’s concept of the textility of making (Ingold, 2011). Through exploring the notion of the Polymorphic Practitioner in the context of Alchemical Practice, a model for experiential knowledge generation through engaging in cross-disciplinary collaboration is developed. This is supported by a qualitative survey of European materials libraries, including accounts of site visits that evaluate the usefulness of materials libraries for creative practitioners invested in novel materiality as well as visually documenting a selection of the visited libraries’ most intriguing material holdings. Utilising a scientific testing protocol, a practical body of work that centres on conducting extensive experiments with smart materials is developed, with a particular focus on testing the compatibility and colour outcomes of chromic pigments in silicone. The resulting chromic silicone samples are collated, together with sourced smart materials, in a customised materials library. Investigational prototypes and the Microjewels collection of digital jewellery and wearable futures that responds to external and bodily stimuli whilst engaging the wearer through playful interaction are presented as another outcome of this body of research.

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Holgate, Gary David. "Interactions in improvised music: people at play." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/10076.

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Interactions in improvised music: people at play This project began as an open exploration of musical interactions in a trio in which I have played bass for many years. We gave three concerts for the project and I explored our interactions by talking with the pianist/bandleader and drummer after each concert. They described a broad range of interactions and explored a number of different conceptions of what entails a musical interaction. The musicians were keen to talk about the factors that motivate them to perform together, mainly the desire to play. Play, for them, is its own reward. They aim to collaborate in the moment of performance to create something fresh, rather than display their instrumental technique or present music that has been preconceived. An appreciation of this motivation is needed to understand their interactions in concert. Audience members were also interviewed after every performance. They each experienced the concerts differently, in a way that reflects their preoccupations and interests as much as it reflects the concert event. The research thus provides a view of individuals and their differences that contrasts with the body of music research focused on common experiences within particular musical cultures and the acquisition of the skills required to participate in those cultures. This practice-led research project was allowed to develop and find focus gradually in cycles of performances, interviews and analysis of interview transcripts, concurrent with an ongoing exploration of texts about doing research. Various interactions – during the performances and interviews, between the researcher and the interview transcripts and between the researcher and research texts – contributed to the project’s development. These interactions can be thought of as play between foreknowledge and the unknown. Accordingly, play as described by the musicians and as defined in hermeneutics, was actively pursued as a way of developing an appropriate methodology for the project.

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Kim, Yeajee. "How To Get Through: Developing Coordination Practice and Solo Improvisation on the Drum Set." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29278.

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This autoethnographic practice-led research offers new ways of developing coordination and solo improvisation on the drum set through self-regulated practice and research. My coordination practice is focused explicitly on developing rhythmic phrases that are composed of even eighth-notes adapted from select exercises appearing in Ted Reed’s ‘Progressive Steps to Syncopation for the Modern Drummer’(1958). The practice is informed by my study of the Korean traditional rhythmic cycle Hwimori (translated as “Hard Drive” hasten, stormy rhythm; 휘모리) and Hwimori’s three distinctive musical elements which are: onomatopoeia training (Yip-changdan; 입장단), physical training (Hohup; 호흡), and compositional devices. During this period, I not only embodied new physical coordination but also recognised ‘mistakes’ that interrupted the flow of practice. I reclaimed these mistakes with the ‘Indicator System’, a systematic tool that allows for the documentation and analysis of mistakes (‘indicators’) that prompt new musical decisions. I further expand the utilisation of the Indicator System to recognise, document and remember original ideas that emerged in various environments. The collection of these indicators suggests a minimalist compositional structure – a graphic score - for my solo drum set improvisation album ‘How To Get Through’ (2021). The album utilises embodied coordination that was newly gained over the research period in a free and independent manner: I openly follow the compositional structure, that emerged from the Indicator System, and respond to creative prompts in a highly improvised manner (as trained through the Indicator System).

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Schostakowski, Benjamin A. "Scenographic practice in contemporary chamber theatre." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87434/1/Benjamin%20Schostakowski%20Thesis.pdf.

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This research study explores the practice of scenography in contemporary chamber theatre. The practice-led approach allowed for the exploration of theoretical insights around scenography (the arrangement of the performance space, lighting, sound, design, objects and performers) in chamber theatre, directly resulting in the creation and staging of a new theatre work, 'A Tribute of Sorts'. The production was directed by the researcher and staged in two professional theatre companies, Queensland Theatre Company and La Boite Theatre Company in Queensland, Australia. The study investigated if the scenographic components of the chamber theatre performance could be employed as a machine that operates according to its own logic of operations, psycho-plastic manipulations, and metatheatricality. By doing so, testing if the scenography becomes a dramaturgy that contributes to spectorial meaning-making in and of itself.

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Van, Opdenbosch Paul M. "Made by motion: A conceptual framework for abstracted animation derived from motion-captured movements." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84770/1/Paul_Van_Opdenbosch_Thesis_%28print_version%29.pdf.

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Despite an increasing number of acclaimed abstract animations being created through the application of motion capture technologies there has been little detailed documentation and analysis of this approach for abstract animation production. More specifically, it is unclear what the key considerations are, and what issues practitioners might face, when integrating motion capture movement data into their practice. In response to this issue this study explored and documented the practice of generating abstract visual and temporal artefacts from motion captured dance movements that compose abstract animated short films. The study has resulted in a possible framework for this form of practice and outlines five key considerations which should be taken into account by practitioners who use motion capture in the production of abstract animated short films.

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Jewell, Sharon L. "Surface materials and aspects of care: A study in modes of being in a visual art practice." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/88911/56/Sharon%20Jewell%20Thesis.pdf.

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Through creative practice and written research, this thesis explores the peculiar qualities of surface materials, revealing a broader ethos of practice which I identify as care. I propose that care arises as a mode of being between artist and work, work and beholder, and between the parts of the work. The thesis situates the art practice within an ethical framework, premised on, but extending, Heidegger's ontological equation of care with being. The original contribution is in the claim that the particular qualities of worldly matter generate the terms for care as a particular mode of engagement that is reciprocal and intransitive.

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Bletcher, Joanna. "Prototyping the exhibition : a practice-led investigation into the framing and communication of design as a process of innovation." Thesis, University of Dundee, 2016. https://discovery.dundee.ac.uk/en/studentTheses/e45c61a7-201a-4691-81c5-fb4a12ce4fd9.

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A challenge ignited the research outlined in this thesis. Design is increasingly being framed (across academia and industry) as an integral method and strategy for social, cultural and economic innovation. How is this value to be communicated within the museum context, which is more commonly rooted in an object-centric tradition? Temporary exhibitions are a primary means of communication and engagement for museums. The presentation of contemporary design has followed traditions of display stemming from fine art practices, as well being influenced by those in commercial environments. Consequently the thesis argues that there is a prevailing tendency to display the outcomes of design activity, to celebrate aesthetics and functionality, and to concentrate on the personality and talent of the designer. A key concern underpinning this research is that many museum design exhibitions arguably struggle to reveal the complexity of design activity: the intellectual and material processes driving innovation. This arguably risks limiting broader interpretation, and stifles the opportunity to extend audience understanding of design. The aim of this thesis is to question and explore key concepts that constitute the communication and exhibition of design in the museum. Design, innovation, curating, exhibition, audience: in the dynamic, transitioning contexts of design and the museum, all concepts must be scrutinized. In order to navigate this territory, a core method of design inquiry is adopted: prototyping. In this research, prototyping actively puts concepts to work through a dialectical investigation. This involves actively engaging in design to examine the concepts of curatorial practice, the exhibition, and innovation, whilst concurrently exploring concepts of design and innovation through the process of curating exhibitions. This dual-focussed research approach that has been developed, can be described as a hermeneutic, practice-led methodology. Hermeneutics supports a belief in contextually situated, practical action as a basis for developing understanding and knowledge (Bolt, 2011; Heidegger, 1962). The method of exhibition-making is framed and employed as a practical prototyping process: curating exhibitions in order to reflect on the construction of design narratives from within. Prototyping becomes a way to reflexively explore, analyse and question the practice of framing, mediating and communicating design as innovation. Three iterative practical projects act as case studies for the thesis, situated in three concrete contexts: the industry sponsor – V&A Museum of Design Dundee; design in Higher Education; and a national innovation festival. Each can be seen as the exploration and delineation of a design space (Heape, 2007), with all three forming part of the wider design space that is the thesis as a whole. Through reflecting on the acts of evaluating, selecting, editing, juxtaposing, connecting, framing and presenting design practice through exhibition, the research has formulated a curatorial strategy that aims at attending to the complex nature, changing priorities and values of particular design contexts. The thesis names this approach ‘the constellation’: adapting this term from the work of critical theorist Theodor Adorno (1973). The constellation takes the form of a series of visualisations that draw on, combine and develop research on design theory, design processes, and prototyping, by a number of key design researchers (e.g. Buchanan, 1998, 1995a; Dorst, 2015a, 2008; Heape, 2007; Lim et al., 2008; Sanders and Stappers, 2014, 2008). Operating at two levels, the constellation is the manifestation of the reflexive research process, illuminating both design and curatorial practice. It makes an original contribution to knowledge in two ways: firstly as the visual delineation of a prototype curatorial strategy for researching, framing and communicating narratives of design; secondly it offers a conceptualisation of concept development in design practice, shown as the continuous exploration of a design space. This articulates how prototyping, as a key design method, can encourage innovation through the exploration and analysis of concepts at varying levels of detail, with the aim of developing new perspectives. This thesis also makes an original contribution on a methodological level by extending the practice and discourse of prototyping to the method of exhibition, framing it as a strategy for innovation in design research. This adds to current discourse surrounding practice-led research within art and design. It also contributes to nascent discourse in relation to curatorial practice for design, and the growing interest in the specificities of design curation, in the context of the museum.

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Philp, Alexandra. "Subversive sisters: Reimagining biological sisters as Gothic in fiction." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/207282/1/Alexandra_Philp_Thesis.pdf.

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This thesis examines the potential of reimagining the Gothic to produce more complex representations of biological sisters when writing fiction. Through writing the novel, 'The Marble Platform', this project reveals how Gothic tropes of the double, transgression, and haunting can be adapted to facilitate subversive behaviour between fictional sisters. Recognising this subversive behaviour is crucial for expanding understandings of sisters in literary narratives, and for providing creative writers with a new approach for engaging with the Gothic tradition.

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See, Harrison W. "Encounters across dialogic cross-cultural collaborative painting." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2593.

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With a focus on studio painting, this PhD research explores collaboration as a mode of cultural exchange and dialogue and an intervention strategy regarding the limits of solo practice. This practice-led inquiry was motivated by experiences of cultural exchange and dialogue during earlier honours research undertaken in mainland China. While living, studying and painting in Shanghai, cross-cultural encounters prompted a curiosity for unfamiliar ideas, perspectives and practices while simultaneously provoking reflections on familiar ideas, perspectives and practices. This was an insightful experience that shifted both my notions of practice and culture. To emulate these insights, this doctoral research planned to collaborate with artists of Southeast Asia; however, with the advent of COVID-19, alternative collaborative paradigms emerged to explore. Practice-led research was the discovery-led methodology used for this inquiry, alongside studio methods including reflexivity, journaling, studio practice and collaboration. Collaboration was dialogic, predominately informed by a synthesis between Charles Green’s (2001) notion of third hand and Mikhail Bakhtin’s (1981) dialogics. Through this synthesis, dialogic collaboration embraced difference in terms of relativity, not opposition. A curiosity towards plurality was facilitated that understood divergence as a serendipitous source of creativity. Dialogic collaboration was undertaken with contemporary artists from a range of cultural backgrounds, locations and creative disciplines. In adapting to COVID-19, international collaboration utilised postage, while Perth-based artists exchanged artworks locally. As restrictions eased, face-to-face collaboration also became possible. Informed by such collaborations, the final series of paintings titled Far-Away Island was developed. Although not all collaborations were successful creatively, each offered its own unique insights. Collaboration proved to disrupt and expand familiar ways of thinking and making in the studio. Dialogic collaboration was also an effective means of exchanging cultural perspectives and ideas within a space that embraced dissensus. Exchanges within this space meant adopting a more pluralistic understanding of storytelling elements (tropes, themes, characters, archetypes and iconographies). Further, a renegotiation of storytelling itself occurred where narratives focused on the intersubjectivity and interconnectedness between elements rather than the elements themselves. It was also through this renegotiation of storytelling that the influence of videogames was acknowledged, explored and integrated into studio painting. Ultimately, dialogic collaboration proved an appropriate means of encountering cultural differences and a valuable source of self-reflection. The implications of the research extend beyond studio practice and into the broader discourse around cultural exchange. With the world’s increasing cultural and political tensions, there is an emerging need for more nuanced approaches to cross-cultural exchange through which art can offer unique and alternative ways of thinking and working. Ways that accept and embrace the inevitability of untranslatable and incommensurable perspectives, practices and ideas intrinsic to cross-cultural spaces. Dialogic collaboration proved to be one such approach that acknowledges the complexities of cross-cultural exchange and accepts the potential for untranslatability and incommensurability.

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Baker, Dallas John. "(Re)Scripting the Self: Subjectivity, Creative and Critical Practice and the Pedagogy of Writing." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/368123.

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This PhD research focuses on Queer Theory and its application to subjectivity in the contexts of creative practice, Practice-Led Research (PLR) and Creative Writing pedagogy. One of the principal concerns of the project is how a queered PLR might foreground subjectivity as a practice in itself and view both creative practice and critical research as components in an “ethics of the self” (Foucault 1978) or “selfbricolage” (Rabinow 1997). In this context, creative practice is conceived as an intervention into subjectivity and creative works are framed as artefacts that both document this interventional process and express or disseminate new subjectivities arising from that process. In a similar vein, research in the Creative Arts is seen as a performative act that includes affect (produced through engagement with both creative and critical texts) as a form of knowledge. As with creative practice, this kind of research informs the ongoing constitution of subjectivity. The research project also explores the notion of effeminacy as a liminal masculinity of considerable discursive potency that simultaneously disrupts both masculinity and femininity. This exploration is undertaken in relation to the Southern Gothic genre of literature, cinema and television.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Nykiel, Annette. "meeting place An exhibition – and – locating the Country: an Australian bricoleuse’s inquiry An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2100.

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This practice-led PhD research investigated alternate forms of articulation to relate stories of place-making, as narrative or object, and added threads to the complex meshwork and herstory of the Country. The research was conducted in ‘The Country’, of the north-eastern Goldfields and Yalgorup Lakes in Western Australia. These two non-urban sites provided unique experiences of the bush, local people’s stories and understandings of time. The research investigated the implications of non-urban spaces as studios in relation to the concepts of place, time and narrative. This research was, in part, experiential and drew on an absorbed embodied awareness of notions of the Country (a place). This was embedded in an ethical onto-epistemology, through the process of piecing together bricolages of seemingly unrelated fragments of methods, conceptual frameworks and materials in simple and complex ways. In making and thinking, gleaned, recycled and repurposed bits and pieces were gathered and utilised during nomadic wayfaring. The research drew on ideas pertaining to wayfaring and yarning, ‘mapping’ and experiencing the Country through the multi-faceted lenses of the bricoleuse, the geoscientist, the maker and the artsworker. Experiencing the materiality of the Country was a spatial, kinaesthetic and tactile engagement over long periods of time in the midst of the social, physical, material and biotic elements of specific ‘places’. Narratives and artworks emerged from piecing together pre-used fragments into textiles, then curated to form assemblages in built environments, and at the non-urban sites. Collective gatherings of people making, and sharing were facilitated as part of my practice. Yarning about and creatively mapping, these situated experiences in place, aimed to encourage connections and collaborative understanding between the city and the Country. This research contributes to the value and importance of using non-urban spaces both as sustainable sources of material for artwork and as studios. A bricoleuse’s approach to field-based/practice-led research contributes a relational, conceptual and methodological approach to creative arts, and to collaborative and interdisciplinary research frameworks.

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Finn, Angela Lee. "Designing fashion : an exploration of practitioner research within the university environment." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/77850/1/Angela_Finn_Thesis.pdf.

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This thesis positions practitioner research within the emerging discipline of fashion and disputes that practitioner knowledge of fashion is predominantly tacit. This research contributes to the understanding of practitioner knowledge and proposes an object based model of practitioner research as an alternative to existing practice-led methodologies. The thesis theorises fashion objects as a site of significant knowledge and argues their potential to record and communicate fashion knowledge and disseminate practice-led research.

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Akama, Yoko, and yoko akama@rmit edu au. "The Tao of Communication Design Practice: manifesting implicit values through human-centred design." RMIT University. Applied Communication, 2008. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080730.143340.

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This research explores how human values and concerns are manifested and negotiated through the process of design. In undertaking this study, a variety of design interventions were explored to facilitate how values can be articulated and discussed amongst project stakeholders during the design process. These design interventions will be referred to as projects within the exegesis. In this exegesis, I will argue for the importance of a dialogic process among project stakeholders in the creation of a human-centred design practice in communication design. This exegesis explains the central argument of the research and how the research questions were investigated. It presents a journey of the discoveries, learnings and knowledge gained through an inquiry of the research questions. The total submission for this research consists of the exegesis, exhibition and oral presentation. Through each mode of delivery I will share and illuminate how the research questions were investigated.

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Burton, David. "Playwriting methodologies in community-engaged theatre practice in regional Australia." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213228/1/David_Burton_Thesis.pdf.

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This thesis examines playwriting methodologies commonly used in community-engaged theatre practice in regional Australia. Since 2003, the Queensland Music Festival has committed to commissioning original community-engaged works in regional Queensland communities. These works, typically featuring a cast of many hundreds and audiences of many thousands, are unique examples of community-engaged theatre work. Since 2013, Burton has served as playwright on these works and has undertaken practice-based and practice-led research across four case studies, along with complementary interviews. The research positioned the playwright in a dense and complex network of stakeholders in community-engaged practice.

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Boyes, Emma Louise. "The masquerade of the feminine." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16250/1/Emma_Boyes_Thesis.pdf.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.

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Boyes, Emma Louise. "The masquerade of the feminine." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16250/.

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This project investigates the apparent contradiction of a female artist who prioritises embodied presence in her art works, but produces Minimalist installations. It does this by describing in detail and analysing, and thus re-evaluating the significance of, the full range of actions and processes that are performed to produce the work. It further proposes that, in the actions of crafting the individual elements and in designing, planning and installing the work in Modernist gallery spaces, conditions are set up for viewers of the finished work to experience a physical awareness that echoes that of the artist in those actions and processes.

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Murray, Mikey. "Building city : the impact of theory, creativity, and market in feature film development and practice-led film research." Thesis, Bangor University, 2015. https://research.bangor.ac.uk/portal/en/theses/building-city-the-impact-of-theory-creativity-and-market-in-feature-film-development-and-practiceled-film-research(561a4703-4acf-43ce-b6b6-02c4056f7567).html.

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This thesis is practice-led research in the field of commercial feature film development in the UK. It addresses the growing interest in practice as research in film, while proposing how traditional research methodologies can be broadened to allow for a more fluid use of practice as research in film for the future. In doing so, this thesis indicates that practice-led research is a critical tool for allowing a more functional understanding of the film industry generally because as a methodology it has the potential to encourage filmmakers and practitioners to engage with academic and research environments, and can ultimately expose more specific aspects of the filmmaking craft. Contextual analysis of this type does reveal the unfortunate presumption that often exists within film studies that there is a dichotomy between the theory of, and the practice of, making a film. Traditionally page-based film criticism has investigated film by seeking out associative theory and critiquing filmmaker’s work, while the filmmakers themselves often suggest that their artefacts ought to speak for themselves. As the development of making an industry film has rarely been subject to process specific theoretical critique by the filmmakers that created them, film practice has suffered a divorced relevance as a mode of research at doctoral level. The creative artefacts within this study, however, face a number of affects from film theory and this thesis confronts the traditional notion of a divide between page-based critical theory and production practices in film and builds towards an outcome that promotes a core relationship between the two. By presenting practical feature film development artefacts and providing a page-based critical insight, new knowledge can be revealed about how the UK film industry and critical theory both function as stimuli for creativity in film. The methodology here treats the filmmaker (myself) as a critical commodity in understanding the film industry and will show how the practicalities of making a film as a research artefact is influenced by a fusion of three core determinants: Critical Theory, Creative Process, and Market Forces. Structured around these three elements primarily, this study creates a working model for practice-led research, while giving an insight into the processes of feature film development in the UK.

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Spicer, Malory E. "Digital Animation as a Method of Inquiry." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437499872.

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Girak, Susan. "forget me not: An exhibition –and– Creative Reuse: How rescued materials transformed my A/r/tographic practice: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1618.

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This thesis, comprising of a written exegesis, solo exhibition and an artist book, emerged from research undertaken by an artist-researcher-teacher. For that reason, a/r/tography was the overarching methodology used, incorporating a bricolage of methods to address a multifaceted study undertaken in two settings: a primary school classroom and an artist’s studio. A/r/tography is a multilayered interdisciplinary Arts education research methodology that correlates well with my expertise as a primary Visual Arts specialist. The methodology allowed me to immerse myself in both teaching and the artmaking process, as ways of gaining a deeper understanding of Visual Arts pedagogy. The purpose of the study was to examine what the impact of making art with discarded materials had on raising environmental consciousness, from the viewpoint of an artist-researcher-teacher. Additionally, this research was positioned within the United Nations Decade of Education for Sustainable Development (2005–2014) and Sustainability, a cross-curriculum priority in the Australian Curriculum. The aim of this research was to show that Visual Arts is an effective way to embed Sustainability in the curriculum. In a two-phase study, the role of artmaking to facilitate shifts towards sustainability was investigated among 12-year-olds and myself in my creative praxis. In Phase One, 20 primary school students, from an area of high socio-economic advantage, participated in a 10-session Visual Arts program, using discarded materials to make and exhibit artworks with an environmental focus. Then, as an artist, I followed the same brief as the students, resulting in an exegesis and two creative components: an artist book incorporated into the exegetical writing and a solo exhibition at Edith Cowan University’s Spectrum Project Space in October 2014. This study showed that the creative reuse of discarded materials promoted reflexivity and raised sustainable awareness, leading to positive attitudinal and behavioural shifts in both the students and myself. The outcome of my creative component was a catalyst for shifts in the way I made art and the way I taught Visual Arts. By immersing myself in the artmaking process, I questioned unsustainable artmaking processes and moved towards reducing my own environmental footprint. The symbiotic nature of a/r/tography meant that new knowledge gained in the studio could be transferred to the classroom. The results of the research are presented through this exegetical writing and an exhibition, which included: returning to techniques that promoted reflexivity; exploring the ephemeral through photography; and demystifying the artmaking process through an artist book. The most significant finding of this study was that the physical act of artmaking enabled the students and me to re-examine our behaviours and to reconsider the value of discarded materials, which in turn triggered shifts in our awareness towards sustainability. Self-initiated behavioural shifts in the students included reusing materials and reducing consumption. Further, the students were able to make personal connections between their behaviours and their environmental footprints. This has implications for teachers integrating Sustainability. Arts-led education provides an alternative approach to teaching Sustainability across the curriculum. A set of recommendations arising from the research include: to provide support mechanisms to assist in-service teachers to implement Visual Arts-led Sustainability programs in primary schools; to introduce a/r/tography into pre-service teacher training; and for REmida WA to provide professional learning to support innovative, low-cost, multimodal in-service teacher training for Visual Arts-led Sustainability programs.

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Ellis, Simon K. "Indelible : a movement based practice led inquiry into memory,remembering and representation /." Connect to thesis, 2005. http://repository.unimelb.edu.au/10187/975.

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Indelible is a performance and dance research project. It has three outcomes or pathways, presented on DVD-ROM, via which the user-reader can experience multi-modal perspectives on remembering, memory, and representing performative ideas, events and actions. These pathways are video, writing and interactive and together they form a series of hypermedia framings by which the corporeal and philosophical underpinnings of the project are witnessed. The research is considered to be practice-led, in which my practice consists of choreographic strategies, physical actions, media-based processes, and writing. Within these core representations I have sought to confront the methodological and theoretical paradox affecting performance makers electing to recontextualise their work beyond live processes. How might the absence or disappearance of a so-called live work contribute to the overall design and representational practices underlying the outcomes? In this sense the three pathways that comprise Indelible generate a complex network of artistic, scholarly, poetic, and methodological layerings or enfoldings in which the user-reader is presented with possibilities for experiencing the vital subjectivity and inherent fallibility of memory and remembering. (For complete abstract open dopcument)

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Kratz, Svenja J. "Artscience in practice : exploring the critical and creative potentials of transdisciplinary art and science practice using a methodological and conceptual framework of creative becoming." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/64740/1/Svenja_Kratz_Thesis.pdf.

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In response to a growing interest in art and science interactions and transdisciplinary research strategies, this research project examines the critical and conceptual affordances of ArtScience practice and outlines a new experiential methodology for practice-lead research using a framework of creative becoming. In doing so, the study contributes to the field of ArtScience and transdisciplinary practice, by providing new strategies for creative development and critical enquiry across art and science.

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Bridgman, Todd Nicholas. "Commercialising the academic's public role : theorising the politics of identity constitution and practice in UK research-led business schools." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.616224.

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Beck, Sarah. "Appropriating narratives of conflict in verbatim theatre : a practice-as-research-led investigation into the role of the playwright." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19101/.

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Despite the resurgence of interview-based verbatim theatre in the 21st century and scholarly debate surrounding the aesthetics and authenticity of verbatim plays, little examination of the role of the playwright integrating testimonies of war into the making of a verbatim play has been undertaken. The transactional relationships between interviewees and playwrights warrant study as this critical interaction informs the dramaturgy of the playtext. This area of inquiry also has significant resonance in debates regarding the ethics of representation in verbatim theatre, particularly as many contemporary verbatim plays examining conflict tend to incorporate testimony from interviewees whose lives have been affected by war and militarism. What follows is a practice-as-research (PaR)-led investigation into my role as a playwright appropriating testimony from individual subjects affected by conflict. Through the creation of two verbatim plays, namely This Much is True and Yardbird, this investigation examines moments of disjuncture that occur when mediating war-related testimony. In addition to critically reflecting on the creative component of this inquiry, this dissertation also incorporates original interviews conducted with the creative team behind the National Theatre of Scotland’s play Black Watch and examines more broadly the methodologies of playwrights working with trauma-related experiences by focusing on how playwrights’ interactions with individual subjects inform the shaping of a play. This investigation examines the key issues that emerge as playwrights integrate personal testimony in a theatrical translation of subjects’ experiences into the writing of a verbatim play. It also seeks to examine the ethical tensions I encountered within my verbatim playwriting practice. Furthermore, this investigation interrogates my process of locating interview subjects and facilitating testimony; maintaining critical relationships with interviewees; organising the structure of the play; and negotiating interview subjects’ autonomy over the script. Rather than generating codified guidelines for ethical verbatim practice, the findings and deliberations of my investigation are designed to assist other practitioners using personal testimony from interviewees as part of the playwriting process. Encouraging practitioners to critically reflect on the methods that they employ within the interview stages as part of the playwriting process helps to lay bare the ethical and aesthetic responsibilities involved in dramatising war-related testimony. These deliberations are offered for the benefit of other theatre practitioners as well as scholars working within the wider field of theatre studies.

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Meagher, Andrea. "The symbiosis of improvised and rehearsed elements in the creation of contemporary jazz ensemble music." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/45467/1/Andrea_Meagher_Exegesis.pdf.

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This research investigates the symbiotic relationship between composition and improvisation and the notion of improvisation itself. With a specific interest in developing, extending and experimenting with the relationship of improvisation within predetermined structures, the creative work component of this research involved composing six new works with varying approaches for The Andrea Keller Quartet and guest improvisers, for performance on a National Australian tour. This is documented in the CD recording Galumphing Round the Nation - Collaborations Tour 2009. The exegesis component is intended to run alongside the creative work and discusses the central issues surrounding improvisation in an ensemble context and the subject of composing for improvisers. Specifically, it questions the notion that when music emphasises a higher ratio of spontaneous to pre-determined elements, and is exposed to the many variables of a performance context, particularly through its incorporation of visitant improvisers, the resultant music should potentially be measurably altered with each performance. This practice-led research demonstrates the effect of concepts such as individuality, variability within context, and the interactive qualities of contemporary jazz ensemble music. Through the analysis and comparison of the treatment of the six pieces over thirteen performances with varying personnel, this exegesis proposes that, despite the expected potential for spontaneity in contemporary jazz music, the presence of established patterns, the desire for familiarity and the intuitive tendency towards accepted protocols ensure that the music which emerges is not as mutable as initially anticipated.

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Nel, Daniel Hermanus Greyling. "Performative digital asset management: To propose a framework and proof of concept model that effectively enables researchers to document, archive and curate their non-traditional research data." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84761/3/Daniel_Nel_Exegesis.pdf.

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This cross disciplinary study was conducted as two research and development projects. The outcome is a multimodal and dynamic chronicle, which incorporates the tracking of spatial, temporal and visual elements of performative practice-led and design-led research journeys. The distilled model provides a strong new approach to demonstrate rigour in non-traditional research outputs including provenance and an 'augmented web of facticity'.

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Kimberley, Maree A. "Dirt Circus League : power and belonging in posthuman young adult fiction." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/75428/6/Maree_Kimberley_Exegesis.pdf.

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This creative practice-led thesis consists of a creative work titled Dirt Circus League, which tells of a female teenaged medical intuitive who follows an enigmatic cult leader to his isolated home in Cape York, and an exegesis. The exegesis explores the representations and complexities of neuroscience and posthumanism in contemporary young adult fiction. The exegesis also discusses how the mechanics of storytelling changed the novel's original focus from one of neuroscience in relation to impacts and effects on teenage brains to the broader social concerns of posthumanism.

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Abbey, Nicholas Leonard. "Phantoms, An original jazz trio studio recording - and - Dispelling phantoms: An Australian bassist exploring assumptions of jazz practice, An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2259.

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This PhD research explores ways of adapting to the reportedly common creative, financial, and psychological challenges facing jazz musicians developing and operating in the late 2010s, an era in which the context surrounding jazz music is rapidly evolving. Motivated by the problem of resolving my own creative inertia and personal wellbeing dysfunctions, born of grappling with these issues as an Australian freelance bassist, this study investigates the theory that often-unquestioned assumptions underpinning practice are sedimented socially and that those based on historic, hegemonic, or habitual practices may no longer be universally appropriate. In doing so, it contributes to a growing and necessary dialogue about the ‘why’ and ‘how’ of practice. With the aim of restructuring a more personally productive, sustainable, and meaningful approach to musicking, the primary research question asks: How can revising the musical and extra-musical assumptions of my jazz practice improve its processes and facilitate the generation of new creative work? The idiosyncratic and multifaceted methodology developed to investigate this question is itself an essential component of the research and a useful addition to research in the field. To uncover and revise tacit assumptions, the employed practice-led research methodology combines a suite of methods familiar to jazz practice and borrowed from qualitative research traditions with iterative creative cycles and several additional complementary theoretical concepts. The linchpin of this research strategy is a series of ten semi-structured interviews with bassists of a similar demographic (Sam Anning, Alex Boneham, Tom Botting, Anna Butterss, Karl Dunnicliff, David Groves, Noel Mason, Linda May Han Oh, Adam Spiegl, and Georgia Weber), which illuminate characteristics of contemporary practice and have provoked widespread changes to my own approach. The theorising and testing of revised strategies led to new personal clarity about the purpose and imperatives of practice, enriched my musical understanding, provided insight into factors influencing self-doubt, established a revised compositional framework, and ultimately facilitated the creation of the studio album Phantoms (Nick Abbey, 2019). Treating these developments as a case study, the research extends the particulars of my practice to present transferrable implications for other practitioners and identifies avenues for future research; for instance, it questions assumptions around ‘freelance jazz musicianship’ in the ‘precarious gig economy’ and highlights the importance of ‘self-efficacy’ as a theoretical construct for jazz musicians. The research’s overarching recommendations are that practice assumptions be routinely elucidated and assessed; practitioners and practitioner-researchers strive towards a more uplifting and pluralistic climate of practice; and contemporary, holistic, and socially minded research continues to increase in prevalence.

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Widdicombe, Daniel. "Come together: Creating a cross-genre musical community of practice." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/211470/1/Daniel_Widdicombe_Thesis.pdf.

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This practice-led research sought ways of developing and sustaining a cross-genre musical collaboration with the aim of recording and releasing an album of new music. The practice component was a collaboration between a folk singer/songwriter, and a jazz trio. Informed by Wenger’s Communities of Practice theory, this research revealed learning outcomes throughout three phases of practice: Engaging, Imagining and Aligning. The central learnings include the importance of community maintenance, building trust within the community, and then using this sense of trust to be able to take the practice of this project to the wider music community.

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Peacock, Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30391/.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.

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Peacock, Eve Christine. "A novella of ideas : how interactive new media art can effectively communicate an indigenous philosophical concept." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/30391/1/Eve_Peacock_Thesis.pdf.

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How interactive new media art can effectively communicate an indigenous philosophical concept. The sophistication and complexity of the philosophical concept concerning relationships between land and people and between people, intrinsic to the laws and customs of Australian Indigenous society, has begun to be communicated and accessed beyond the realm of anthropological and ethnological domains of Western scholarship. The exciting scope and rapid development of new media arts presents an innovative means of creating an interactive relationship with the general Australian public, addressing the urgent need for an understanding of Indigenous Australian concepts of relationship to land, and to each other, absent from Western narratives. The study is framed by an Indigenous concept of place, and relationships between land and people and between people; and explores how this concept can be clearly communicated through interactive new media arts. It involves: a creative project, the development of an interactive new media art project, a website work-in-progress titled site\sight\cite; and an exegesis, a Novella of Ideas, on the origins, influences, objectives, and potential of creative practices and processes engaged in the creative project. Research undertaken for the creative project and exegesis extended my creative practice into the use of interdisciplinary arts, expressly for the expression of philosophical concepts, consolidating 23 years experience in Indigenous community arts development. The creative project and exegesis contributes to an existing body of Indigenous work in a range of areas - including education, the arts and humanities - which bridges old and new society in Australia. In this study, old and new society is defined by the time of the initial production of art and foundations of knowledge, in the country of its origins, in Indigenous Australia dating back at least 40,000 years.

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Salmon, Shaun L. "The afternoon walks of Violet Kong: A collection of satirical works and: Polishing the spoof: Using rhetorical genre theory to build a problem-solving PLR method, and its application in the context of Menippean satire." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2022. https://ro.ecu.edu.au/theses/2568.

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This study attempts the creation of a problem-solving research method for use with creative practice. A literature review of the field, often termed practice-led research (PLR), builds on a persistent strand of the literature that I interpret as a call for the traditions of academic research to be applied to PLR. Because problem-solving methods are rare in PLR my study seeks to create an innovative alternative method. The study theorises communications using a rhetorical approach to genre building on Miller’s ground-breaking “Genre as Social Action” (1984/1994) and Bakhtin’s “The Problem of Speech Genres” (1979/1986). I reason that because genre is a required aspect of all communications my method may be adaptable for use with a broad range of communications practices. I use Miller’s concept of exigence to define the obscure but viable genre of Menippean satire based on the social need such satires seek to meet, rather than focusing solely on their formal qualities. My research method uses writing exercises designed to develop my technique as a Menippean satirist by manipulating the opinions, statements and actions of characters and by manipulating my use of parody. My success in creating a problem-solving method was mixed. Nevertheless, sufficient evidence exists (in the form of both complete satirical texts and accounts and analysis of the results of writing exercises) to support a conclusion that problem-solving PLR methods are viable and may be valuable to research and practice on a range of communication genres.

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Peacock, Eve Christine. "eARTh : the dynamics of ontological representation." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78686/1/Eve_Peacock_Thesis.pdf.

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This Australian Indigenous creactive work and its Treatise promote ways of thinking about practice and research that extend well beyond the current discourse. It invites re-thinking on how research can be practice-led in new ways, and what that might mean for future students. When discussing the challenges of today, this work signifies how "Western Style" thinking and theory is wanting in so many ways. It engages a new dynamic and innovative way of theorising, encouraging future students to apply their full capacity of energy and wisdom. (Extract from examiners' reports.)

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Blacklock, Naomi. "Conjuring alterity: Refiguring the witch and the female scream in contemporary art." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132362/1/Naomi_Blacklock_Thesis.pdf.

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This practice-led research project addresses the political and creative significance of the witch archetype as an emancipatory symbol for alterity in contemporary art. Framed within an intersectional feminist methodology, it explores cultural mythologies, personal histories, political activism, gender and sexual rebellion. Using embodied performance it explores the significance of disruptive feminist voices and reimagines intersectional identities in contemporary art practice through the figure of the 'witch' as Other.

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Ashworth, Karike. "#SoBrave: The crisis of neoliberal feminine bravery." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/132395/1/Karike_Ashworth_Thesis.pdf.

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This creative practice-led research project employs cross-disciplinary methods to examine how neoliberal constructions of feminine bravery reinforce prescriptive and restrictive behaviour standards for women. Using performance, video, textiles and immersive installations to explore conceptions of feminine bravery, the artist has developed a parodic persona, 'Brave Girl', a mock super-hero/medieval warrior, who is inspired by popular culture, online media, cosplay and comic strip characters. Brave Girl embodies some aspects of the artist's journey – however, stepping away from autobiography, into "anti-autobiography," has enabled a distinct critical understanding of how affirmations of bravery function. The research determines that it is possible to use the ambiguities of contemporary art practice to reveal the hegemonic qualities of the feminine bravery construct.

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Zeligman, Brooke. "Material murmurings." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1600.

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This thesis, Material Murmurings, comprising of exegesis and creative practice, focuses on the central research question: “How do we understand the materiality of glass and what happens when said materiality is approached through feminist scholarship?” This question forms the basis for an investigation through creative practice and analysis via an interpretive framework of feminist knowledges of the body. The creative practice embraces glass as the central medium with a series of exhibitions that responded to the interpretive paradigm. It is expected that Material Murmurings will highlight and make evident the value of post-technical approaches in glass art which have only recently become an acknowledged form of contemporary visual arts within Australia and, to a lesser degree, the broader international context. The intention of this thesis is to address the lack of dialogue surrounding glass as a contemporary visual arts material by discussing how female artists have been using glass within their practice through a paradigm of feminist scholarship of the body. A lack of formalised inquiry into the material depth of glass exists. Through formalising this discussion via a framework of feminist knowledges, the study will open up the possibilities for writing about glass, allowing for the expansion of the dialogue surrounding contemporary glass art. The study will also make visible and highlight the breadth and diversity of contemporary glass works being produced particularly by female visual artists, embracing the material itself for its depth and wealth of possible meaning. The exegesis pays particular attention to the work of female artists who have embraced glass for its materiality. Materiality is understood as the insistence of meaning that a material contributes to a work of art; the qualities, history and function beyond the decorative or aesthetic value that the material contributes to the artwork. My feminist visual arts praxis has provided the motivation for this exegesis and my obsession with glass has driven the choices of artists and theorists discussed. The exegesis demonstrates how glass can be interpreted/read/understood within the visual arts through a feminist lens. Various exhibitions through the research period culminated in a final exhibition titled Material Murmurings (2013). These exhibitions revealed different ways of critically interpreting and locating glass works beyond the traditional craft paradigm. This research has responded to the contemporary scholarly call for a need for visual arts critical review to be more inclusive of contemporary glass works, and has provided through practice-led research that is inclusive of materiality, praxis and process, a basis for this, with significant outcomes exhibited as artefact/object/publication.

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Coleman, Lucinda. "Sites of justice: Face-to-face encounters through dance-making in Meeting Places." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/1964.

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The Australian performing arts collective, Remnant Dance, has a partnership with the charity organisation, MyKids Incorporated, which supports a community of orphaned and abandoned youth at the Andrew Youth Development Centre (AYDC) in Yangon, Myanmar. During 2013-2014, young people from the AYDC were invited to make a contemporary dance film together with Remnant Dance artists. The film, called Meeting Places, evolved as part of a developing body of visual and performance art works that sought to explore collaboration in a dance collective. The dance film was set at the AYDC and in the disused Nagar Glass Factory in Yangon, using glass as a metaphor for a surface that invites reflection as well as open transparency between participants. My initial research question, ‘where is my front?’ was situated in the dance of interconnectivity, and referred to the primary site of communication with others. I wanted to investigate how this ‘front’ shifts, and alters in response to others and in particular how the frontline separates performers from their audience. The contemporary dance film, Meeting Places, became the centrepiece in a body of interdisciplinary art work that was devised through cross-cultural collaborations. My research into dance as a dialogue of interconnectedness led me to expand the idea of frontlines, asking how examination of dance-making can be a site for social justice arts praxis. Driven by a reflexive practice-led research methodology, this research delves into dance-making as a mechanism for social engagement, whilst illuminating the problem of how to articulate dance research as an intuitive inquiry. The spaces between the bodies of the participants, both the children and professional dancers, allowed unique connectivity and exchanges of corporeal knowledge across cultural boundaries, inviting conversations that, I suggest, overcame linguistic differences. The language of dance ruptured dualistic notions of knowledge production, creating a hybrid space through tacit, non-linguistic experiences of movement. The research began with an exploration of connectivity through practice in the dance studio, as well as an analysis of collaboration and the effectiveness of the collective practice. The dance film, Meeting Places, emerged as an invitation to engage with dance as a form that argues for the body as a site of agency, unpacking Emmanuel Lévinas’ concepts of the ‘face’ as a critical encounter with being. The idea of the ‘front’ thus became invested with new meaning, and with this shift, the reflective capacity for examining what I refer to as moments of consensus and dissensus within the collective was enhanced. The process of making the contemporary dance film has been examined through a philosophical frame informed by the work of theorists such as Mikhail Bakhtin, Judith Butler, Gilles Deleuze, Michel Foucault, Elizabeth Grosz, Gayatri Chakravorty Spivak, Slavoj Zizek and particularly, Emmanuel Lévinas, along with contemporary thinkers on social justice in the arts. The cultural exchange between Remnant Dance artists and youth at the AYDC in Myanmar revealed that the social justice imperative, rather than being merely a by-product of artistic engagement, was actually the heart of the dance-making. The significance of arts research in this context includes knowledge creation in the body, with others, and that a space of agency is created for ethical engagement, specifically through the language of dance. The creation of new dance through cross-cultural, multi-arts forms and interdisciplinary contexts enabled space for narratives of justice to emerge along the frontline of dance’s particular mode of communication.

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Birnie, Steven James. "Local and global explorations through design research." Thesis, University of Dundee, 2014. https://discovery.dundee.ac.uk/en/studentTheses/1788c181-878d-4f5b-9de7-2ad099a68e52.

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This doctoral thesis is a practice-led and corporate-grounded enquiry into the role of design research methods in a global technology company. The work aims to understand and communicate through a series of case studies how locally conducted participatory action research can be integrated into the processes of an in-house design team at the global NCR Corporation. It questions the current approaches taken in the design and development of consumer transaction technologies in the context of a global organisation and new markets. The thesis starts by introducing the reader to the global corporation in which the study is focused and author employed, the NCR Corporation. The contextual grounding of the corporate environment, its heritage, history and continued evolution will illustrate the dynamic yet traditional role design has played within the corporation. As a senior member of the Consumer Experience Design (Cx Design) team in the corporation the author is well placed to evaluate the role of design and how it can evolve. The immediate contextualisation is then followed by a broad examination of the literature in the field of design in a corporate culture, research methods and socially-led innovation. This will define the boundaries of interest and influence in the thesis. A participatory action research approach was taken to address the research questions. Informed by a series of hyperlocal and global community engagements framed and directed from within the corporate culture, the author defines an understanding of the levels of community engagement through design research. The resulting outputs are then applied within the context of the NCR Corporation where the impact and influence on such engagements can be understood. The author concludes that his contribution to new knowledge, the development of a Participatory Action Based Strategic Design Process, can be applied within a global technology company. The process adapts McNiff’s and Whitehead’s (2011) seven phases of action research reporting and Ravi Chhatpar’s strategic decision-making process. The thesis demonstrates the value and influence of design research methods in the design of consumer transaction technologies. The thesis provides an understanding of how design research methods have been applied in a corporate environment, how the insights are applied, and demonstrates how the research has influenced the author’s practice and therefore the wider Cx Design group.

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Bentley, Danielle Sarah. "Restrung new chamber festival : an exploration of contemporary string practice." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/49582/1/Danielle_Bentley_Thesis.pdf.

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The Restrung New Chamber Festival was a practice-led research project which explored the intricacies of musical relationships. Specifically, it investigated the nature of contemporary string practice, with "New music" at its core. For the purposes of this project, "New music" will be defined in terms of representing a "global sonorous space" (Nancy 2007:12), which Hulse describes as "a spectacular comingling of styles and an unprecedented explosion of creative possibilities" (Hulse n.d.:2). Approaches to staging such an event are contextualised through a comparative analysis with relevant Australian and European festivals. The Restrung model derived inspiration from both art music and popular music festival models, in several aspects. One strategy was to engage audiences through combinations of musical, visual and spatial features. Another strategy was to encourage interaction by audiences with installations, workshops and forums. Restrung represents a new and distinctive model which presented art music within an immersive environment. This exegesis presents an evaluation framework which investigates the relationship between curatorial input and the experiential qualities of the festival. The context of an overview of trends in arts festival curation informs the discussion, as well as approaches to identifying new and receptive audiences. It is expected that the evaluation framework will provide a useful and practical guide for curators working in contemporary string practice, hybrid arts, experimental and cross-art form festival design.

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Dissertations / Theses on the topic 'Research-led practice'

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