Creative Production as Research Dr Julienne van Loon Dr Ann Schilo

Program 4.00Welcome & Creative practice as research: Ann and Julienne outline key aspects of MCA/DCA research in relation to the candidacy proposal 4.25Conceptualising your thesis: group work discussions 5.00Reporting ideas to full group 5.15Conclusion – questions, common stumbling blocks

The Research Question Model Creative Production & Exegesis 2 parts of the same research question

Examples of research questions: The research question is: what narrative strategies can be used to create a life narrative about an 'unnarratable' self? The response to this question will form two parts: an exegesis analysing life writing and 'unnarratable' selves; and a life narrative work based on my own experience of parenting a child with autism.

How do specific built environments in Malaysia contribute to the practices and maintenance of state power? A creative production project that will be made of several series of artwork produced consistently throughout the research process. These series will be compiled into one exhibition at the end of the research duration An exegesis that will combine ongoing literature review, analysis, and writing, which will be compiled into one written format at the end of the research duration. There will be a reciprocal relationship between the ongoing literature review, analysis, and writing and the development of the creative project.

The Permanent Record The necessity of a permanent record of exhibition, performance, recital etc. Appropriate to the discipline field – e.g. in visual arts a superior catalogue is professional standard Use of appropriate technologies – real time footage, digital images, bound folio of technical drawings

Workshop: Exercise A Imagine 2-3 years in the future. You are about to submit your thesis for examination. Imagine 2-3 years in the future. You are about to submit your thesis for examination. Write 4-5 sentences describing the thesis that you are presenting. Write 4-5 sentences describing the thesis that you are presenting.

Workshop: Exercise B Listen as each member of your group in turn describes their thesis submission. Listen as each member of your group in turn describes their thesis submission. Provide each person with appropriate feedback. Provide each person with appropriate feedback. In your response consider whether they have clearly explained their thesis. In your response consider whether they have clearly explained their thesis. If it is a DCA/MCA have they revealed the answer to their research question through 2 parts: creative production and exegesis? If it is a DCA/MCA have they revealed the answer to their research question through 2 parts: creative production and exegesis?

Useful readings: particular Illuminating the Exegesis Ed. Julie Fletcher & Allan Mann Text Special Issue Website Series Number 3 April 2004http:// The papers are all available on the web site and relevant to all spheres of creative practice

Creative Writing texts: Books Brady, Tess and Nigel Krauth, eds. Creative Writing: Theory Beyond Practice. Teneriffe, QLD: Post Pressed, Brophy, Kevin. Explorations in Creative Writing. Carlton South, Vic: Melbourne University Press, Dawson, Paul. Creative Writing and the New Humanities. London: Routledge, Refereed Journals TEXT: The Journal of the Australian Assocation of Writing Programs. New Writing: The International Journal for the Theory and Practice of Creative Writing. Ed. Graham Harper. Published by Mulitlingual Matters (UK). See

Visual Arts related texts: Barrett,E. & Bolt,B. Practice as research: Approaches to Creative Arts Enquiry. London: I.B.Taurus, 2007 Bolt, B. Art beyond representation : the performative power of the image. London; New York: I.B. Tauris, 2004 Carter, P. Material Thinking. Melbourne University Press, 2004 Gray, C. Visualizing research : a guide to the research process in art and design. Burlington: Ashgate, 2004 Sullivan, G. Art practice as research: inquiry in the visual arts. Thousand Oaks, Calif.: Sage Publications, 2005

Workshop: Homework exercise So far in this workshop you have described what you imagine your own thesis submission to be like. You have heard how others imagine theirs and provided critical feedback. So far in this workshop you have described what you imagine your own thesis submission to be like. You have heard how others imagine theirs and provided critical feedback. Now take time to consider in light of that feedback how your candidacy document can offer you the ‘road map’ to achieving your desired submission. Now take time to consider in light of that feedback how your candidacy document can offer you the ‘road map’ to achieving your desired submission. What should be stated in the various sections: the objectives, background and methodology to clearly explain this to the DGSC? What should be stated in the various sections: the objectives, background and methodology to clearly explain this to the DGSC? Have you fully considered the exhibition component if you are working in visual arts fields? Have you fully considered the exhibition component if you are working in visual arts fields? If you are undertaking a DCA/MCA are you able to clarify the two parts that answer the research question? If you are undertaking a DCA/MCA are you able to clarify the two parts that answer the research question? What format will your permanent record take? What format will your permanent record take?

The Exegesis The following slides are just a few examples of traditional exegeses that can be found through google image search. They are an indication that, just because a document is a written academic text, it doesn’t mean that attention to illustration layout or imagery is not as important as the theoretical content.

ano10/v27/a01_3.jpg

upload.wikimedia.org/ wikipedia/en/thumb/2/2a/ x 389 pixels - 29k

prensa/El_mundo_medi x 700 pixels - 126k

Image references Susan Elana(2005) soda wood fired porcelain images/senses-thumb.jpg 300 x 450 pixels - 45k SiteTree/ _m.jpg 300 x 225 pixels - 69k COMMONWEALTH OF AUSTRALIA Copyright Regulation 1969 WARNING This material has been copied and communicated to you by or on behalf of Curtin University of Technology pursuant to Part VB of the Copyright Act 1968 (the Act) The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice