a r c h i t e c t u r e s o f k n o w i n g

Transcription

1 a r c h i t e c t u r e s o f k n o w i n g new approaches to exegesis design in creative practice PhDs Professor Welby Ings AUT University

2 The telling of stories can be a profound form of scholarship, moving serious study close to the frontiers of art. (Featherstone, 1989, p.377)

3 the exegesis... (Kroll 2004, p.4) authorial announcement where writers reveal their personalities as well as their methodologies (Nelson 2004, p.3) has come to life again in order to appear as a significant cultural contribution and hence the writing cannot disappoint the high charter of the creative work.

4 ( Arnold, 2012, p.15) The PhD is a place of contestation in structure as well as substance enables the academic world to do more than validate a pro-forma or template PhD model.

5 (Scrivener & Ings 2009) the exegesis is a carefully constructed kind of storytelling with a particular audience in mind p.3 that is not just written. [but] also designed and directed. p.2 likened to a choral work that while understood as a single unit, orchestrates a concordance of voices. p.3

6 Paper size Theses are to be typed on International Standard Organisation (ISO) A4 size white bond paper. If diagrams, maps, tables and similar presentations do not fit on this sheet size, ISO B4 size may be used. B4 size pages are to be folded and bound so as to open out at the top and the right.

7 Typing Font size: 12 point Times Roman or 10 point Arial Typing is to be on one side of each sheet only, with the pages numbered consecutively throughout the thesis. Typing is to be spaced either double or space-anda-half with the exception of quotations, footnotes and bibliographies which are to be single spaced. Minimal margins: Left - 4 cm; Top and bottom - 2 cm; Right - 2 cm

8 Beyond Words: An investigation into aspects of meaning articulated through the material forms of 'old' media as expressed in a polysemous narrative Lisa Williams [Ph.D. 2010]

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12 voice Rock (2001, para. 27) argues that the amplification of the personal voice legitimises design as equal to more traditional privileged forms of authorship. Wood (2004, p.50) suggests in an age of mounting ecological damage in which we often see ourselves as powerless individuals in the thrall of faceless corporations it is no longer appropriate for a designer, to deny his/her own views, ideologies and immediate wellbeing in the quest for his/her client's cause or satisfaction.

13 Gabriella Trussardi positioning statement Not writing up but writing/designing through The exegesis as emergent

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18 Talita Tolutau: PhD thesis in progress 2013

19 Talita Tolutau: Kakala as a methodology PhD thesis in progress 2013

20 Tatiana Tavares: Explanation of process as bricolage MA Thesis 2010

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26 a concordance of voices

27 Under the surface: reflections on workers narratives from below the minimum wage David Sinfield [M.A. 2010]

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29 For a child, poverty is an insidious thing. It keeps you vulnerable and creates levels of guilt and responsibility other children don t have. I remember when I was ten my mother managed to save enough money to treat me to a small holiday on the Isle of Wight. My sister, her husband and two of their friends were also there. One day I went with her to the beach. For the working classes, the tradition at the beach is to find a deck chair, relax and eventually an attendant will approach and ask for a few pennies. But I was ten and penniless. I had relied on my mother to meet my meager needs. When the attendant arrived my sister s husband paid for their chairs, leaving me to pay for my own. He asked where my money was. I didn t have any. I was ten. The humiliation scarred the event into my memory. I was terrified of the consequences of not paying for the deck chair. In the end, a friend of theirs offered to pay for my seat.

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31 While I was at her house interviewing, one of her sons (a young man in his twenties) started to become quite difficult and interfered with the interview. The participant and her sons lived in a small house where the kitchen merged with the living area. I was interviewing her in the lounge area. Her son turned on the water tap and left the room or would throw cutlery into the stainless steel sink and turn on the dishwasher so it would make more noise. At one point he marched in-between his mother and me to cause further disruption. The participant later explained that her son suffers from ADHD and she had struggled as a single-parent to try to bring him up as best she could. The boy did not like attention focused away from his own needs.

32 The poetics of making KT Ho [Ph.D ]

33 The poetics of making a thesis in the form of a collection of artwork, an exegesis and documentation [Ph.D ]

34 Images are not orchestrated as secondary to the written word At many points, the academic work is primarily voiced by the descriptive and emotive nature of the image (Scrivener & Ings 2009 p.3)

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38 Te Kore: Exploring the Maori concept of void. Moana Nepia [Ph.D. 2012]

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41 I want to be a forensic scientist playboy bunny: A creative consideration of the contradictions and complexities of being a contemporary woman Lisa Waldner [M. Phil 2013]

42 Scholarly storytelling as a concordance of voices.

43 references: completed theses Williams, L. (2010). Beyond Words: An investigation into aspects of meaning articulated through the material forms of 'old' media as expressed in a polysemous narrative. sequence=4 Ho, K.T. (2008). The poetics of making. Nepia, M. (2012). Te Kore: Exploring the Maori concept of void. Tavares, T. (2011) Carnival Land: A performance of metaphors. Trussardi, G. (2012). Patterns of corporeality: The grotesque text/ile body. Sinfield, D. (2010). Under the surface: reflections on workers narratives from below the minimum wage Waldner, L. (2013). I want to be a forensic scientist playboy bunny: A creative consideration of the contradictions and complexities of being a contemporary woman

44 Texts Arnold, J. (2012) Practice-led research: Creative activity, academic debate, and intellectual rigour. Higher Education Studies 2(2) pp Bolt, B. (2004) The exegesis and the shock of the new. In TEXT Special Issue, 3 [Online] Available: Burdick, A. (1992) Design in context: & Perimeters, Émigré 21. Connelly, F. and Clandinin, J. (1990) Stories of experience and narrative inquiry, Educational Researcher, 19(5), pp Danko, S., Meneely, J., and Portillo M. (2006) Humanizing design through narrative inquiry, Journal of Interior Design, 31(2), pp Egan K. (1988) Teaching as storytelling: An alternative approach to teaching and the curriculum. London: Routledge. Featherstone, J. (1989) To make the wounded whole, Harvard Educational Review, 59, pp Ganoe, C. J. (1999) Design as narrative: A theory of inhabiting interior space, Journal of Interior Design, 25(2), pp Hamilton, J. (2011) The voices of the exegesis. In K. Freedman and L. Justice(Eds.) Practice, Knowledge, Vision: Doctoral Education in Design, Hong Kong Polytechnic University, School of Design, Hong Kong.

45 texts Ings, W. (2011) Managing Heuristics as a method of inquiry in autobiographical graphic design theses, International Journal of Art & Design Education, 30 (2), pp Ings, W. (2013) Narcissus and the Muse: Supervisory implications of autobiographical, practice-led Ph.D. design theses, Qualitative Research in publication. Kroll, J. (2004) The exegesis and the gentle reader/writer. In Text Special Issue. [Online] Available: Nelson, R. (2004) Doctoralness in balance: The agonies of scholarly writing in studio research degrees. Text Special Issue [Online] Available from: Parish, P. (2006) Design as storytelling, TechTrends, 50(4), pp Portilo, M. and Dohr, J.H. (2000) Creativity and narrative in Eva Maddox Associates Design beyond space, Journal of Interior Design, 26(2), pp Rock, M. (1996) The designer as author, Eye 20(5). Available at: Scrivener, S., and Ings,W. (2009) Framing the typography extract from the exegesis of the thesis Talking Pictures, Studies in material thinking. Available at: default/files/papers/ss_wi.pdf (Accessed: 19 January 2013). Wood, J. (2004) The culture of academic rigour: Does design research really need It?, The Design Journal, 3 (1), pp

46 thank you