DISS09008 2019 Yeats Academy Creative Practice Dissertation

Working alongside and building from the taught modules, this dissertation is concerned with advanced enquiry into a specific area of creative practice, or within an interdisciplinary framework. The individual practitioner/researcher is interested in interrogating and developing advancements in his/her chosen area.

In consultation with their tutors, learners will plan, organise and deliver a successful practice-based dissertation. The dissertation may also take the form of an extended portfolio of creative work with a smaller accompanying written element. Learners will demonstrate how to develop practice-centred research thinking and writing in the first term. In the second term they will further develop skills in applied practice research and accompanying critical theory in their particular field, as well as refining their practice research question(s) in preparation for the final dissertation.

Depending on the creative practice area, the dissertation assessment will depend on the learners' chosen product/artefact/realisation research-type dissertation with a 60/40 split where 60% is on the creative practice and 40% is contextualising the work in written reflective practice.  

 60/40 split will mean the written component will be up to 9,000 - 12,000 words with 60% as the practice

or

40/60 split will mean the written component will be up to 15,000 words with 40% as the practice 

or

Learners may also take the traditional research route where 100% of the dissertation is a written document of up to 25,000 words.

Contrary to popular belief, the practice of art isn't just a product of innate talent or artistic vision; artwork emerges from an intentionally constructed and maintained artistic practice. Developed from interviews with more than 75 mid-career artists, Creative Practices for Visual Artists examines the methods and approaches highly successful artists use to stay creatively robust for a lifetime. Offering practical strategies and concrete solutions, it also looks at the impacts of digital and social media, as well as recent changes in the educational system that can hinder the formation of a strong artistic practice. Artist and educator Kenneth Steinbach addresses key issues such as: the role of embodied research and non-objective experimentation; reframing one's approach to studio time; forms of productive conflict; the positive role of anxiety; and the importance of failure for the artist. The book will be useful to students and emerging artists, the instructors that teach them, and established artists looking to develop stronger studio habits. The companion website, www.creativepracticesbook.com, provides links to artists' websites and further information.

This book is designed to raise students' awareness of the linguistic features of a postgraduate dissertation/thesis written in English. It deals primarily with the linguistic aspects of extended pieces of writing, placing great emphasis on the writer's responsibility for the readability of the text. Each of the features introduced is illustrated through examples taken from authentic writing at the appropriate level. In addition, each chapter has a number of tasks to help students put into practice the skills that have been introduced. This book is mainly designed to help research students whose first language is not English, but it should also prove useful to native speakers of English, many of whom lack extensive experience of writing at this level. It can be used as a textbook for postgraduate students on a dissertation/thesis writing course, and may also be used as a self-study guide since an annotated answer key is provided for all the tasks. This book takes a realistic approach to helping students who may find the extended writing required at postgraduate level a daunting task; although it provides ample opportunities for practice, it does not expect students to produce extensive writing beyond that required for their degree.

Practice-Based Design Research provides a companion to masters and PhD programs in design research through practice. The contributors address a range of models and approaches to practice-based research, consider relationships between industry and academia, researchers and designers, discuss initiatives to support students and faculty during the research process, and explore how students' experiences of undertaking practice-based research has impacted their future design and research practice. The text is illustrated throughout with case study examples by authors who have set up, taught or undertaken practice-based design research, in a range of national and institutional contexts.

Expert writing advice from the editor of the Boston Globe best-seller, The Writer's Home Companion Dissertation writers need strong, practical advice, as well as someone to assure them that their struggles aren't unique. Joan Bolker, midwife to more than one hundred dissertations and co-founder of the Harvard Writing Center, offers invaluable suggestions for the graduate-student writer. Using positive reinforcement, she begins by reminding thesis writers that being able to devote themselves to a project that truly interests them can be a pleasurable adventure. She encourages them to pay close attention to their writing method in order to discover their individual work strategies that promote productivity; to stop feeling fearful that they may disappoint their advisors or family members; and to tailor their theses to their own writing style and personality needs. Using field-tested strategies she assists the student through the entire thesis-writing process, offering advice on choosing a topic and an advisor, on disciplining one's self to work at least fifteen minutes each day; setting short-term deadlines, on revising and defing the thesis, and on life and publication after the dissertation. Bolker makes writing the dissertation an enjoyable challenge.

Practice-led research is a burgeoning area across the creative arts, with studio-based doctorates now increasingly favored over traditional research. This new paperback edition of the first book to be designed specifically as a training tool to guide students embarking on such research will be welcomed by students and educators. The chapters provide concrete examples of studio-based research in art, film, video, creative writing and dance, each contextualized by a theoretical essay, complete with references. More than a handbook, the volume draws on such thinkers as Deleuze, Bourdieu and Heidegger in its examination of the relationship between practice and theory. It takes pains to elaborate methodologies, outcomes and contexts and is a valuable demonstration of how practice can operate as a valid alternative mode of inquiry to traditional scholarly research.

This book takes a fresh "how to" approach to Practice as Research. At the "performance turn" it argues that old prejudices should be abandoned and that a PaR methodology and its modes of "doing-knowing" should be fully accepted in the academy. It refines Robin Nelson's earlier models for PaR but sustains the dynamic and dialogic interplay between different modes of knowledge-production in a multi-mode research inquiry. It advances strategies for articulating and evidencing the research inquiry and offers practical guidance to practitioner-researchers on how to conduct a PaR inquiry. With reference to examples drawn from a decade of supervisory, examining and audit experience, Nelson addresses - and offers answers to - the many questions students, professional practitioner-researchers, regulators and examiners have posed in this domain. To broaden the perspective and take account of differing levels of acceptance and development of programmes in PaR around the word, in Part II of the book six international contributors respond to Part I and afford cross-sights from the standpoint of their territory.

Design Studio

Black Box

Flat Classroom