PhD creative component

A public engagement project funded by the University of Sheffield. Visual representations of my PhD research.

This document brings together materials produced for and during a PhD by Design study and workshop day held at Leeds College of Art on May 14th 2015. This day was dedicated to exploring multiple possibilities of innovatively disseminating practice based design research. Graphic design: Maria Portugal

2016

International journal of management and applied research, 2020

The presentation of posters at scientific conferences to visually represent research projects is a widespread international practice. The main purpose of this paper is to offer reflections relating to posters as visual representations of research studies conducted by PhD candidates. As the basis for our reflections, we consider the main purposes and intended learning outcomes linked to posters and reflect on some of the design and assessment issues associated with the multi-faceted purposes of posters in contexts such as postgraduate research conferences. Notably, the paper includes a set of illustrative vignettes written by a group of PhD students from the Faculty of Humanities at the University of Manchester who were required to design and exhibit posters at an annually held postgraduate research conference. This reflexive dialogue raises a series of issues for consideration by those who are actively involved with the design, presentation, observation and assessment of posters produced by PhD candidates.

Educational Portofolio , 2023

DFUS (Department for Urban Sanity): Positioned itself as a counterforce to the failures of governance, safeguarding the sanity of citizens through adhocracy practices, challenging myopic banditry within bureaucracies. WASOP (Waste Art Studios of Plastic): Embodied the title of a Master's Research Dissertation, focusing on Plastic as the Medium of Architectural Arts. It centered on discarded matter and the errors within a history rooted in displacement, aiming to transform these into a transformative medium, virtualizing the molecular dynamics unknown to static apartheid-regime suburbs, resonating within Court 23 of the Johannesburg Magistrate Court today. OTYNET: Conceptualized as an Online Tethering 'y' Network, pitched to the Goethe Institute, envisioning a connected network empowering technologically savvy youth. This approach sought to pivot internet poverty and speculated on reshaping the ecology of poverty itself. It existed within the registration ecology of the company 'Is Sound Architectures' 2019 which was pivoted with collaborations with the Makers Valley Collective in 2022 titled 'Piatla Poverty' [ Meaning to Finish/End/Drop Poverty in Sesotho'] ISA :Sound Architectures Pioneered the inquiry, "Is sound architectures?" originating from research during Floating Reveries. The exploration observed sound as both a tool for violence and safety in architectural contexts, prompting a paradigm shift in 2023, converging with my digital identity 'Ilze' transformed into '3271'. This methodology reflects the multitude of iterations and responses to diverse briefs, symbolizing an expansive spectrum encompassing identity, planetary context, and architectural scales. Continuing investigations encompass image, drawing, mapping, and form creation merged with sound and sites, aiming to archive undisclosed histories within present-day places. These endeavors are rooted in theories addressing how we may contribute to healing the future.

2014

2015

DESIGN AND CREATIVITYResearch Student Symposium, Friday 30th January 2015, Faculty of Arts, Environment and Technology, Leeds Beckett University, Broadcasting Place, Humanities Building Leeds, UK INFO http://cagd.co.uk/public/research/design_and_creativity.php http://www.leedsbeckett.ac.uk/faculties/faculty-of-arts-environment-and-technology/ DESIGN AND CREATIVITY In his etymological essay on “design” Vilem Flusser observes that the current use of the term ‘indicates just about any situation in which art and technique (including evaluative and scientific thought) combine forces to smooth the way to a new culture’. Design is thus opened up in a wider sense that bridges across art, science and technology. Echoing the words of Flusser’s essay the Design and Creativity research student symposium will aim ‘to bring to light the crafty and insidious aspects of the word “design”’ within the diverse disciplines that operate within the Faculty of Arts, Environment and Technology. AET research students are invited to critically address the theme of ‘Design and Creativity’ within the context of its current debate and topical role across the faculty disciplines at large. The purpose of the symposium is to offer a window on student research in the Faculty across the different cultures of the arts, humanities, science and technology, and to provoke interdisciplinary conversations on a topical theme we all address, in different ways, in our work. VENUE & TRAVEL Leeds Beckett University City Campus, Broadcasting Place, Humanities Building (Building A), Leeds, United Kingdom LS1 3HE Campus Maps and Guide: http://www.leedsbeckett.ac.uk/about-our-university/contact-and-find-us/ REGISTER The event is free but places are limited; prebook your place by emailing Beverley Swinburne, E: [email protected]

A doctoral journey provided golden opportunities to work in a team to complete group assignments, present the research findings and prepare the dissertation document, just like what the professional world demands.

In my PhD study, Creative River Journeys - an inquiry into postgraduate education and practice-led research at Edith Cowan University, Perth, Australia - I have employed a/r/tography as my research methodology and a/r/tography underpins the conceptual framework of the research project. Making the connections between the research concerns in the project and the theory of a/r/tography as a practice was a crucial step in the research design process. As the project has unfolded, further unexpected connections have become apparent, particularly in relation to the reflective practice inherent in the project, my own poetic inquiry, and my researcher identity. In this paper, I outline the relationship between the research design and a/r/tography as a methodological approach, and share insights that I have arrived at in my PhD project, especially in relation to how the project has led me to embody the multiple roles of artist, researcher and teacher.

Re-imagining Doctoral Writing, 2021

It has been a privilege to work on this edited collection despite the fact that much of the work has taken place during a pandemic when, for many of us, our lives have been turned inside out. The series editors Terry Zawacki, Joan Mullin, Magnus Gustafsson, and Federico Navarro have been exceptionally helpful, as has been founding editor and publisher Mike Palmquist. Terry, in particular, has guided us with gentle encouragement and thoughtful suggestions throughout the process. We also thank the contributors for their work on chapters and for their collegial approach to this project. It has been a pleasure to work with you all, and we look forward to many years of collaborations in the future. We would also like to thank all the readers who read earlier drafts of pieces of this collection. We are grateful for your careful work. Cecile: I would like to acknowledge the support from Memorial University for assistance in the preparation of this manuscript and in particular for the Publications Subventions Program grant. I also want to thank my co-editors, Britt and Jamie, for a most enjoyable journey. Our virtual meetings became a highlight for me. I'm also extremely grateful to both of them for carrying the load when I became ill. They conveyed their compassion and care in multiple ways. Britt: As I type this on my phone (with one hand, while feeding my new baby), I am astounded at what can be accomplished when academics come together to carefully collaborate. As authors and editors, we have been through births, deaths, sickness (hello Covid-19!), health, layoffs, new jobs, as well as dissertation endings (congrats!), beginnings, and somewhere in between. I am grateful to my co-editors who have sustained me in more ways than I could possibly detail. I am grateful to the authors, who gracefully took on rounds of editing and review in order to push this piece further. I am grateful to the Algonquin Nation whose territory includes the Ottawa River watershed, which nurtures and sustains my life and the lives of my kin. Finally, I am grateful to my human, Sean Botti, whose countless hours of visible and invisible labour has contributed to making this project a reality. Jamie: I am grateful to so many people who have been a part of bringing this collection together. I would like to thank my co-editors, Britt and Cecile, for their rigour, generosity, and care. The fact that we have edited this book from different corners of the world has frequently opened up interesting juxtapositions in time and season and in terms of how we think about doctoral education and writing. I am grateful to chapter authors for working with us RE-IMAGINING DOCTORAL WRITING