Uni form is an exploration into the act of getting dressed. The act of dressing or assemblage of dress is negotiated and explores how personal identity is constructed. My design research contributes to a current understanding of self, dress and social identity. I begin with an analysis of wardrobe as a personal collection and I propose that, in our everyday dress, much of what we choose to wear constitutes a uni form of one sort or another. Focusing on the shirt dress as an ‘ordinary’ everyday style of generic dress, I set out to experience the wearing of a personal uniform. What emerges from this research is a proposal that a uni form – a metaphoric garment – can meet the needs of everyday life in the postmodern urban metropolis.

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).

In memory of cats: The camera and the ordinary moment looks at the way in which families use photographs to remember the past. Photography’s offer of memory is limited to a visual trace, so strategies of oral telling are examined to interrogate the way in which memories can be recovered from photographs. Martha Langford’s study of the similarities between structures in oral culture and the photograph album and Annette Kuhn’s strategies for reading family photographs in a broader historical context, are used to examine and recover memories from my own photographic archive. Using moving image to record those memories and then tell how that photographic evidence has shaped my present, is a process suggested by Linda Williams in her writing about how postmodern documentary can use the past to intervene in the present. Other documentary styles, performative documentary and the essay film, offer a structure for personal memories to be revisited and re-presented to public viewers. Offering a space for personal or specific memories to be understood or related to by a viewer is discussed by Lisa Saltzman, who looks at indexical forms other than the photograph, like casting and tracing. These ideas culminated in my video work, A Clowder of Cats, which explores the losses that have been a part of my history, through photographs of the cats my family has owned. The camera gives us a strategy to remember moments that may otherwise have been forgotten, and moving image provides a space for those ordinary moments to be bought back to the present.

The role and position of the documentary street photographer is examined in the context of other forms of contemporary visual survey, including Google Street View. The Street View methodology is critically examined and related to the methodologies of other visual artists, including street photographers Peter Black and Robert Frank. Comparisons are drawn between the methodological restrictions imposed by Street View and those imposed by the photographers in the course of their practice. The issue of authorship is discussed and the lack of specific authorship of Street View is related to its inability to augment the viewer's personal sense of space. Wainuiomata, a suburb of Hutt City in Wellington, New Zealand, is introduced as a location for the author's research into how documentary photography might operate. The author's own phenomenological history is considered, and it is proposed that Wainuiomata may act as a mirror which reflects a sense of place derived from personal history, triggered by the visual landscape. The author's installation work The 1 p.m. Project is discussed and contextualised as a response to the author's research findings.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Photographic technology is increasingly respondent to a desire for the production and consumption of information. The current age of photography not only possesses the ability to capture the image, but also to capture photographic metadata as supplemental information. Engaging in the premise that the photographic image exists as an incomplete medium to the transfer of information, this research identifies the acquisition of data as a means to resolve interpretation and quantify the photographic image. Inhabiting a complex territory within this structure, the photographic image manifests multiplicity and operates as source, production, and capture of information. This work challenges the perceptions of how to engage with the dialogues created between the photographic image, and the externally appended metadata.

Mass-production and consumption is causing mountains of waste, overwhelming our fragile world. Since the fast fashion industry is one of the major contributors of waste, it is vital we change the way we produce, consume and market clothing in order to address concerns such as global warming. We need to consider how we can make clothing within a closed cycle to minimise waste. The garments should either be biodegradable and become nutrients for the earth, or be able to go back into the technological cycle, i.e. to be stripped of components and reused, or else up-cycled with zero waste; a cradle-to-cradle life cycle (McDonough & Braungart, 2002). This project explores how a more sustainable relationship can be created between the designer, consumer and their community, in an attempt to slow the fashion industry down. Drawing upon sustainability theories I apply a new system of design, production and consumption that fosters relationships and active participation in the garment manufacturing process, as well as making clothing that is tailored for an individual’s lifestyle. In this project I have created bespoke clothing items for and with three people. The clothes are conceived as treasures that my clients can keep forever. Instead of simply being fashionable and of the time, the New Bespoke clothing is both timely and timeless. Through a series of consultations I develop an understanding of my clients personality and lifestyle, and through photographic explorations I develop a silhouette from their current wardrobe from which to design the garments. The transparency of this production system is aimed to educate my clients about environmental issues in the fashion industry, and to change their perception of the value of clothing.

Polyrhythmic Landscapes: BodyDressCity explores the performative contiguity of body, garment and environment to reveal, frame and question how the city can be understood as a ‘space-in-action’, constructed of multiple rhythms and temporalities that occur in a multitude of places. Polyrhythm is a musical term for the simultaneous occurrence of two or more independent rhythms. This research seeks to fuse Bernard Tschumi’s event-space and rhythm, through an understanding of Henri Lefebvre’s ‘rhythmanalysis’ (Lefebvre, 2004, p. 1). In this project, I spatially conceptualize the combination of these terms as a polyrhythmic landscape. As a spatial designer I construct a series of embodied spatiotemporal interventions that employ performance as a dynamic, active, operative and responsive medium to reveal, frame and comprehend how the city can be a ‘polyrhythmic landscape’. The design-led project probes the disruptive effect of a female figure dressed in a monumental ten-metre red gown on the temporal condition of the city. As the public bears witness to the metamorphosis of the female figure, the spectacle of the dress confronts the everyday patterns and movements of the urban fabric. Has this glamorous flâneuse punctured the rhythmic skin of the city to reveal a polyrhythmic landscape?

Ko tā Ngata e whakapae nei, mā te tino mōhio ki ngā mōteatea, ki ngā kupu, ki ngā kōrero, ki ngā momo mōteatea a ngā tīpuna Māori, e whai wāhi ai te tangata ki te pā o te hinengaro Māori, mā reira anō e mōhiotia ai te Māori. Kua wānangatia ngā momo waiata a te Māori kia kitea ai te Māori ake o te whakaaro i roto i te mōteatea. Kua whakataua inā arohia ai ēnei āhuatanga kua mōhio me pēhea te manaaki i ngā kaupapa hei whai mā te Māori. Mr Ngata explored the use of a variety of traditional chants as a mechanism for exploring and understanding Māori philosophy and behaviour. He used case studies involving a community focus on knowledge and innovation to illustrate the influence of these chants on the development of kaupapa Māori. The findings will help Māori and non-Māori alike give better effect to development initiatives for Māori