Thesis (Ph. D.)--University of Adelaide, Dept. of Education, 1993? / Includes bibliographical references (leaves 537-561).

Thesis (M. Ed.)--Kutztown University of Pennsylvania, 1991. / Source: Masters Abstracts International, Volume: 45-06, page: 2749. Typescript. Includes bibliographical references (leaves 91-95).

Thesis (M.F.A.)--Rochester Institute of Technology, 1991. / Typescript. Includes bibliographical references (leaf 24).

This research proposes and develops a critical framework - a 'matrix' to make sense of the artistic process from the practitioner's perspective. It draws from the research of de Certeau into everyday culture and the art historical discourse of Bourriaud that positions art within models of social interaction. As a critical concept the everyday has benefits for re-thinking the nature of creative activity and its reception. The term participatory relational practice is used \ 11 this thesis to define an approach that situates the artist within the everyday. The matrix is constructed reflexively through three of my art projects and by analysing two artists engaged by the On the Edge research programme to conduct two projects. Used reflectively in and on practice the matrix sensitizes the artist to judgements, values and qualities within a dynamic process of exchange and transaction. The matrix represents a core from which judgements about practice are considered and negotiated. It comprises three inter-dependent dimensions, which the artist selfconsciously models. The aesthetic may be defined as the intricacies of giving form to experience, the ethical as enabling individuals to share a freedom to think, speak or act differently, and the polemical as forming, expressing and enacting a view or position. The research proposes that a nuanced critique may be defined as the interplay between the aesthetic, the playful and resistance. It responds to the need identified in the discourse to develop a multidimensional understanding of practice. The matrix is a way of considering and representing the aesthetic as part of an interdependent whole - a system of values. The research addresses artists and critical theorists interested in collaboration and multi-disciplinary work. The matrix is both interpretive and generative. It can be used to structure and evaluate projects. It has implications for pedagogy in terms of better equipping younger artists with the skills necessary for operating within the everyday as the multi-layered fields of civic society.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / "May, 2003" Vita. Includes bibliographical references (leaves 471-477). Also available on the World Wide Web.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Justin Schorr. Dissertation Committee: William J. Mahoney. Bibliography: leaves 125-127.

Thesis (Ph. D.)--University of Texas at Austin, 2003. / Vita. Includes bibliographical references. Available also from UMI Company.

Thesis (M.A.P.S.)--Associated Mennonite Biblical Seminaries, 1986. / Includes bibliographical references (leaves 82-84).

Voice is an inconstant yet constantly performative material; it is our internally-housed, liminal technology. ‘Processes of voice’ is the term I develop throughout the text of this thesis to articulate materialities of voice and methods of address within processes of practice in artists’ moving image that ‘give voice’ to material and non-material forms. I interrogate this in relation to key concepts in Philosophy of Mind to address the complex ways in which bodily skills and action inform perception and thought to explore an account of perception and process in relation to voice. I examine the liminal, inconstant, and uncertain in subjective experience, and the ways in which this is extended into the social through a politics of embodied practice harnessed in moving images. I make a case for the uncertain I-voice, which engages the fully embodied and openly subjective, to challenge established narratives and conventions of address, and the power and knowledge dynamics that structure them. I come to focus on the uncertain acousmatic I-voice in moving image, which through its presentness, intimacy and acknowledgement of uncertainty relinquishes the acousmêtre’s threat of control to share a liminal territory of destabilized authority with the viewer. This is also explored in and through my own moving image work, A Desire For Organic Order (2015), a single screen video, which contributes to the overall thesis.

Thesis (M.F.A.)--Rochester Institute of Technology, 1993. / Typescript. Includes bibliographical references (leaf 27).