This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?

Thesis (Ph.D.)--Ohio University, August, 2009. / Release of full electronic text on OhioLINK has been delayed until September 1, 2012. Includes bibliographical references (leaves 185-254)

Thesis (Ph.D.)--Ohio University, August, 2009. / Title from PDF t.p. Release of full electronic text on OhioLINK has been delayed until September 1, 2012. Includes bibliographical references (leaves 185-254)