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Doctor of Philosophy

Doctorate (PhD)

Key details

About this course.

The University of New England is committed to maintaining its strong research culture, underpinned by high research training standards. The University Doctor of Philosophy Rules provide the framework for the University's highest level award. They provide the rigorous processes that are essential for the maintenance of academic quality and integrity in the University's operations, and that reflect the University's values of providing a formative, respectful, inclusive, flexible and innovative environment for the delivery of high quality research training for its students.

Eligible Australian and New Zealand students who meet the criteria for entry to the PhD will not incur fees and will be funded under the Australian Government's Research Training Program (RTP) for the normal duration of the course. International Students incur tuition fees.

Entry requirements

1.1. Admission to candidature in any doctoral program may be approved by the Head of School or delegate (for example Higher Degree Research (HDR) Coordinator) under the oversight of the Associate Dean Research (ADR) when the School:(a) has certified it has the necessary facilities and appropriate support for the applicant undertaking the proposed PhD program; and

(b) has nominated an appropriate Principal Supervisor and Co-supervisor(s) in accordance with Rule 5.

1.2. The Head of School or delegate (for example HDR Coordinator) under the oversight of the ADR may admit to candidature in a doctoral program an applicant who: (a) has a degree of Master (AQF Level 9) with at least a 25% research component undertaken at a sufficiently high standard, or equivalent; or

(b) has a degree of Bachelor with at least upper second class Honours (AQF Level 8), or equivalent; or

(c) has a degree at AQF Level 8 or AQF Level 9 and had adequate research preparation since graduation. Adequate research preparation may be gained by an approved academic course, professional training, during an occupation or through peer reviewed publications; or

(d) has previously undertaken work of sufficiently high standard towards a higher degree by research (AQF Level 9 or equivalent) at UNE but not submitted it for any degree; and

(e) has produced documented evidence of capacity to undertake work at the PhD level; and (including any requirements for Doctor of Philosophy (Innovation) and Doctor of Philosophy (Creative Practice));

(f) has completed an appropriate research proposal for the doctoral program for which they are applying (see further below)

1.3 Upgrade from research Master to Doctoral program.

HDR candidates may apply to the Graduate Research Committee to upgrade from a research Masters program (AQF Level 9) as stated in Rule 1.2(d) to a doctoral program by providing the following:

(a) evidence of refereed research publications or reviews of at least two thesis chapters, or equivalent component of a portfolio or creative work.

(b) the reviews shall be carried out by two reviewers, one who may be internal and one who must be external to UNE. Each reviewer should have a doctoral degree or equivalent.

(c) any application for an upgrade with evidence attached must be endorsed by the Principal Supervisor and Head of School or delegate (for example HDR Coordinator) under the oversight of the ADR and forwarded to Research Services, after confirmation of candidature or equivalent with sufficient candidature left to continue on into the PhD.

1.4 The time of candidature in the Masters program will be deducted from the candidature of the doctoral program. For example, for domestic candidates, if six months has been undertaken in the Masters program, then thirty months will remain for the doctoral program.

1.5 All applicants must meet the UNE?s English Language Requirements for Admission Rule .

Doctoral programs- specific requirements

1.6 Doctor of Philosophy (Innovation)

In addition to meeting the requirements for entry to UNE Doctoral Programs, to be admitted into candidature in the Doctor of Philosophy (Innovation) (PhD. I) an applicant must:

(a) fulfill both academic and industry/profession requirements;

(b) have a minimum of five (5) years relevant experience in an industry/profession; and

(c) wherever possible, but mandatory in cases where criteria in Rule 1.2 has not been met, demonstrate he/she has successfully undertaken prior contextualised research activity in a relevant industry/profession at the equivalent of Masters level. Such demonstrated prior contextualised research could include previous research surrounding the development and implementation of new knowledge; policy research; market research; research association with commercialisation activities; action research; workplace evaluations; evaluation of new knowledge and/or innovation adoption; change management, monitoring and evaluation; and/or any other evidence of research and development capacity deemed sufficient and relevant by the PhD. I Coordinator.

1.6.1. International candidates will need to reside in Australia during the first 12 months of candidature while they complete the PhD.I Research Learning Program. The following three (3) years of candidature they will return to and reside in the country where their Innovation project and Innovation project Portfolio research is being conducted. Candidates are required to return to Australia for intervals of time sufficient to complete their portfolio as agreed between the candidate, supervisors and Head of School or delegate (for example HDR Coordinator) under the oversight of the ADR.

1.6.2. All candidates will complete the PhD.I in two phases. Phase 1: the PhD.I Research Learning Program, which must be completed prior to commencement of Phase 2: the Innovation project Portfolio . Progression to Phase 2 is contingent on successful completion of Phase 1, as demonstrated through Confirmation of Candidature.

1.7 Doctor of Philosophy (Creative Practice)

Projects for this course must include two components:

i. A creative work

ii. A written exegesis

1.7.1 Primary Supervision is based in the School of Humanities, Arts and Social Sciences, co-supervision can be from across UNE and industry.

1.7.2 Projects can only be undertaken in creative areas for which UNE can provide appropriate supervision and resources to support the project.

1.7.3 An applicant must demonstrate he/she has successfully undertaken prior contextualised research activity in a relevant area of creative practice at the equivalent of research Masters level, and has appropriate skills and knowledge to undertake work in this field at PhD level.

Study locations

What you will learn.

Upon completion of this course, students will be able to:

exhibit an expert understanding of an academic field of knowledge by: (a) having systematically acquired a substantial body of intellectual skill and experience that is grounded in contemporary developments in an academic field; (b) creating and communicating original scholarship of a quality to satisfy peer review, extending the frontier of the field of knowledge and potentially meriting publication; (c) demonstrating thorough knowledge of research principles and methods applicable in advanced academic inquiry;
conduct research independently and systematically by: (a) conceptualising, designing and implementing a project which will increase knowledge that is applicable or contributes new insights to an academic field; (b) evaluating ideas and making informed judgements on complex issues or challenges in the field of specialisation; (c) communicating ideas, methodologies and conclusions clearly and effectively to specialist and non-specialist audiences; and
be accountable for their own learning and professional training by: (a) demonstrating the capacity to undertake further learning and/or a further career in or around research at an advanced level, and contributing substantially to the development or dissemination of new techniques, ideas, or approaches; (b) displaying the qualities and attributes necessary to exercise personal responsibility and autonomous initiative in complex and unpredictable situations, whether in professional environments or in the public domain.

How to apply

All students apply directly to Research Services at UNE using Research Services admission form(s).

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Phd student liz chappell explores catherine spence’s life through creative practice.

by jjohns82 | May 18, 2021 | Uncategorised | 1 comment

Ardent interest and passion can occur at any time in our lives. PhD student Liz Chappell shows this to be true through her enthusiasm for her craft and the story behind her study journey at UNE.

Liz originally studied an undergrad degree in Journalism at UTS, followed by a number of years working in women’s magazines and in trade press. However, as Liz puts it, “life takes you on funny paths” and she moved back to north of Glen Innes, where she lived and worked on a family sheep and cattle farm. During this time she wrote and published a gardening book, which reaffirmed her love for writing and drew her interest to further writing pursuits.

“At that time I started coming along to the New England Writer’s Centre and I was working on a bio-fiction manuscript. I had one of those Road to Damascus moments when a much younger woman was talking about coming back to do her Masters. I thought ‘I’d love to be at that stage of life’ and I thought ‘Well actually nothing is stopping me.”

When Liz returned to university study she undertook a Master’s degree at UNE, followed closely by her current PhD studies, which she is completing through Creative Practice – the creation of an independent creative work that incorporates research and an exegesis.

“I am doing an imaginative biography of Catherine Helen Spence, who was on our five dollar note a few years ago. She was the first Australian woman novelist to be published. She left a very rich archive of material, but I am telling her life story through multiple narrators because of the contradictions that I have found in my early research on her. The end product will be a lengthy biography with quite a bit of imagination in it and a reflection of how it relates to other life-writing work.”

“I am at the very beginning, I am quite overwhelmed with material. I had the opportunity to go to Sydney and read a lot of her letters that are in the Mitchell Library there, and later on I will be going to Adelaide where she lived where there is a lot more material. The Sydney trip gave me the chance to make sure there was going to be enough material to sustain the project. You’d hate to be six months in and think ‘What else is there?’”

Discussing what drew Liz to Catherine Spence as a research subject, she notes that it was the diversity of pursuits that Catherine undertook that appealed to her.

“First of all I knew about her as one of the leaders of the suffrage movement. Then I came across her novels, particularly her utopian novels – she published eight in all. One of the most interesting things was how these novels looked from 1888 towards 1988, she got some things right and some things wrong.”

“Catherine Spence continues to surprise me! This is something that her early biographers said that people were daunted from taking on a biography because she did so many different fields of work, and having done so many U-turns in life myself, that appealed to me.”

Returning to study after so much time and diving into a Masters, Liz decided to take it on as part time study – however her PhD studies are full time.

“This is the first opportunity I have had to be a full time student, all of my study to date has been part time, and of course the RTP from the government covers the fees so I am not accruing any debts and I have the opportunity to not be working. It means that you can put your project to the forefront, rather than trying to balance it in-between the other aspects of your life.”

Although she is still in the early days of her PhD, Liz reflected on what she will aim for following these studies.

“I hope that I will finish my PhD with a biography of Catherine Spence which will put new light on her life and also show the perennial nature of a lot of these women’s issues and as such it will be a publishable manuscript. She dealt with a lot of things, like domestic violence, no fault divorce, issues of trial marriage and illegitimacy, which were pretty out there in the mid-19 th century and she managed to get them published in daily newspapers – so she was a pretty forceful lady.”

Having worked as a journalist for various publications over many years, Liz is no stranger to research and the writing process, although there are subtle differences between her previous experiences and her current studies.

“What I am enjoying here is the freedom if you like to range a bit further, to go down a few rabbit holes because they seem interesting to find out more about; it is not so time and deadline driven. Also it is not as pragmatic as being in the publishing world, I worked for one stage for Reader’s Digest where you would have a week to do everything you knew about sales tax, for instance. I know I still have time constraints but they are of my own making.”

Liz had this parting advice for any students who might be considering the following a similar study journey as she has – “you’ve got to know deep down that you are going to be enthuastic enough about your topic to stay with it for three years, because you really do live with it. If you fortunate enough to take it on at a time in your life when you can foreground it, rather than have too many strong competing influences.”

Good for you Liz and thanks for this glimpse. All strength for this project. Stuart

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Creative writing

The Creative Writing discipline supports practice-based and critical research and PhD study focused on creative writing. This research activity is associated with the discipline's Contemporary Cultures of Writing Research Group. The core activity in this type of PhD study is the creation of a book-length work of literature (or script equivalent) and an accompanying critical reflective thesis, which elucidates the research and creative strategies involved in making the work. In this way the essence of the Creative Writing PhD is research through creative practice. The final creative work emerges from and embodies the research questions, and the decisions and discoveries made while producing the work. We welcome applications from candidates suitably qualified and with appropriate writing experience and ability.

We expect well-structured proposals which set out specific research questions and clearly outline creative and critical approaches. A substantial writing sample is also required.

Entry requirements

Minimum 2:1 undergraduate degree (or equivalent) and a strong academic and creative record, usually evidenced by an MA in Creative Writing and relevant publications. If you are not a UK citizen, you may need to prove your knowledge of English .

Potential research projects

Fiction – novel and short stories
Creative Nonfiction – including life writing
Script for stage, radio or screen

Current/recent research projects

The Longest Fight: a novel and Getting into the Ring: an investigation of archetypes of the boxing hero, the creative influences of boxing reportage, and the role of personal memories in historical fiction.
Freethinkers, a novel, and Inventing history: how do research, imagination and memory fuse creatively in the writing of an historical novel?
Darkness Is Never Absolute: Ekphrasis of the Formless and Near-Black Paintings.
The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing.
The Electric: A novel and critical commentary investigating narrative disruption in sign language, cinemagoing, and trauma.
Longing to belong: an investigation into the potential for alternative storytelling techniques.
A Sudden Light: a practice-led exploration of the significance and potential of the contemporary timeslip novel.

Potential supervisors

Dr Emily Bullock
Dr Siobhan Campbell
Dr Donall Mac Cathmhaoill
Dr Fiona Doloughan
Dr Edward Hogan
Dr Lania Knight
Dr Derek Neale
Dr Heather Richardson
Dr Samuel Sargeant
Dr Emma Sweeney
Dr Jane Yeh

Some of our research students are funded via the Open-Oxford-Cambridge AHRC Doctoral Training Partnership ; others are self-funded.

For detailed information about fees and funding, visit Fees and studentships .

To see current funded studentship vacancies across all research areas, see Current studentships .

Creative Writing at The Open University
Recent and current creative writing PhD students
The Contemporary Cultures of Writing Research Group

Get in touch

If you have an enquiry specific to this research topic, please contact:

Dr Molly Ziegler / Dr Ed Hogan Email: FASS-EnglishCreativeWriting-Enquiries Phone: +44 (0)1908 652092

If you’re interested in applying for this research topic, please take a look at the application process .

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Socially Engaged Practice-Based Research: A PhD Pathway for Artists

A conversation with Alan Grossman and Anthony Haughey, led by Till Bödeker and Peter Tepe | Section: On ‚Art and Science‘

Abstract: How is a PhD program for artists in English-speaking countries organised? The PhD by Prior Publication of the TU Dublin serves as an example.

The Centre for Socially Engaged Practice-Based Research (SEPR) from the Technical University Dublin (TU Dublin) offers two different PhD pathways to creative practice practitioners: a four-year full-time and a two-year part-time programme. While the full-time, structured programme requires candidates to complete modules, the part-time PhD by Prior Publication pathway does not. A candidate in the four-year programme is obliged to write an original thesis of 50,000 to 80,000 words as well as producing several accompanying works of creative practice; in the two-year PhD by Prior Publication pathway, a thesis of 20,000 to 30,000 words is expected, whose quality is to be comparable to that of a full-time practice-based PhD. New knowledge has to be generated in both cases.

In this interview with Dr Alan Grossman and Dr Anthony Haughey, two academic staff members and PhD supervisors at SEPR, we want to concentrate on the unique aspects of the two-year part-time PhD by Prior Publication pathway. It offers established creative practitioners (filmmakers, visual artists, journalists, amongst others) in Germany novel opportunity to obtain a doctorate on the basis of their established and publicly-disseminated creative practice. In the middle of their career they can write a thesis in which they reflect on their creative practice/written publications in the last decade, both theoretically and methodically.

Centre for Socially Engaged Practice-Based Research

Do applicants apply directly for one of these two pathways or do you decide which one is suitable for which PhD candidate? Commonly a prospective candidate/practitioner will intuitively know which pathway is suitable for their doctoral study aspirations. There is of course a significant difference between conceptualising an original doctoral research project and proposal from scratch on one hand, and on the other, assembling and revisiting a decade-long series of creative practice outputs and/or written academic publications for the purpose of submitting a thematically-coherent body of work on a particular object of study. In a number of instances and via an introductory conversation, we spend necessary and valuable time with a candidate, working through their creative practice profile, the dissemination of their works, public exhibitions and academic publication history to determine the relevant pathway.

From a creative practitioner perspective, what are the minimum requirements the candidate must meet in terms of exhibitions and publications in order to participate in the programme? Could you give an example of what is insufficient? It is the regulation of Graduate Studies, TU Dublin that a PhD by Prior Publication applicant submits a minimum of four published/exhibited works completed over the past decade, which have circulated in the public domain. Typically, we encourage between four to six outputs. Each candidate will present with a unique configuration of outputs, specific to their practice trajectory, regardless of medium; the result is a combination of creative practice and published works, whether in book chapter form or journal articles. In some cases, the quality, sites of public exhibition and reception of the creative works, provide a more-than-adequate foundation for the application. Clearly, a PhD by Publication application portfolio that is overly reliant on self-published works, without peer review or commission, alongside low-profile exhibition outlets, will not be deemed qualitatively adequate. These decisions are made by an external reviewer, whose task is to appraise the quality and range of outputs. It is important to note here that the role of an external reviewer (outside the university, recommended by the candidate and supervisory committee) is to evaluate the four to six submitted works in terms of their inherent research quality and impact on audiences. In other words, do the totality of the publications, used widely here, amount to the equivalent of conducting a traditional PhD over a four-year period? If the answer to this question is yes, then the candidate is given the green light by the external reviewer to commence the writing of the thesis, subject to an internal evaluation committee recommendation by members of our Faculty of Arts and Tourism. In short, it is a two-stage process, beginning with the appraisal of the external reviewer. Typically, it takes candidates between 3–6 months to assemble their application package.

Do all publications of an applicant count, for example, poems written by a visual artist? Or are there only academically-relevant publications which form the basis of the planned doctoral thesis? By publication , we refer to any form of written or creative practice – whether a body of poetry, an installation, film, an architectural build or photographic exhibition, amongst other print or mediated outputs – that have been brought into the public domain with the requisite supporting documentation surrounding reviews and critical appraisal. Where relevant, depending on the practitioner’s profile, traditional peer-reviewed academic journal articles, book chapters or monographs, should ideally be included if they enhance the legitimacy and theoretical and methodological rationale of the PhD by Publication application. The range of outputs profiled in the application form the basis of the planned thesis. Since the thesis reflects critically on the various works submitted in the application, any new material produced during the course of writing the thesis cannot be included in the thesis itself.

The name of your Centre suggests that a commitment to socially engaged creative practice is reflected in the thematic concerns of doctoral work: is this a prerequisite for being included in your programme? The Centre for Socially Engaged Practice-Based Research (SEPR), formerly the Centre for Transcultural Research and Media Practice, is fundamentally dedicated to working with doctoral candidates, regardless of pathway, whose interdisciplinary work (across the Arts, Humanities and Social Sciences) engages with a range of contemporary social, political and cultural transformations that echo across transnational boundaries with particular local inflections. Thus, the varied immersive and mediated fieldwork practices of doctoral projects are encouraged in their reach to foreground questions of agency, participatory, collaborative/dialogical forms of production and collectivised identities across diverse communities of interest and place. This of course is a very different trajectory to the individual artist working within the confines of their studio-based practice.

So, to be clear, a visual artist’s socially engaged trajectory of work, regardless of its topical and disciplinary parameters, will be subjected to a deeper inquiry in the thesis itself? Yes, that’s correct – the thesis affords the opportunity for the practitioner to deepen and focus on a range of theoretical, aesthetic and methodological concerns, absent in and across the various outputs. On this point, we should stress that it’s vital for the thesis to engage with what was not said in the various works published; what was not adequately theorised? What could not be represented? Otherwise, what’s the point of re-visiting the works completed via writing? It cannot be to merely collate and reproduce the very same contingencies, aesthetic choices and so on, but rather, an opportunity for the practitioner to re-conceptualise their distinctive practice in new and unpredictable ways. So, in essence, via the written thesis, the candidate is adopting a Janus-faced position in relation to their creative practice; namely, simultaneously looking back to the past, while casting a critical eye onto future iterations of their practice, achieved through acquiring a reflective – and theoretically -nuanced voice in the writing itself.

Can you provide by way of illustration the nature of the social engagement of artists who apply to the programme? Relatedly, a few examples of some of the thematic concerns addressed by candidates in their theses, would be instructive. To date, there have been a wide range of applicants across numerous disciplinary fields whose socially-driven durational practice has been conducted both in and outside Ireland. These include amongst others: socially engaged artists, experimental and documentary filmmakers, public art coordinators, graphic designers, site-specific fashion designers and visual artists experimenting with cross-platform modalities of representation. One graduate, for example, engaging in a collaborative arts practice within a Dublin-based youth organisation, foregrounded in her thesis the lived experiences of systemic inequalities – how truth speaks to power and politics – via a series of transgenerational projects. This resulted in a critical examination and response to power relations at a personal, community and societal level, contributing new transdisciplinary knowledge across the fields of socially-engaged art practice, youth work and education. Another very recent graduate – in this case a gallery-based experimental filmmaker working longitudinally with dissident Irish Republic paramilitaries – posed a question about how collaborative art practice can provide an alternative form to the consensual political sphere, by way of producing spaces of agonistic discourse and encounter. A few examples of current doctoral theses include: an interrogation of the invisible work and role of public art coordination – how, for example, do public art coordinators contribute to building a pluralist participatory democracy? Another, that of an Indian community-based filmmaker in its late application phase, examines questions of belonging and identity, alongside the formation of transcultural identities among the Keralite migrant community in Ireland, via a series of short, exhibited, low-budget participatory films. For a full range of current and previously completed doctoral theses, we would advise interested candidates to browse our Centre website (www.dit.ie/sepr).

Are successful applicants who apply for the two-year programme able to start immediately working on their PhD thesis? Or is there a requisite training involved prior to commencing their study? There is no mandatory training involved prior to or following formal registration. The PhD by Prior Publication application process – from deciding on the submitted outputs/projects, to writing Project Descriptors for each of the artefacts, alongside an accompanying 2000-word Framing Statement – effectively represents the beginning of conceptualising (both theoretically and methodologically) the contours of the thesis. Put differently, this process initiates the writing of the by preparing the candidates to engage selectively with the topical concerns and theoretical constructs of the projected thesis. When the application of the candidate has been both externally and internally approved, s/he is then formally registered into the programme.

Do you pursue a particular thesis objective with visual artists in the programme, which is perhaps different to other doctoral work conducted across the humanities, cultural, literature or film studies, art history and philosophy? To begin with, many candidates in both their creative practice and thesis writing draw significantly from some of those disciplinary areas you identify, and further afield. Doctoral inquiry regardless of discipline across the humanistic social sciences does of course follow common conventions, albeit with slight variations in terms of length, structure and duration; significantly, regardless of minor differences, the overriding commonality is to produce an original contribution to new knowledge. Certainly, this is the case and expected standard for candidates pursuing a PhD by Prior Publication . What distinguishes this written thesis from traditional doctoral theses is precisely the fact that the research has been completed in the form of disseminated published works during the past decade. A further distinguishing feature is that candidates are asked to reconceptualise their creative practice, to pose new methodological and theoretical questions with a view to reveal new insights and knowledge through their writing. In short, the thesis focus is the creative practice itself – its interventionist role in reconfiguring and contesting any set of power relations and representational practices across the broad field of socially-engaged art and media practice.

Is it possible to make general assumptions about the criteria by which an artist’s thesis is examined? How the thesis imparts critical reflexivity by the candidate is a different criterion to the question of how and whether the thesis results in new knowledge, scientific or otherwise. That is a good question and there is no straightforward answer. It partly does depend on the disciplinary background and particular interests of the examiner and his/her expectations as to what constitutes new knowledge. That said, to date, all our candidates have passed their oral examinations, conducted by internationally-renowned and located academics/practitioners. In reply to your question, we would argue that critical reflexivity evidenced in the thinking through and writing of the thesis is testimony to the production of new knowledge. The latter cannot be realised without the candidate embracing the former by way of acquiring a new lens/prism through which to evaluate their practice, its conceptual underpinning, methodology and impact on diverse audiences.

One salient feature of the SEPR programme is co-supervision, namely, the supervision of the doctoral thesis by two lecturers. Why is this the case and what are the advantages of such an arrangement? In Germany, a doctoral thesis is traditionally supervised by one person. An additional lecturer typically comes into play as a second reviewer only when the work is fully or largely completed. Given the specificity and typical interdisciplinarity of creative practice and practice-based research at the doctoral level, we take the not-uncommon view that no single supervisor has the requisite expertise and can/should manage the weight and demands of supervision alone. The configuration of co-supervision depends to a large extent on the particular trajectory of the candidate in question and (where relevant) the supervisory team is made of two or more scholars from different schools/departments. It is further in the interest of the candidate that s/he avail of the highest-quality supervision and to this end, we have a responsibility in establishing the most suitable match. We further encourage our doctoral candidates to forge informal links – external to the supervisory team and university – with other scholars who in turn, can complement the expertise available to the candidate.

In Germany, it is common for lecturers to be allowed to supervise theses only after the so-called ‘habilitation’ – a major scientific work completed following the doctorate, which includes a special examination procedure. How is this regulated in Ireland and the English-speaking world? What requirements must be met here in order to be a doctoral supervisor? There is no such requirement in Ireland nor the UK. In the US, there is an altogether-different system in place, focused on a PhD dissertation committee. A new doctoral supervisor in our university must have co-supervised a thesis to completion with another experienced supervisor before occupying the role of a lead supervisor. So, in essence (and this relates to your previous question), another reason for joint supervisory arrangements in our Centre, is to mentor junior staff members through the doctoral supervisory process.

Alan Grossman and Anthony Haughey, thank you for the interesting conversation.

Picture above the text: Anthony Haughey: Citizen Exhibition (2013). Photo: Anthony Haughey.

How to cite this article

Peter Tepe (2020): Socially Engaged Practice-Based Research: A PhD Pathway for Artists. w/k–Between Science & Art Journal . https://doi.org/10.55597/e6656

Alan Grossman
Angelika Boeck
Anthony Haughey
Till Bödeker

Prof. Dr. Peter Tepe | Herausgeber Der Herausgeber ist für die Gesamtplanung zuständig und koordiniert die drei Bereiche. Außerdem wirbt er neue Beiträger und Kooperationspartner an und beteiligt sich an der redaktionellen Betreuung der eintreffenden Beiträge. Peter Tepe ist Philosoph, Literaturwissenschaftler und bildender Künstler. Er ist auch nach dem Ende seiner Dienstzeit im Institut für Germanistik und im Institut für Philosophie an der Heinrich-Heine-Universität Düsseldorf verankert, betreut noch viele Doktoranden und leitet weiterhin den von ihm 1987 begründeten interdisziplinären Studien- und Forschungsschwerpunkt Mythos, Ideologie & Methoden.

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The University of Brighton is a creative and intellectually vibrant focus for a PhD in art and creative practices.

The School of Art and Media in Brighton has a long history of internationally-recognised work, has been a pioneer of practice-based and inter-disciplinary methods, and joins with other disciplinary areas to offer expert supervision.

Past successes in PhD in Art and Creative Practices at the University of Brighton include PhDs in the areas of fine art, illustration, graphic design, visual communication, photography and film, digital and interactive arts, 3D design and craft, fashion and textiles, design and communication, drawing on the staff of different schools and sharing a creative vision and ethos that permeates the whole university.

Apply to 'Arts' on our PhD portal

Apply with us for funding through the AHRC Techne Doctoral Training Partnership

Key information

As an Art and Creative Practices PhD student, you will benefit from

a supervisory team comprising 2-3 members of academic staff. Depending on your research specialism you may also have an additional external supervisor from another school, research institution, or industry
access to and induction to research approaches from a variety of related fields, including social science, environmental science, media, design and the humanities
access to a range of electronic resources via the university’s Online Library, as well as to the physical book and journal collections housed within the university libraries
a range of colleagues using arts practices for research investigation, including a regular presentation day of research in these fields
various spaces and facilities for exhibition and public engagement.

Academic environment

Our research and enterprise has, at its heart, an engagement with making and critical thinking that brings together creative inquiry, experimentation with material, process and technology with theory and critical writing. It provides new ways of understanding creative processes that offer insights into cultural and human emotion, thought and action.

Research activities within Art and Creative Practices include the production of innovative artefacts, both digital and physical, design, craft, inclusive practices, exhibitions, installation and performance, as well as creative writing, published texts, books and journal articles. Characterised by a blend of scholarship, knowledge exchange, traditional and cutting-edge practices, our research has been influential in collaborative developments with diverse communities and partners locally, nationally and internationally. It is our belief that knowledge generated through the development of creative and critical practice enhances and shapes every aspect of our contemporary culture and future lives.

We promote research excellence and support individual and collaborative research initiatives that through productive enterprise networks help to enhance society’s understanding of human culture and creativity.

We welcome applications for PhD study in which practice plays a central role, as well as those applications that bring elements of practice into a more traditional thesis submission. As a research student, you will part of a community of learning with active participation in a range of intellectual and social events. All PhD students working on arts-based topics are integrated into the university’s wider research culture and we will provide you with opportunities to present ‘work in progress’ and network with other researchers.

Research themes in Art and Creative Practices

Researchers within the School of Art and Media are engaged in arts practice work across a wide range of disciplinary and interdisciplinary areas and, along with specialists in the history and theory of art, design, literature, creative writing and autoethnography from the School of Humanities and Social Science, and wider engagement with schools specialising across the sciences, we encourage interdisciplinary projects and cross-disciplinary engagements. Our particular areas of specialism currently include:

artistic engagements with environment, memory, narrative,
arts practices and science, health and wellbeing
research into, through and with drawing
inclusive arts practice and social contexts
interactive digital arts and audience engagement
networked media arts practices and interventions
mediated performances, visions and the role of the body as site
politics of representation, curatorship and exhibition making
creative writing and autoethnography

Explore our Centres of Research and Enterprise Excellence:

Centre for Arts and Wellbeing
Centre for Design History
Centre for Digital Media Cultures .

Some of our supervisory staff

Gavin ambrose.

My supervisory interests lie in the development of new approaches to Graphic Design pedagogy. I have expertise in typography, printing, editorial design and graphic systems and conventions. I'm especially interested in the emergence of new approaches to the landscape of contemporary Graphic Design practice and how the role of the Graphic Design has shifted towards a bricoleur approach to contempory communication. Graphic Design is a pervasive subject that is integrated in our daily lives, but arguably the subject of little critical enquiry. An emerging research community and unified research clustering is beginning to address this shortfall, and Doctorate Level study will help to further this body of knowledge.

I am interested in supervising on enquries into:

• Graphic Design practice, both as an act of creation but also as a force for change;

• The changing topography of the Graphic Design landscape, and the changes to the 'role' of the graphic Designer as a contemporary communicator and creator;

• Shifts in typographic practice and relationships of Graphic Design to the broader influences of social and economic factors including globalisation and homogenisation;

• The role of communication as an emerging research practice;

• Self regulation and ‘rule’ or convention generation with in the industry;

• The role of ‘play’ and ‘failure’ in design Graphic Design practice, and in particular how these actions are navigated and understood by learners and educators;

• The emergence of alternative, less formal approaches to education and the role of the ‘Art School’ in this developing landscape.

Dr Martin Bouette

My work investigates the role of entrepreneurship in the development of creative careers as a business owner and researcher. This has included investigating the gap between education and employment for creative practitioners as well as exploring models of learning to support entrepreneurial development.

Current and recent PhD students:

Claire Dawson - An exploration for clothing reuse in the circular economy (2023 - present)

Martin Irorere - Sustainability in making material innovation in textiles, for the circular model in the fashion industry (2021 - 2023)

Erika Wong – Art World Hegemony and Access: Competing Perspectives on the Value of The Creative Class (2016 – 2020) Brighton University

Veerapong Klangpremjit – Interactive Packaging Development (2014 – 2020) University for the Creative Arts

Akapan Thienthaworn – Design Management in UK and Thai SMEs (2011 – 2019) University for the Creative Arts (completed)

Amy Cunningham

My supervisory interests include fine art, video, multi-media installation, sound, voice, performance, site-specific art and cultural histories of technology.

Dr Jules Findley

Postgraduate supervision in Textiles, Fashion, Fashion Communication, Drawing, encompassing embodied materiality, my work in handmade paper and practice-based, installation art. More recently, substantial research as co-investigator with an AHRC project in sustainabile materials in Fashion and Textiles. I am interested in waste in the Fashion, Textiles, Accessories and Leather industries, together with materials, circular economy, reuse and repurposing.

Recent PhD supervision:

University of Brighton - Claire Dawson - Research Title: 'Clothing Reuse in the Circular Econonmy: An exploration of the challenges and opportuniteis for UK high street fashion brands' - [March 2023 - July 2029]

University of Brighton - Martin Irorere - Research Title: 'Closing the Fashion Sustainability Gap through textile Recycling: Evaluation of UK Gen-Z consumer attitudes, knowledge, and acceptance of textile recycling'. - [March 2021 - July 2026]

Anglia Ruskin University - Amanda Lavis - Research Title: 'Woven Language: A practice-based research investigation Exploring the Textile Praxis in Children's Book Illustration' [March 2021 - expected completion 2025]

External PhD Viva examination experience, University of Chester October 2020 - Georgina Spry - 'A New Felt Presence: Making and Learning as part of a Community of Women Feltmakers'

Doctoral student supervision and examination

Meaningfully Engaged? Exploring the particpatory arts practices of adults with profound and multiplul learning disabilities (PMLD) PhD Thesis by Melaneia Warwick completed in 2018

External examiner, Royal Holloway, Janyne Lloyd, PhD thesis title The Role of Reminiscence Arts in the Lives of Care Home Residents Living with Dementia 2016

Dr Charlotte Gould

My PhD supervisory interests are in Digital Media Arts and Visual Communication. My specific research interests cover interactive storytelling, augmented reality, digital and tangible media, open interaction, play, participation, immersive environments, virtual reality and 360 video, audience agency and sustainability.

Dr Ole Hagen

In addition to fine art practice, I'm interested in consciousness studies, philosophy of mind, ontology and religious stuies such as Buddhist philosophy. My own PhD covered continental thought, such as phenomenology, poststructuralism, Derrida and Deleuze, but also philosophy of science.

Dr Asa Johannesson

I am interested in supervising PhD and MRes students in the following areas: feminist photographic practices and theories, queer methodologies, queer photographic practices and theories, queer activism and representation, new materialism, posthumanism, photography and ontology, non-dialectical contemporary philosophy, process-led photographic research.

Dr Helen Johnson

Helen supervises PhD and MD students with an interest in arts-based interventions in healthcare, education and wellbeing, and/or the use of creative, arts-based research methods. She is interested in talking to doctoral applicants who are interested in researching creativity and the arts, with foci including: art therapy; arts interventions for health and wellbeing, including invisible chronic and contested conditions; social prescribing; creativity and the lived experience of dementia; arts education; spoken word and poetry slam; art worlds/communities; arts inclusivity; everyday creativity; and the artistic process. She is also interested in supervising students who wish to work with creative, arts-based and/or participatory methods, including: poetic inquiry; autoethnography; photo voice; photo elicitation; collaborative poetics; and participatory action research. Helen currently supervises four doctoral candidates, who are researching: the lived experiences of women with borderline personality disorder (including creative coping strategies); neurologic music therapy with young people with juvenile dementia; black people's experiences of intimacy and psychosis; and decolonial praxis in museum learning. She has previously supervised and examined work covering topics that include: perceptions of frailty in the undergraduate medical curriculum; the impact of austerity policies on homeless people; spoken word with young offenders in a Macedonian prison; the performance and perception of authenticity in contemporary UK spoken word poetry; and NHS staff experiences of work.

Dr Uschi Klein

Dr Uschi Klein is interested in supervising PhDs in the broad areas of photographic histories and practices, visual and material culture, resistance politics, cultural memory and marginalised communities. She is especially but not exclusively interested in supervising research projects that focus on the lived experience of Eastern European totalitarian systems.

Dr Jayne Lloyd

Jayne is interested supervising practice-based PhD research into collaborative or participatory arts practices with marginalised groups, arts in health and social care settings, arts-research and arts practices located in both gallery and community settings.

Dr Philippa Lyon

My main supervisory interests are in the understanding and applications of drawing in clinical settings, the use of drawing as a tool of learning, approaches to arts/health research, the relationship between drawing and writing and creative/visual research methods.

I am currently supervising:

Vanessa Marr (PhD, School of Art and Media) with Jessica Moriarty;

Caehryn Tinker (PhD, School of Art and Media) with Heidi von Kurthy and Kay Aranda;

James Murray (PhD, School of Art and Media) with Gavin Fry and Duncan Bullen;

Lindsay Sekulowicz (AHRC Collaborative Doctorate, School of Humanities and Social Science) with Claire Wintle at Brighton, William Milliken and Mark Nesbitt at Kew Gardens and Luciana Martins at Birkbeck;

Muna Al-Jawad (PhD by Publication) with Jayne Lloyd;

Duncan Bullen (PhD by Publication).

I worked for a 3 year period as a learning mentor for a PhD student in the School of Art and Media. They completed successfully in February 2024.

I have supervised 4 PhD students to completion: Dr Simon Bliss, Jewellery, Silver and the Applied and Decorative Arts in the Culture of Modernism, 2019; Dr Gavin Fry, Male textile artists in 1980s Britain: a practice based inquiry into their reasons for using this medium, 2018; Dr Curie Scott, Elucidating perceptions of ageing through participatory drawing: a phenomenographic approach, 2018; Dr Sarah Haybittle, Correspondence, trace and the landscape of narrative: a visual, verbal and literary dialectic, 2015.

I have been an independent chair for two PhD examinations (Andrew Cross and Ada Hao) and have examined seven PhDs: Mingyi Wang, University of Brighton, 2023 (internal examiner); Jane Shepard, University of Brighton, 2022 (internal examiner); Melissa Cheung, University of Sydney, Australia, 2019 (external examiner); Louisa Buck, University of Brighton, 2018 (internal examiner); Samantha Lynch, University of Brighton, 2018 (internal examiner); Mike Sadd, University of Brighton, August 2015 (internal examiner); Tanja Golja, University of Technology Sydney, Australia, January 2012 (external examiner).

I've acted as internal examiner for three MRes students: Claire Scanlon, 2019; Diana Brighouse, 2015; and Mark Lander, 2014.

I have also been an independent reader for MPhil/PhD transfers and Annual Progression Review reader for 5 students.

Dr Simon McEnnis

Dr McEnnis is interested in postgraduate supervision in journalism and media studies. He is particularly keen on projects that explore professional and citizen journalism, digital and social media practice, blogging and influencer culture, media analysis, sports journalism or sports media.

Roderick Mills

My supervisory interests cover the emerging areas of Illustration as an expanded field of practice including GIFs, animation, and the burgeoning self-publishing scene, through to traditional forms of graphic storytelling. I am interested in enquiries into situated illustration, both in terms of site specific work and ethnographic approaches, to how illustrators can use technology to go beyond the printed page. The importance of drawing as means of enquiry is another interest alongside performative aspects of live transcriptions and the use of workshops to engage with communities.

Dr Jessica Moriarty

One of my key passions is working with PhD students on creative practice, autoethnography and creative writing pedagogy. I have supported doctoral students working on transdisciplinary projects and work that seeks to challenge conventional academic discourse. At the moment, I am honoured to be working with students who are looking at queering the colonial, creativity and Bronte, Santiago de Cuba as moving archive, diverse narratives from Brexit, feminist romance, autoethnographic arts-based work, stories from care, autoethno-drag, identity and hybridity in fiction, and queer bodies in performance.

Xavier Ribas

Xavier Ribas is interested in developing postgraduate research in the following areas: contested sites and histories, legacies of colonialism, border territories, geographies of extraction, environmentalism, climate justice, art and activism.

Dr Naomi Salaman

Contemporary art

Contemporary art and feminist perspectives

The history of vision

The Art School; art education; art theory.

Prof Paul Sermon

My research and supervisory interests cover Fine Art, Digital Media, Performance and Visual Communications related subjects. Since joining the University of Brighton in 2013 I have taken on six PhD students as their lead supervisor, with completions in May 2016, March 2018 and April 2019. These PhD students have been undertaking practice-based research in a range of specific areas such as digital storytelling, interactive media, virtual reality and networked performance art. In my role as a PhD supervisor and Postgraduate Research Coordinator in the School of Art I bring our PhD students together through collaborative workshops, symposia and exhibitions, such as the group PhD show ‘Digital Encounters’ for the British Science Festival, Brighton in September 2017. I have had six PhD completions as lead supervisor to date, as well as two external completions and I continue to gain PhD Viva experience, with over thirteen PhD external examiner appointments.

Emma Stibbon

My supervisory interests are writing the field of Fine Art, specialising in drawing and printmaking. My research is rooted in landscape, focusing on environments that are undergoing change and transformation. I undertake this through field-based research, frequently in dialogue with scientists.

For further supervisory staff including cross-disciplinary options, please visit research staff on our research website.

Making an application

You will apply to the University of Brighton through our online application portal. When you do, you will require a research proposal, references, a personal statement and a record of your education.

You will be asked whether you have discussed your research proposal and your suitability for doctoral study with a member of the University of Brighton staff. We recommend that all applications are made with the collaboration of at least one potential supervisor. Approaches to potential supervisors can be made directly through the details available online. If you are unsure, please do contact the Doctoral College for advice.

Please visit our How to apply for a PhD page for detailed information.

Fees and funding

Funding

Undertaking research study will require university fees as well as support for your research activities and plans for subsistence during full or part-time study.

Funding sources include self-funding, funding by an employer or industrial partners; there are competitive funding opportunities available in most disciplines through, for example, our own university studentships or national (UK) research councils. International students may have options from either their home-based research funding organisations or may be eligible for some UK funds.

Learn more about the funding opportunities available to you.

Tuition fees academic year 2023–24

Standard fees are listed below, but may vary depending on subject area. Some subject areas may charge bench fees/consumables; this will be decided as part of any offer made. Fees for UK and international/EU students on full-time and part-time courses are likely to incur a small inflation rise each year of a research programme.

Contact Brighton Doctoral College

To contact the Doctoral College at the University of Brighton we request an email in the first instance. Please visit our contact the Brighton Doctoral College page .

For supervisory contact, please see individual profile pages.

Scholarship and Speculation

A blog by Jodie Taylor

A blog about pedagogy, research and reflection by Jodie Taylor

Methodologies for Creative Practitioner Researchers

How to Write Research Methodology: Overview, Tips, and Techniques | Research.com

Methodology in research is defined as the systematic method to resolve a research problem through data gathering using various techniques, providing an interpretation of data gathered and drawing conclusions about the research data. Essentially, a research methodology is the blueprint of a research or study. This website will guide you through the necessary steps in crafting a research methodology for your own project.

Writing your dissertation methodology | Oxbridge Essays

Your dissertation methodology provides a detailed account of both how you'll approach your dissertation and why you've decided to approach it in this way.

Centre for Practice Based Research in the Arts

The Centre provides an exploratory space where arts practitioners from across our Faculty of Arts and Humanities can develop and promote their work.

An Evolving Map of Design Practice and Design Research

Design research is in a state of flux. The design research landscape has been the focus of a tremendous amount of exploration and growth over the past five to 10 years. It is currently a jumble of approaches that, while competing as well as complementary, nonetheless share a common goal: to drive, inspire, and inform the design development process.

Methods for the Analysis of Media Content

On these pages, we offer you both original research and links to resources for the analyses of media content. Our resources cover the entire research process, covering the collection of data, its preparation of data for analysis, the selection of the analytical approach and its corresponding methodological tools.

Thematic analysis

Thematic analysis is a method for qualitative data analysis. We provide a wide range of resources related to learning and using thematic analysis.

Online qualitative data analysis

Online QDA is a set of learning materials which address common issues of undertaking qualitative data analysis (QDA) and beginning to use Computer Assisted Qualitative Data AnalysiS (CAQDAS) packages. We aim to complement courses run by, for example, the CAQDAS Networking project, many independent trainers and the large number of undergraduate and postgraduate social sciences research methods training courses.

A Comprehensive Guide To User Experience (UX) Research | Adobe Blog

The importance of UX research to what the UX research landscape looks like.

How to choose a method

Because you do things in a sensible order, you have your research question, right? Good. It’s very important to have that first. The method (or methods) you choose should be the one (or ones) most likely to help you answer your question. You can’t figure out which methods are most likely to help if you don’t yet know what your question is. So if you’re actually not sure of your question, stop reading this RIGHT NOW and go settle your question, then come back and carry on reading.

International Journal of Qualitative Methods

The International Journal of Qualitative Methods is the peer-reviewed interdisciplinary open access journal of the International Institute for Qualitative Methodology (IIQM) at the University of Alberta, Canada.

The journal was established in 2002 as an eclectic and international forum for papers reporting original methodological insights, study design innovations, and funded-project proposals using qualitative or mixed methods research that are useful to the global research community.

Complete Beginner's Guide to UX Research

UX research - or as it’s sometimes called, design research - informs our work, improves our understanding, and validates our decisions in the design process. In this Complete Beginner's Guide, readers will get a head start on how to use design research techniques in their work, and improve experiences for all users.

The filmmakers’ research perspectives: an overview of Australian and UK filmmaking research

Filmmaking research is part of the broader practice research paradigm – known as practice-led, practice-based and creative practice research – where films are created as research outputs in fiction, documentary and hybrid forms. Filmmaking researchers’ enquiries into production practices, techniques, modes and genres used in cinema, television and online have been successfully conducted using filmmaking as a primary research method. This paper sets out to explore the approaches used in filmmaking research that have been adopted in Australia and the UK, to identify the similarities and differences between the two research environments by looking at nine sample research projects.

The sample projects illustrate the diversity of films as research outputs, where some are made as a means of exploring theoretical perspectives, like “The Brisbane Line” (Maher 2011) and “Love in the Post” (Callaghan 2014). Others were created as part of larger interdisciplinary research projects, for example “Using Fort Scratchley” (Kerrigan 2008a) saw communication and history academics work together. With the series “Reducing Bullying: Evidence Based Strategies for Schools” (Wotherspoon 2006), social scientists and film production academics created a series of films used to initiate classroom discussions around acceptable social behaviours. The common element in the sample projects is that filmmaking was used as a research method, even though each project used a different methodology.

By presenting the historical approaches to filmmaking from a qualitative paradigm and illustrating a variety of contemporary research outputs generated through the creative practice paradigms, this paper discusses the unique research insights that can be gained from the position of a filmmaking-researcher. Discussing these perspectives helps build discipline knowledge about filmmaking practice as research and includes approaches that strengthen the insider’s perspective that a filmmaking-researcher can take.

Filmmaking as Creative Practice: Assessing Creative Magnitude and Scale

Filmmaking as a creative practice is usually researched through film and cinema studies and screen production. Sometimes these two areas are conflated because screen production can be seen as a marginal subset of the larger body of cinema and film studies scholarly knowledge. By focusing on understandings of creativity, the foundations that have led to this scholarly relationship come into question and through an examination of theoretical and conceptual positioning of the filmmaker and the spectator this paper will offer a number of plausible reasons for this conflation. When scrutinized in this way a blind spot that has obstructed approaches to filmmaking creativity is revealed. By explaining creativity as a phenomenon that entails both film as product and film as a viewed experience, this paper will theoretically examine filmmaking as a creative practice by drawing on the seven levels of filmic reality known as the filmology, a term created by Etienne Souriau in the 1950s. Through this conceptual study, creative magnitude and scale will be used to illustrate the intimate and delicate relationship between spectatorship and filmmaking. Endorsing a systems view of creative filmmaking practice will reveal the blind spot and by clarifying the creative relationship between the filmmaker and the spectator the obscured view can be better appreciated.

Design Research Techniques

This online repository is a necessarily unfinished and evolving resource for Participatory Design Techniques. These techniques help evolve a project lifecycle through participation of multiple stakeholders including potential users or audiences, partners or internal teams.

Design Research Methods

This page represents a growing list of application toolkits and other great resources for conducting design research, organized into General, Specific, and Thematic Tools.

The View From The Studio: Design Ethnography and Organizational Cultures

This ethnographic study of designing explores the relationship between the organizational surroundings of the design studio and the way in which design ethnography activities are accomplished, with a focus on the ways in which design practitioners are actively negotiating and redefining the perspectives they use to conduct research work. It proposes the twined cultures of reflexivity and conjecture as frameworks for understanding what it is that makes design ethnography so different, and for reconciling the integration of the ethnographic toolkit within the limitations of daily design practice. Based on findings from a para-ethnographic study of designers at work on an augmented reality project in a large studio, this paper explores the effects of framing design ethnography as research that looks both inward, and at the future – perspectives which serve to contradict traditional expectations of the vantage points offered by this methodological toolkit.

7 Simple Ways to Get More From Ethnographic Research | Interaction Design Foundation

The first step in any UX process is to get to know the users. When you’re starting a project from scratch or moving into a new market, you may not have any experience with your users. Ethnographic res...

Make, Mistake, Journey: Practice-led research and ways of learning

Welcome to a special issue of Networking Knowledge, focused on the role of practice in research across a broad range of disciplines. Practice-orientated methodologies (for example practice-led research, practice-based research, etc.) have become pertinent in recent years, alongside discussions about the nature of academic knowledge and perceived distinctions between theory and practice. Similarly, an increasing focus on the relationship between mind, body, and world has led to questions about the role of the researcher, and challenges to academia’s requirement for objectivity and ‘truth’.Studies increasingly acknowledge or embrace the presence of the researcher, or use the body itself as the means of doing research. In these studies, knowledge is both produced and received through the body, in a reflexive and iterative process.But while practice-led methodologies have promoted new ways of knowing through doing, they have also highlighted a number of epistemological questions:• How can theory and practice be integrated and used together holistically?• How can the merit of practice-led methods be judged within a quantitative academic framework?• How can practice-led research processes and outputs be understood as equivalent to –rather than supplementary to –the written word?• What are the limits of practice-led research?

Autoethnography: An Overview

Autoethnography is an approach to research and writing that seeks to describe and systematically analyze personal experience in order to understand cultural experience. This approach challenges canonical ways of doing research and representing others and treats research as a political, socially-just and socially-conscious act. A researcher uses tenets of autobiography and ethnography to do and write autoethnography. Thus, as a method, autoethnography is both process and product.

Ellis, Carolyn; Adams, Tony E. & Bochner, Arthur P. (2010). Autoethnography: An Overview [40 paragraphs]. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 12(1), Art. 10, http://nbn-resolving.de/urn:nbn:de:0114-fqs1101108 .

Hands-on Intellect: Integrating Craft Practice into Design Research

Over the last two decades, craft practice has played a considerable role in practice-led design research, especially as the subject and the vehicle for theoretical inquiry. This article aims to reveal how craft as a way of thinking through material can be incorporated into practice-led design research. The author’s completed dissertation exploring the expressivity of materials in textiles is used to demonstrate how craft can drive a practice-led research process and how research can enhance craft practice. The dissertation exemplifies how the author employed her own craft practice as the main method for design research. The method was utilized in relation to Merleau-Ponty’s and Heidegger’s phenomenology and the method of questioning viewers during two exhibitions featuring artifacts resulting from the author’s craft practice. Positioning craft practice in a research context can facilitate the reflection and articulation of knowledge generated from within the researcher-practitioner’s artistic experience, so that the knowledge becomes explicit as a written text or as a means of visual representation. Research can not only transform ways of designing or making artifacts, but also theoretically inform practice so that the practice can develop the practitioner’s aesthetic intelligence, the results of which are craft objects that can be understood more easily by viewers.

The research paradigm – methodology, epistemology and ontology – explained in simple language

This post explains what a research paradigm is, which includes ontology, epistemology, theoretical framework and methodology, and why it is important for your research. It also explains the relationship between terms.

How to Use a Mind Map to Prepare Your Research Proposal

Plan out and finish your research proposal in no time using a mind map. Learn how to prepare it by following the steps described in this article. The examples generated by a mind mapping tool define each step.

Phenomenology

The phenomenological method aims to describe, understand and interpret the meanings of experiences of human life. It focuses on research questions such as what it is like to experience a particular situation. Susan Kozel, professor of new media at Malmö University, provides an excellent introduction to the topic in this lecture, which forms part of the course material for the Practice-Based Research in the Arts course offered by Stanford University in the USA.

What is an artistic research question?

Formulating a relevant research question is the most fundamental aspect of all artistic research. Excellent research is often distinguished from the mediocre in how the research question is put. From a negative point of view, the researcher must not use artistic liberty as an excuse to disregard her obligations as a researcher. From a positive view, a well formulated research question helps us gain new knowledge, it outlines the method, and it makes the artistic practice even more relevant than mere artistic interpretation. The presentation sets out to define the structure of artistic research questions and then discuss the exemplary research questions put through Sigurd Slåttebrekk’s and Tony Harrison’s reconstruction of Grieg’s piano playing. Finally, it will discuss how the musicologist can grasp artistic research.

A win-win situation for design theory and practice | Mapping Complex Information. Theory and Practice

Much has been written and discussed about the gap between design practice (industry) and theory (academia), and how to bridge that gap has become a major current preoccupation. Although professional and research designers appear to be narrowing that gap by increasingly working on collaborative projects, little has been actually done to marry those communities.

SAGE Research Methods: Find resources to answer your research methods and statistics questions.

Search and browse books, dictionaries, encyclopedia, video, journal articles, cases and datasets on research methods to help you learn and conduct projects.

Methods Map

Check out this fun tool created by a the people at the PhD Blog .

For no apparent reason, research philosophy tends to send dissertation students into a mild panic. The befuddlement caused by a range of new terminology relating to the philosophy of knowledge is unnecessary when all that you are trying to achieve is some clarity over the status of any knowledge claims you make in your study. The Methods Map offers a guide to the standard philosophical positions required to specify the particular form of research you plan to undertake. Collectively, these positions will define what we refer to as a research paradigm.

Mapping Research Methods (PDF Download Available). Available from: https://www.researchgate.net/publication/281236523_Mapping_Research_Methods [accessed Oct 13 2017].

Practice-led Research Research-led Practice in the Creative Arts (Full Text)

This book addresses an issue of vital importance to contemporary practitioners in the creative arts: the role and significance of creative work within the university environment and its relationship to research practices. The turn to creative practice is one of the most exciting and revolutionary developments to occur in the university within the last two decades and is currently accelerating in influence. It is bringing with it dynamic new ways of thinking about research and new methodologies for conducting it, a raised awareness of the different kinds of knowledge that creative practice can convey and an illuminating body of information about the creative process. As higher education become more accepting of creative work and its existing and potential relationships to research, we also see changes in the formation of university departments, in the way conferences are conducted, and in styles of academic writing and modes of evaluation.

Narrative writing: reflective enquiry into professional practice

An effective mode of reflective practice and reflexivity is through personal professional narrative and story exploration. All professional and personal experience is naturally storied; telling or writing stories are prime human ways of understanding, communicating and remembering. Narratives of vital or key areas of professional experience can be communicated and explored directly and simply through expressive writing. These might be expressed fictionally; each story stands metonymically for that clinician’s practice. Uncritically accepted metaphors, with deep impact upon practice and experience, can also be noticed and evaluated. This article offers a richly exemplified argument for how confidential, carefully facilitated groups of professionals can be supported critically, yet gently examining their own and others’ practice, through written narrative and poetry. Implicit ethics and values can be perceived and enquired into, and professional identity and boundaries unthreateningly questioned and even challenged. Practitioners can gain greater observational powers and sense of authority over their work, and more of a grasp of its inherently complex political, social and cultural impact.

NRMC UK Resource Collection

NCRM has many online resources that are intended to help people interested in social science research methods. Here is a selection of the current NCRM resources.

Creative Research Methods

An AHRC-funded skills development project organised by researchers at Birmingham Institute of Art & Design (Birmingham City University) and Communication and Media Research Institute (University of Westminster).

Art Practice As Research

This is the website for an MA programme in art and media practice at the University of Westminster. It contains dozens of excellent resources on artistic practice as research and provides question prompts and related content links for all resources listed.

Creative Practice as Research

Practice-related research, or action research, is a tried and tested methodology in medicine, design, and engineering. While it has always been present to some extent in the arts and humanities, in recent years artistic practice has developed into a major focus of research activity, both as process and product, and several recent texts as well as discourse in various disciplines have made a strong case for its validity as a method of studying art and the practice of art. As creative practice expands as a field of academic research, there is a need to establish an ongoing discourse on and resource for appropriate practice-based methodologies.

Art, literary, music, and film analysts examine, dissect, and even deconstruct the art that we create in order to seek the roots of culture and humanity, pulling the techniques and references and motivations apart to develop knowledge of how works of art relate to the culture and society in which they are produced, as well as to the development of particular art forms over time. Practice-related researchers push this examination into a more direct and intimate sphere, observing and analysing themselves as they engage in the act of creation, rather than relying solely on dissection of the art after the fact. And just as science has exposed and increased our wonder about our world, direct study of the self as an artist at work and the practice of art in cultural and social contexts can bring us closer to our selves and our communities.

Action Research and Reflective Practice (Full Text)

In Action Research and Reflective Practice, Paul McIntosh argues that reflective practice and action research can become mechanistic in their use unless fresh creative approaches are employed. Exploring the tension between the use of evidence-based practice, based upon solid ‘objective’ research, and reflection, with its ‘subjectivity’ and personal perception, this book argues that reflection is research. McIntosh increases the prevalence and effectiveness of both action research and reflection through the application of new creative and visual approaches.

Action Research and Reflective Practice demonstrates that creative approaches can be utilised effectively in critically reflexive ways, creating a new style of action research that is both innovative and theoretically robust. The resulting approach will improve evidence-based research in education, health care and other social sciences to enhance perception and understanding of events, identity and self. This book will be highly beneficial to undergraduate and postgraduate students, as well as educational and social researchers, across a broad range of subjects within the social sciences.

Text journal special issue: Creative and practice-led research: current status, future plans

TEXT Special Issue No 8 October 2010. There are many burning issues facing the higher education sector in relation to creative and practice-led research. Dennis Strand’s influential report, Research in the Creative Arts (1998), identified the conditions as they then were, and made a number of proposals and projections for the future. At the time that the Strand report was published, few staff in the creative arts held postgraduate degrees, and only 3.9% of research higher degrees students in Australia were working in the creative arts (Strand 1998, xiv); many of those would have been conducting conventional humanities or social science projects. This has changed radically, with increasing numbers of staff holding doctoral level degrees, and with greatly increased demand for research higher degree places in creative practice. This rich environment brings with it commensurate pressures: to develop the appropriate language for this research paradigm; to provide supervisors with skills in the specifics of working with creative practitioners as researchers; to build a national community of researchers at both student and supervisor level; and to provide the best possible environment in which students can generate knowledge relevant to the field and to add social capital.

Diagrammatic Thinking: A practice-led research zine

This zine was co-produced by attendees at the University of Leeds Practice-Led PhD symposium hosted by School of Fine Art, History of Art and Cultural Studies and the School of Design. This symposium posed the question “are there alternatives to ‘talking’ about research?” This question invited experimental modes of presentation and creative modes of exchange and dissemination in a bid to move away from more traditional academic formats.

Methods@Manchester

Methods@Manchester is an initiative funded by the Faculty of Humanities, University of Manchester. This resource showcases a broad range of methodologies and provides detailed explanation and resources for further research on each.

Learning Qualitative Data Analysis

Online QDA is a set of learning materials which address common issues of undertaking qualitative data analysis (QDA). Materials consist of text pages outlining issues and aspects of analysis and the approaches and theories found in qualitative research along with tutorials with audio and video materials. The Intro section explains how the information and tutorials are arranged and makes some suggestions about how to use this site.

Research Methodologies for the Creative Arts and Humanities

Welcome to our exploratory Guide to research methodology resources. It is aimed at post-graduate researchers in the creative arts and humanities and highlights current online full text resources. The methodologies used in the sciences, the social sciences and education are not emphasised here, since they are already well covered elsewhere. They might, though, be applicable for some aspects of your research.

Gray and Malins (1993) have observed: "There is no one universally accepted methodological approach to research within the arts. Methodologies associated with creative practice as research may move beyond traditional approaches to research, inclusive of the ongoing reflexive nature associated with the discipline/s. Through the methodologies and because of multiple shifts of interpretive paradigms in the creative arts, there could be a difference, creating tensionings, between the creative and reflective outcomes within the practice. Practice as research is identified as a 'generating' instrument. Research methods and processes are tailored to respond to practice and practice to research, continually re-orienting it to refine the research question through reflexive processes." (see Research procedures/methodologies for artists and designers )

The decision as to which methodology to adopt should not normally delay a research effort, especially writing activity, as the writing process focusses our reflections and helps crystallise what methods are intrinsically best for our own research journey. Often a key work by another which serves as a departure point for ones own research, will bring with it a research method for modelling, re-modelling or major adaptive change. Many research methodologies are of this organic type and cannot be easily categorised in a Guide such as this, though of course the researcher/writer employing them is bound to explicate them in the body of their work. Discussion with your supervisor is the best way to decide on your research methodology.

Action Research Resources

Action research is a flexible spiral process which allows action (change, improvement) and research (understanding, knowledge) to be achieved at the same time. The understanding allows more informed change and at the same time is informed by that change. People affected by the change are usually involved in the action research. This allows the understanding to be widely shared and the change to be pursued with commitment.

The Practice of Research

A Methodology for Practice-Based Research in the Creative Arts

Ethnography Matters - Methods

Ethnography Matters is a space to talk about the blurring boundaries of our craft, where we can gain insight, advice and inspiration from those who are defining what high quality, accessible and innovative research might look like in a future that is increasingly mediated by technology.

What is grounded theory?

A great introduction to the topic and resource on various aspects of doing grounded theory.

Qualitative Methods Podcasts

Here is a series of ten podcasts introducing how to undertake Qualitative Methods. This series was supported by the Higher Education Academy.

National Centre for Research Methods (UK) - Podcast series and text resources

In 2004 the Economic and Social Research Council (ESRC) set up the National Centre for Research Methods (NCRM) at the University of Southampton. NCRM was tasked to increase the quality and range of methodological approaches used by UK social scientists through a programme of training and capacity building, and with driving forward methodological development and innovation through its own research programme.

Give Methods a Chance - Podcast Series

The Society Pages (TSP) is an open-access social science project headquartered in the Department of Sociology at the University of Minnesota and Give Methods a Chance, a podcast devoted to research methods in practice. Listen to top scholars introduce a multitude of approaches to answer important questions and share stories about their experiences studying the social world. Designed for students, scholars, and society.

The Journal for Artistic Research (JAR)

The Journal for Artistic Research (JAR) is an inter-national, online, Open Access and peer-reviewed journal for the identification, publication and dissemination of artistic research and its methodologies, from all arts disciplines. With the aim of displaying practice in a manner that respects artists' modes of presentation, JAR abandons the traditional journal article format and offers its contributors a dynamic online canvas where text can be woven together with image, audio and video. These research documents called ‘expositions’ provide a unique reading experience while fulfilling the expectations of scholarly dissemination.

Academic research and artistic practice in Chain Reaction: Methodology on Two Levels

This article describes the ways in which an academic method of research was combined with an artistic method in the production of Chain Reaction, a creative project developed by the author as part of her PhD program, using the methodology of practice-based research. The article describes the research design, and displays the negotiation between two different questions throughout the project—artistic and academic—by analysing two significant moments: devising artistic work with collaborators and working with theory. It is then argued that the cooperation between artistic practice and academic research enriches each field while simultaneously creating a strong form of cultural practice with both aesthetic and epistemological elements.

Creative Research: The Theory and Practice of Research for the Creative Industries

Available via SAE library.

This book is designed to lead you through the key knowledge, practices and skills of research methods in the study of design management and focuses on defining the research problem, deciding on a research process and undertaking a research project as a student at undergraduate or postgraduate level or as a practitioner within the creative fields. The book begins with an overview of the field of research within the context of the creative industries, and then goes into detail on the stages involved in undertaking a research project within this field. You will be introduced to a range of philosophical assumptions upon which your research can be based and the implications of these assumptions on the method or methods that you choose. In addition to this, techniques and procedures for collecting and analyzing different types of data are examined and analyzed in detail. Each topic is accompanied by a main text with visuals outlining the key issues and debates. The topics are accompanied by key word definitions and explanations, plus references to key texts for further reading. Questions are also identified to get the reader thinking about the issues raised, to confront expectations and to make informed choices. Interviews with leading practitioners and academics give insight on current debates on research practice. The skills necessary to promote the effectiveness and validity of research within the creative industries are highlighted in case studies, all of which also demonstrate what a well-designed research project can achieve.

UCC University College Cork

Department of theatre roinn na hamharclannaíochta.

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PhD Creative Practice

On this page.

UCC’s new PhD in Creative Practice is a dynamic Artistic Research (practice-based) doctoral programme for emerging and professional artists, whose work moves across multiple arts disciplines.

Examples of PhD Creative Practice projects include; dance and film; theatre and visual arts; music and digital arts; somatics and creative writing. They might be projects which investigate creative practice in relation to science, or within education, or communities.

We expect these PhD projects to be innovative in form as well as content, and students will be supported to develop structures and weightings between different elements of their doctoral study, as well as develop new forms to meet the multi-disciplinary reach of their work. All iterations of the PhD are by Artistic Research; original creative practice entangled with critical reading and reflection.

This new Artistic Research PhD programme answers a strong and current need in the field for artist-scholars to develop doctoral work that acknowledges their inter and trans-disciplinary work.

PhD Requirements

The PhD in Creative Practice is an interdisciplinary doctoral degree.

The design of the structure of the PhD is developed in consultation with supervisors, but will normally include a written element of at least 30,000 words . Students will be required to take at least 15 credits of graduate level courses in one or more of the relevant constituent disciplines of their PhD.

Candidate must normally hold at least a Second Class Honours, Grade I , in a relevant Masters degree in one of the proposed arts disciplines of their PhD project, such as Dance, Theatre, Music, Film, Radio, Visual Arts, Digital Arts, Creative Writing.

Candidates are also expected to have professional experience in the arts . Candidates with a Second Class Honours, Grade I, in a relevant primary degree and evidence of advanced arts experience will also be considered.

This programme is currently anchored in the Department of Theatre. For more information contact the Theatre Admin office [email protected] or apply in the first instance to UCC’s Professor of Creative Practice, Jools Gilson [email protected]

Department of Theatre

Roinn na hamharclannaíochta.

Muskerry Villas, Western Road, Cork City T12 AW97

[email protected]
+ 353 (0)21 4904229

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School of Arts and Creative Technologies

PhD in Theatre, Film, Television and Interactive Media by Creative Practice programme components

Under the supervision of one or more staff members with expertise relevant to the project topic, students will produce:

academic dissertation of 20-30,000 words
a portfolio of creative work
either a critical reflection on the relationship between the dissertation and the creative work or a professional portfolio

Academic Dissertation

The 20,000-30,000 word dissertation is a critical piece of writing, demonstrating an advanced ability to research, investigate and discuss relevant ideas, debates, contexts, creative processes and products/texts. The dissertation should provide a contextual framework for the creative portfolio and demonstrate advanced levels of appropriate subject knowledge, insight and understanding. It should also use appropriate academic referencing and bibliographic conventions.

Portfolio of Creative Work

This can comprise different types of material depending on the research topic and subject matter:

[email protected] +44 (0)1904 325220

a portfolio of screenplays (indicative rage: combined length of 150 pages minimum, 200 pages maximum), or…
a portfolio of films (fiction, non-fiction or experimental with an indicative combined running time of between 60 and 120 minutes), or…
a portfolio of screenwriting and film work (eg a full length screen play of 90-120 pages and a short film)
a portfolio of sound design projects. Examples might include sound designs for film, TV programmes, adverts, theatre plays or games. The portfolio should include at least three different forms of project: a long project (eg a 60 minutes film), a short project (eg an advert) and a “live” project (eg theatre play or game).
a portfolio of three full length stage plays (with each play between 60 and 120 pages). Each play should demonstrate an endeavour to take on a different writing challenge – this might be done through exploring different forms, varied target audiences, different target venues or different styles of theatrical performance. A submission of three monologues, for example, is not permitted – candidates are required to demonstrate that they can write for varied numbers of people onstage.
a portfolio of three performances (normally between 60 minutes and 120 minutes each with the candidate playing a lead part in the play). Each performance should demonstrate an endeavour to take on a different acting challenge – this might be done through exploring different forms, through using different acting theories, varied target audiences, or different styles of theatrical performance. A submission of three one-man or one-woman shows, for example, is not permitted – candidates are required to demonstrate that they can perform as part of an ensemble.
a portfolio of three productions

A full-length production equals a performance time of normally between 60 minutes and 120 minutes. Each production should demonstrate an endeavour to take on a different directing challenge – this might be done through exploring different forms, different styles of text, through using mixed media, varied target audiences, or different styles of theatrical performance. A submission of three monologues, for example, is not permitted – candidates are required to demonstrate that they can direct more than one actor onstage.

(information coming soon)

Critical Reflection

The critical reflection should engage with the candidate’s intellectual and creative progress over the period of the research. It should document the creative process and how this relates to the research questions and research context explored in the dissertation. The reflective essay may also augment the written dissertation and creative practice in a manner similar to that of detailed appendices on questions of context and methodology that are sometimes included in orthodox academic doctoral theses in the humanities and social sciences.

Professional Portfolio

The portfolio provides a record of the candidate’s professional development and intellectual/creative progress over the period of the research and is designed to assess his/her ability to critically reflect and comment on the development of their creative practice and relevant processes and to demonstrate a process of professional development and engagement with the industry. These learning outcomes are intended to augment the written dissertation and creative practice in a manner similar to that of detailed appendices on questions of context and methodology that are sometimes included in orthodox academic doctoral theses in the humanities and social sciences.

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Creative and Critical Practice PhD

Key information.

A Creative and Critical Practice PhD at Sussex develops your practice-led research in creative media production alongside critically engaged writing. Your research might involve a variety of practical approaches including video, photography and imaging, interactive media, sound, social media or process-based performative methods.

At Sussex, you’ll be able to take part in the:

Centre for Photography and Visual Culture
Centre for Research in Creative and Performing Arts .

You can also participate in the Sussex Humanities Lab , which is dedicated to developing and expanding interdisciplinary research at the cutting edge of digital humanities and digital media. In Brighton, you’ll join a vibrant community for the arts and creative industries.

Areas of study

We offer expert supervision across a wide range of critical and creative practice:

filmmaking and documentary forms
digital arts
photography
media practice for development and social change
sonic media.

We understand that deciding where and what to study is a very important decision. We’ll make all reasonable efforts to provide you with the courses, services and facilities described in this prospectus. However, if we need to make material changes, for example due to government or regulatory requirements, or unanticipated staff changes, we’ll let you know as soon as possible.

Masters and P h D events

Meet us on campus or online

Book your place

Entry requirements

UK requirements
International requirements

Please select your country from the list.

Philippines

Saudi arabia, south africa, south korea, switzerland, united arab emirates, my country is not listed.

If your country is not listed, you need to contact us and find out the qualification level you should have for this course. Contact us

English language requirements

Ielts (academic).

High level (6.5 overall, including at least 6.0 in each component).

IELTS scores are valid for two years from the test date. You cannot combine scores from more than one sitting of the test. Your score must be valid when you begin your Sussex course. Find out more about IELTS

We accept IELTS One Skills Retake.

We do not accept IELTS Online.

Check full details of our English Language requirements and find out more about some of the alternative English language qualifications listed below

Alternative English language qualifications

Proficiency tests, cambridge advanced certificate in english (cae).

169 overall, including at least 162 in each skill.

We would normally expect the CAE test to have been taken within two years before the start of your course.

You cannot combine scores from more than one sitting of the test. Find out more about Cambridge English: Advanced

Cambridge Certificate of Proficiency in English (CPE)

We would normally expect the CPE test to have been taken within two years before the start of your course.

You cannot combine scores from more than one sitting of the test. Find out more about Cambridge English: Proficiency

LanguageCert International ESOL SELT

High level (International ESOL SELT B2 with a minimum of 39 in each component)

LanguageCert International ESOL scores are valid for two years from the test date. Your score must be valid when you begin your Sussex course. Find out more about LanguageCert SELT

We only accept LanguageCert when taken at SELT Test Centres. We do not accept the online version.

Pearson PTE Academic

High level (62 overall, including at least 59 in all four skills)

PTE (Academic) scores are valid for two years from the test date. You cannot combine scores from more than one sitting of the test. Your score must be valid when you begin your Sussex course. Find out more about Pearson (PTE Academic)

We do not accept the PTE Academic Online test.

TOEFL (iBT)

High level 88 overall, including at least 20 Listening, 19 in Reading, 21 in Speaking, 23 in Writing.

TOEFL (iBT) scores are valid for two years from the test date. You cannot combine scores from more than one sitting of the test. Your score must be valid when you begin your Sussex course. Find out more about TOEFL (iBT)

We do not accept TOEFL (iBT) Home Edition.

The TOEFL Institution Code for the University of Sussex is 9166.

English language qualifications

As/a-level (gce).

Grade C or above in English Language.

Hong Kong Advanced Level Examination (HKALE)/ AS or A Level: grade C or above in Use of English.

GCE O-level

Grade C or above in English.

Brunei/Cambridge GCE O-level in English: grades 1-6.

Singapore/Cambridge GCE O-level in English: grades 1-6.

GCSE or IGCSE

Grade C or above in English as a First Language (Grade 4 or above in GCSE from 2017).

Grade B or above in English as a Second Language.

Ghana Senior Secondary School Certificate

If awarded before 1993: grades 1-6 in English language.

If awarded between 1993 and 2005: grades A-D in English language.

Hong Kong Diploma of Secondary Education (HKDSE)

Level 4, including at least 3 in each component in English Language.

Indian School Certificate (Standard XII)

The Indian School Certificate is accepted at the grades below when awarded by the following examination boards:

Central Board of Secondary Education (CBSE) – English Core only: 70%

Council for Indian School Certificate Examinations (CISCE) - English: 70%

International Baccalaureate Diploma (IB)

English A or English B at grade 5 or above.

Kenya Certificate of Secondary Education

Grades A - C in English language

Malaysian Certificate of Education (SPM) 1119/GCE O-level

If taken before the end of 2008: grades 1-6 in English Language.

If taken from 2009 onwards: grade C or above in English Language.

The qualification must be jointly awarded by the University of Cambridge Local Examinations Syndicate (UCLES).

West African Senior School Certificate

Grades A1-C6 (1-6) in English language when awarded by the West African Examinations Council (WAEC) or the National Examinations Council (NECO).

Country exceptions

Select to see the list of exempt english-speaking countries.

If you are a national of one of the countries below, or if you have recently completed a qualification equivalent to a UK Bachelors degree or higher in one of these countries, you will normally meet our English requirement. Note that qualifications obtained by distance learning or awarded by studying outside these countries cannot be accepted for English language purposes.

You will normally be expected to have completed the qualification within two years before starting your course at Sussex. If the qualification was obtained earlier than this, we would expect you to be able to demonstrate that you have maintained a good level of English, for example by living in an English-speaking country or working in an occupation that required you to use English regularly and to a high level.

Please note that this list is determined by the UK’s Home Office, not by the University of Sussex.

List of exempt countries:

Antigua and Barbuda
New Zealand
St Kitts and Nevis
St Vincent and the Grenadines
The British Overseas Territories
Trinidad and Tobago
United Kingdom

** Canada: you must be a national of Canada; other nationals not on this list who have a degree from a Canadian institution will not normally be exempt from needing to provide evidence of English.

English language support

If you don’t meet the English language requirements for your degree, you may be able to take a pre-sessional course

Visas and immigration

Admissions information for applicants

If your qualifications aren’t listed or you have a question about entry requirements, contact us

How to apply

If you’d like to join us as a research student, there are two main routes:

browse funded projects in this subject area
browse our potential supervisors and propose your own research project.

Find out how to apply for a PhD at Sussex

Full-time and part-time study

Choose to work on your research full time or part time, to fit around your work and personal life. For details about part-time study, contact us at [email protected]

PhD or MPhil?

You can choose to study for a PhD or an MPhil. PhD and MPhil degrees differ in duration and in the extent of your research work.

For a PhD, your research work makes a substantial original contribution to knowledge or understanding in your chosen field.
For an MPhil, your work is an independent piece of research but in less depth than for a PhD. You’ll graduate with the degree title Master of Philosophy. You might be able to change to a PhD while you study for an MPhil.

Our supervisors

Prof Joanna Callaghan

Professor of Filmmaking

[email protected]

View profile of Joanna Callaghan

Dr Cecile CHEVALIER

Senior Lecturer in Media Practice

[email protected]

View profile of Cecile CHEVALIER

Dr Emile Devereaux

Senior Lecturer In Digital Media

[email protected]

View profile of Emile Devereaux

Mr Adrian Goycoolea

Senior Lecturer

[email protected]

View profile of Adrian Goycoolea

Prof Margaretta Jolly

Professor of Cultural Studies

[email protected]

View profile of Margaretta Jolly

Prof Mary Agnes Krell

Senior Lecturer in Media and Film Studies

[email protected]

View profile of Mary Agnes Krell

Prof Alisa Lebow

Professor of Screen Media

[email protected]

View profile of Alisa Lebow

Prof Martin Spinelli

Professor in Podcasting and Creative Media

[email protected]

View profile of Martin Spinelli

Prof Lizzie Thynne

Professor of Film

[email protected]

View profile of Lizzie Thynne

Funding and fees

How can i fund my course, funded projects and scholarships.

Our aim is to ensure that every student who wants to study with us is able to despite financial barriers, so that we continue to attract talented and unique individuals. Don’t miss out on scholarships – check the specific application deadlines for funding opportunities. Note that funded projects aren’t available for all our PhDs.

Arts and Humanities PhD studentships available from the CHASE Doctoral Training Partnership

Find out more

£3,000 scholarships available to environmental influencers bringing about real-world behaviour change

£800 scholarship available to reward talented organ player studying on any course at Sussex.

Scholarships of £800 are available to reward talented musicians studying on any course at Sussex

Cash scholarships available for students who have demonstrated sporting excellence

University of Sussex Stuart Hall Doctoral Scholarship

Up to 10 scholarships for outstanding PhD students holding China Scholarship Council awards

Applying for USA Federal Student Aid?

If any part of your funding, at any time, is through USA federal Direct Loan funds, you will be registered on a separate version of this degree which does not include the possibility of distance learning which is prohibited under USA federal regulations. Find out more about American Student Loans and Federal Student Aid .

Part-time work

We advertise around 2,500 part-time jobs a year so you can make money and gain work experience. We have a special scheme to employ students on campus, wherever possible.

Find out more about careers and employability

How much does it cost?

Fees for self-funding students.

Home students: £4,786 per year for full-time students

Channel Islands and Isle of Man students: £4,786 per year for full-time students

International students: £21,500 per year for full-time students

Home PhD student fees are set at the level recommended by United Kingdom Research and Innovation (UKRI) annually, rising in line with inflation. Overseas fees are subject to an annual increase - see details on our tuition fees page

Additional costs

Note about additional costs.

Please note that all costs are best estimates based on current market values. Activities may be subject to unavoidable change in response to Government advice. We’ll let you know at the earliest opportunity. We review estimates every year and they may vary with inflation. Find out how to budget for student life .

Project costs

Students complete assessed projects at the end of their course. The University provides some resources for projects but you may incur further costs depending on the type and scope of projects you choose. These can vary and could range from £50 to £500 depending on the project. Costs can also be affected by how you organise your productions and if you’re part of a group.

Empirical research costs

On top of your PhD fees and living costs, you may also need to cover some research and training costs, relevant to your research project. These costs will depend on your research topic and training needs, but may include: - travel (to archives, collections or scientific facilities) - a laptop - overseas fieldwork costs (travel and accommodation, and language training) - conference costs (travel, registration fees and accommodation) - laboratory consumables and workshop materials - participant costs - transcription or translation costs - open-access publication costs. If you have a scholarship from one of the UK Research Councils, your scholarship should cover these types of costs. You'll receive details of how to claim this additional funding. If you're self funded, or if your scholarship doesn’t cover these costs, check with the Research and Enterprise Co-ordinator in your School for details of School or Doctoral School funding that may be available.

Living costs

Find out typical living costs for studying at Sussex

Find out about our terms and conditions

Explore our campus

Experience Sussex life in our virtual tour.

Start your virtual tour

PhD Information Sessions

Visit campus and chat to staff and students. Book your place

Online PhD Sessions

Join a live webchat. Book your place

International

Meet us in your country

Course enquiries

+44 (0)1273 876787

Send us a message

Admissions enquiries

If you haven’t applied yet:

+44 (0)1273 678001 mah-pgr@sussex.ac.uk

Find out about the School of Media, Arts and Humanities

After you’ve applied:

+44 (0)1273 877773 [email protected]

Find out how to apply

What do you want to do next?

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PhD including Scholarly Creative Work

Doctoral study that combines practice and theory.

A PhD including Scholarly Creative Work recognises a creative arts or design output as a contribution towards advancing knowledge in a particular field. Integrated alongside a thesis of up to 60,000 words, you can present an exhibition, design or performance as examinable work towards your qualification. Creative components can be presented as part of your printed thesis, as a digital recording or as a live performance or exhibition.

The PhD including Scholarly Creative Work shares the same regulations as the University of Auckland PhD, with some guidelines specific to admission requirements and the timing of the examination of the creative work. When applying, you outline your intention to undertake a PhD including Scholarly Creative Work. Within the Statement of Research Intent, it is important to give a brief description of the expected creative outputs of the research, and an indication of how the theoretical and practical components will be related throughout the research process and in the final presentation.

This form of doctoral study is available in:

Architecture
Dance studies
Urban design
Urban planning

Student experience - PhD including Scholarly Creative Work

Through her doctoral thesis, Dr Vivian Medina materialised her dream of combining her two greatest passions: dance and applied yogic science. Vivian’s thesis earned a place on the prestigious Dean’s List in 2023. Vivian shares her doctoral journey in the video above. You can also read her story .

Application, regulations and guidance

Before you make a formal doctoral application, you should consult with the postgraduate adviser for the discipline you are interested in. See Help and advice .

All PhD students must be approved by the relevant department and faculty, as well as the School for Graduate Studies. This is to ascertain your suitability for doctoral study by assessing your current level of training or experience in your selected field.

You may also like to review the University's formal procedures for the PhD including Scholarly Creative Work for further understanding of the requirements of this form of study:

You may need to contact the Student Hubs at different points of your planning and application process.

Email: studentinfo@auckland.ac.nz

Learn more about the Student Hubs .

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The study of writing involves developing skills in various forms of written communication, including academic, technical, journalistic and creative writing. The online world is rapidly changing and professionals who can communicate effectively, promote businesses, brands and people, and/or create inspiring works of art with their words will always be in demand.

UNE offers a range of undergraduate and postgraduate courses in writing that are designed to provide you with the knowledge and skills required to become an integral part of any professional organisation. Because UNE has a long history of helping adults ready themselves for changing workplaces, our writing courses cover a broad range of writing styles and forms, ensuring you are future-fit to adapt to advancements in the field, like artificial intelligence and other technologies. You’ll learn from marketing experts and passionate, published writers who have the experience to help you secure your career in communications and the arts.

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With UNE, you’ll graduate ready to meet the challenges and opportunities that lie ahead for you as a working writer, whether you pursue a career in the creative arts or in business. By choosing UNE, you’ll be studying with an industry leader in the provision of online lifelong learning. Our commitment to creating future-fit writing graduates is reflected in our student feedback. Year after year, students award us the maximum 5-star ratings for Overall Experience and Student Support in The Good Universities Guide.

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Do you dream of a career where you’re helping to address the big issues facing humanity? Or perhaps you crave the excitement of being at the forefront of scientific discovery? Maybe you wish to instil your passion for the environment into future…

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Technical writer Prepare user manuals, instruction guides and documentation for complex products, making technical information accessible to users.
Novelist Create fictional or non-fictional works such as novels, short stories, memoirs or academic books for publication.
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Social media manager Manage and curate content strategies to research target audiences effectively, often in digital marketing or content-focused roles.

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PhD Creative Practice
Creative Practice Theory (…What it is, and How it works)
Creative practice PhD programme options
The creative practice in my PhD research
How I Form A Creative Practice
Why To Start A Creative Practice

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COMMENTS

HDR in Creative Practice
Like other research programs at UNE, the HDR degrees in Creative Practice have the objective of qualifying candidates who can independently apply a substantial body of knowledge and skills/techniques to research and develop and communicate new knowledge. ... For a PhD in Creative Practice, the exegesis is approximately 30,000 words, exclusive ...
Creative Practice Higher Degrees
Creative Practice Higher Degrees: information for MPhil and PhD students. Creative Practice Higher Degrees: information for MPhil and PhD students. Skip to: Header; Main Navigation; Main Content; ... UNE Armidale. Parking; Campus Maps; Restaurant and Cafes; Safety, Security and Information;
PDF Guidelines for Examiners
The PhD, Creative Practice format The PhD, Creative Practice format is one of several forms of the PhD at UNE. Creative practice projects may be undertaken at UNE in any discipline. Though it has a distinct emphasis and structure, the PhD, Creative Practice format shares with
Doctor of Philosophy at University of New England (UNE
Phase 1: the PhD.I Research Learning Program, which must be completed prior to commencement of Phase 2: the Innovation project Portfolio. Progression to Phase 2 is contingent on successful completion of Phase 1, as demonstrated through Confirmation of Candidature. 1.7 Doctor of Philosophy (Creative Practice)
PhD student Liz Chappell explores Catherine Spence's life through
PhD student Liz Chappell shows this to be true through her enthusiasm for her craft and the story behind her study journey at UNE. ... When Liz returned to university study she undertook a Master's degree at UNE, followed closely by her current PhD studies, which she is completing through Creative Practice - the creation of an independent ...
Creative Writing
The core activity in this type of PhD study is the creation of a book-length work of literature (or script equivalent) and an accompanying critical reflective thesis, which elucidates the research and creative strategies involved in making the work. In this way the essence of the Creative Writing PhD is research through creative practice.
Socially Engaged Practice-Based Research: A PhD Pathway for Artists
The Centre for Socially Engaged Practice-Based Research (SEPR) from the Technical University Dublin (TU Dublin) offers two different PhD pathways to creative practice practitioners: a four-year full-time and a two-year part-time programme. While the full-time, structured programme requires candidates to complete modules, the part-time PhD by ...
PhD in Creativity
The PhD in Creativity begins with creativity itself: Creative thinking is in the DNA of our faculty, and no university is better equipped to teach it. The PhD commences in mid-June with the Creativity Immersion. During this two-week residency, students are immersed in a curated sequence of arts experiences for an intense course in creativity.
Art and creative practices PhD
The University of Brighton is a creative and intellectually vibrant focus for a PhD in art and creative practices. The School of Art and Media in Brighton has a long history of internationally-recognised work, has been a pioneer of practice-based and inter-disciplinary methods, and joins with other disciplinary areas to offer expert supervision.
Methodologies for Creative Practitioner Researchers
As creative practice expands as a field of academic research, there is a need to establish an ongoing discourse on and resource for appropriate practice-based methodologies. ... It is aimed at post-graduate researchers in the creative arts and humanities and highlights current online full text resources. The methodologies used in the sciences ...
PhD Creative Practice
The PhD in Creative Practice is an interdisciplinary doctoral degree. The design of the structure of the PhD is developed in consultation with supervisors, but will normally include a written element of at least 30,000 words. Students will be required to take at least 15 credits of graduate level courses in one or more of the relevant ...
Doctor of Philosophy
A Doctor of Philosophy is the pinnacle of academic study. Using rigorous and systematic research, combined with critical analysis, you will add to society's understanding of complex issues at the cutting-edge of your discipline or profession. When you complete your PhD at UNE, you will be recognised as an expert in your area of study.
Creative Practice
Sydney NSW 2052 Australia. Telephone: +61 2 93851000. UNSW CRICOS Provider Code. TEQSA Provider ID: PRV12055. ABN: 57 195 873 179.
PDF The PhD in Creative Writing
The PhD vs. The MFA While the one-year MFA is a studio qualification which focuses on the generation of a creative project or body of work, the PhD is an academic qualification which combines creative, practice-based writing with academic research. The PhD is completed with the supervision of a member of academic staff who is a
Creative practice PhD programme options
a portfolio of screenplays (indicative rage: combined length of 150 pages minimum, 200 pages maximum), or… a portfolio of films (fiction, non-fiction or experimental with an indicative combined running time of between 60 and 120 minutes), or… a portfolio of screenwriting and film work (eg a full length screen play of 90-120 pages and a short film)
Creative and Critical Practice PhD : University of Sussex
Key information. A Creative and Critical Practice PhD at Sussex develops your practice-led research in creative media production alongside critically engaged writing. Your research might involve a variety of practical approaches including video, photography and imaging, interactive media, sound, social media or process-based performative methods.
PhD including Scholarly Creative Work
A PhD including Scholarly Creative Work recognises a creative arts or design output as a contribution towards advancing knowledge in a particular field. Integrated alongside a thesis of up to 60,000 words, you can present an exhibition, design or performance as examinable work towards your qualification. Creative components can be presented as ...
Take the IELTS test in or nearby Moscow, Russia
The British Council IELTS is your best option if you need proof of English language proficiency when applying for a degree in an English-speaking country like the US, the UK, Australia, Canada, or New Zealand. You can opt for the IELTS Online Test, prepare with a training platform online, and even do the IELTS Practice Test Online.
Department of Creative Arts and Communication
Department of Creative Arts and Communication. We prepare students for success in a dynamic and rapidly changing world by cultivating creativity, critical thinking, effective communication, cultural awareness, collaboration and community engagement. We encourage entrepreneurship and innovation in artistic expression and creative work while ...
"Inclusive education: practice, research, methodology" Moscow
Free essays, homework help, flashcards, research papers, book reports, term papers, history, science, politics
Elektrostal Map
Elektrostal is a city in Moscow Oblast, Russia, located 58 kilometers east of Moscow. Elektrostal has about 158,000 residents. Mapcarta, the open map.
Writing
The study of writing involves developing skills in various forms of written communication, including academic, technical, journalistic and creative writing. The online world is rapidly changing and professionals who can communicate effectively, promote businesses, brands and people, and/or create inspiring works of art with their words will ...
Department of System Programming
E-mail: [email protected]. Website: sp.cmc.msu.ru. Phone number: +7 (495) 939-18-77. Other contact information. The Department was founded in 1970 simultaneously with the CMC Faculty. The position of the head of Department was hold by the Distinguished Professor of the Moscow State University, Academician of the Russian Academy of Natural Sciences ...

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Socially Engaged Practice-Based Research: A PhD Pathway for Artists

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Art and creative practices PhD

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Research themes in Art and Creative Practices

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Dr Martin Bouette

Amy Cunningham

Dr Jules Findley

Dr Charlotte Gould

Dr Ole Hagen

Dr Asa Johannesson

Dr Helen Johnson

Dr Uschi Klein

Dr Jayne Lloyd

Dr Philippa Lyon

Dr Simon McEnnis

Roderick Mills

Dr Jessica Moriarty

Xavier Ribas

Dr Naomi Salaman

Prof Paul Sermon

Emma Stibbon

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Methodologies for Creative Practitioner Researchers

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