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Doctoral writing in the visual and performing arts poses many challenges for the academy, not the least of which is accounting for the possible relations which can hold between the written and creative/performed components of a doctoral thesis in these fields. This article proposes that the interrelations between the two components in doctoral submissions of this kind can be theorized as being on a continuum of interrelations, with a number of key text types (or archetypes) being manifested. Through textual analysis of the written component only, the different possible relations can be distinguished through the ways in which the creative component is resemiotized in the written text, through both the verbal and visual semiosis of the written component. This enables us to identify a number of ways in which the ‘one’ project can be construed through its two different component parts, casting an important light on debates within the field in terms of the relations between creative practice and research.

Kress and Van Leeuwen’s book Reading Images: The Grammar of Visual Design (2006[1996]) provides a robust framework for describing modality in visual texts. However, in the digital age, familiar markers of modality are being creatively reconfigured. New technological affordances, including new modes of production, multiple platforms for distribution, and increased user control of modal variables, raise questions about the role of modality in contemporary communication practices and require the framework to be adapted and further developed. This article attempts to set the agenda for such adaptations and, more generally, for rethinking visual modality and its impact in the digital age.

The Sydney 2000 Olympic Games were 'sold' to local and international populations through a ränge ofmedia, including the Sydney Olympic Store, an extravagant souvenir shop. The störe intertwines a ränge of semiotic resources-layout, color, language, andmore-to create a meaningful text. The article uses a social-semiotic framework to begin to explore the ideational, interpersonal and textual meanings made in this störe, and to problematize descriptions of multimodal texts, introducing intersemiosis äs a key to the 'textuality' of these complex texts. It is argued that the störe is much more than just a place to shop; through a ränge of devices, it is situated within broader socioculturalframeworks, andclearly articulates with existing ideologies surrounding the International Olympic Games. Whilst highly preliminary in terms of analysis, the article suggests some starting points for the description and critique of institutionalized, multimodal texts.