Immersive Photography: a review of the contextual knowledge of a PhD practice-led research project

Self Cite

This article explores contextual research and creative design methodologies to understand the relationship between the researcher’s embodied approach and the produced artefact. The question of: ‘How might I honestly depict my own embodied textural world to awaken others?’ frames the project in a way which allows the designer/researcher to produce work organically and honestly. Encompassing different navigational directions and frameworks of information allows personal understanding to pervade through. The ideas of place, nostalgia, storytelling and texture are explored throughout the physical artefacts of a textural archival book ‘Awaken’ and a series of posters. The methodology of a heuristic-led enquiry activated by embodiment enabled the translation into something more significant than an abstract thought. Exploring the contextual knowledge of texture and its multi-sensory ability, nostalgia and embodiment, frames the project in the broader context allowing for a critical work commentary.

Section: Embodimentmentioning

confidence: 99%

Section: Pesquisa Heurísticaunclassified

Section: Embodimentunclassified

Section: Heuristic Enquirymentioning

confidence: 99%

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Awakening takes place within: a practice-led research through texture and embodiment

Ardern

Steagall

2023

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“…This form of inquiry, epitomised by phenomenological reduction, provides intuitable the characteristic of consciousness as the meaning of the experience of the phenomenon (Mortensen Steagall, 2022;Mortensen Steagall & Ings, 2018). Husserl suggested that the phenomenological method is "the attempt to doubt everything has its place in the realm of our perfect freedom" (p.107).…”

Section: Phenomenologymentioning

confidence: 99%

Painting the Kitchen Tables: Exploring women's domestic creative spaces through publication design

Brown¹,

Steagall²

2023

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The spaces women take up in society have been shrouded in shame, disenfranchisement, and contention, with the kitchen as a focal point of this argument. This article aims to suggest ways in which women can take up space in the kitchen, this integral pillar of society that upholds connection and creativity as an art form. Adjacent to this subversive shift of connotation is the shifts within feminism, as feminist perspectives on women within kitchens develop alongside the historical movement. In this project, the researcher has utilised a post-positivist paradigm under an auto-ethnographic methodology to document, analyse, and celebrate the variations within feminist perspectives on creativity within domestic spaces through textile and publication design. In order to shift perspectives on these domestic spaces, the design outcomes paid tribute to feminist artists who made the kitchen their studio and others who captured the kitchen as an artistic contribution to the feminist perspectives on these spaces. Through heuristic methods of testing, experimentation, and physical outputs, the researcher curated a series of design artefacts that distil the visceral experiences of how women take up space in kitchens. Through publication design, there is a documentation of the shifting feminist perspectives on women's domestic spaces through contrast and analysis of articles, poems, recipes, and artist insights. These contexts are supported by the tactility of the physical design outcome made using textile, pottery, and printed matter. The research distils and provides a destination for the celebration of ways in which women take up space within the kitchen and the integral artistic creations within those spaces.

Grounding: A Practice-led Graphic Exploration of Ecofeminism, Wellbeing and Ecological Consciousness for Young Women

Falconer

Steagall

2023

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This article presents an artistic practice-led visual design research project that employs a reflective inquiry methodology to write and design a series of outcomes responding to a rhetoric approach that looks at how a female designer can develop connections to nature and how the design outcomes can empower women to care for themselves and the planet. A vast amount of literature articulates nature's healing powers (Miyazaki, 2018; Hardman, 2020). There is also an emergency in thinkers discussing the connections between environmentalism and feminism, looking into the ways nature and women are similarly deemed inferior by patriarchal structures (Escobar, 2018; Gruen, 1993). This research project aims to bring these two views together, looking into the benefits of appreciating nature as a form of self-care to empower and strengthen young women and subsequently increase a desire to care for the depleting natural world. Therefore, this thesis asks: how can communication design strategies and conventions encourage young women to connect with a dialogical relation with nature, fostering wellbeing and ecological consciousness? The study is positioned as a reflective inquiry, meaning that the research process utilises the researcher's personal experiences and writing, with reflections about action, in action and after action, as well as stories and photographs anonymously retrieved from other young women. These inspired an exploration of handmade collages and a graphic set, which led to the generation of a series of outcomes that seek to empower young women to care for themselves through nature. The project has been influenced by overarching issues facing women and nature but approaches them through optimism and positivity. It seeks to highlight the fact that small changes matter, and activism starts from caring for your life and the lives of others, which is what the final outcomes seek to instill in the lives of young women facing an uncertain future.