Inspiration: a functional approach to creative practice.
PhD thesis in Art, Design & Media, by Gil Dekel.
2. Dedication
To the one who is walking beside me for thousands of years now,
my wife,
and the one who reminds me why we are here,
my child.
I am thankful to:
Dr. Paul Newland, my supervisor behind this research – for guiding the structure of my ideas into coherent thesis.
Prof Tim Putnam, Prof David Garcia, Prof Graeme Harper, Dr Steven OBrien, Mr Ergin Cavusoglu, and Ms Alison Habens, my other tutors – for challenging my assumptions and helping to shape them.
Supporting staff at the University’s Dep. of Art, Design & Media – for demonstrating that hard work and enthusiasm can open doors.
Colleagues in academic institutions around the world – for giving me the opportunity to present my papers in more than twenty conferences during this research, and for their feedback and for creating a network of academics in which researchers can situate their works.
The thousands viewers who watched my films, attended my paper presentations in conferences, participated in my art installations and art workshops, and read my articles – for their support and constructive criticism on my works.
The many interviewees that took part in this research – for not being afraid to answer my daring questions about their creative processes.
Dr Amikam Marbach, adviser of a unique academic research method – for seeing the worth in me even before I saw it.
Table of Content:
- 1. Thesis Title Page
- 2. Dedication
- 3. Table of Content
- 4. Lists (icons, diagrams, graphs, figures)
- 5. Abstract
- 6. Introduction —
- 7. Literature Review (pt 1 of 2)
- 7. Literature Review (pt 2 of 2)
- 7.1 Summary of Literature and Intentions of the Investigation
- 8. Methodology
- 8.1 Methods
- 8.1.1 Phenomenology
- 8.1.2 Grounded theory
- 8.1.3 In-depth interviews
- 8.1.4 Art practice as a research method
- 8.1.5 Self exploration
- 8.1.6 Data collection and analysis
- 8.1.7 Humour
- 9. A Body of Practical Actions
- 9.1 Artistic choices
- 9.1.1 Actions1 – individual
- 9.1.2 Actions2 – individual in a group
- 9.1.3 Actions3 – collective individuals
- 9.2 Core themes (pt 1 of 2)
- 9.2 Core themes (pt 2 of 2)
- 10. Stimulation
- 10.1 Sensing —
- 10.2 Feeling —
- 10.3 Acknowledging —
- 10.4 Summary of chapter 10
- 11. Internalisation
- 11.1 Shape —
- 11.2 Movement
- 11.3 Summary of chapter 11
- 12. Application —
- 12.1 Place ——
- 12.2 Space ——
- 12.3 Summary of chapter 12
- 13. Conclusion of body chapters 10-12
- 14. Testing the conclusion in practice – a participatory art workshop experiment
- 14.1 Practical preparations
- 14.2 The structure of the guidance
- 14.3 The workshop experiment
- 14.4 Conclusions of the experiment
- 15. Thesis conclusions
- 16. Suggestions for further research
- 17. Appendices (pt 1 of 4)
- 17. Appendices (pt 2 of 4) – Action table/list
- 17. Appendices (pt 3 of 4) – Content analysis of interviews
- 17. Appendices (pt 4 of 4) – Feedback on films
- 18. References