A Robb Grije

FACULTY OF ART, DESIGN AND COMMUNICATION
Appendix to the Guide for Completion of the Application for Higher Degree by Research
Candidature Form. Applicants should note that these are merely examples provided to assist in the
preparation of the application. They are not prescriptive.
There are examples of A by pro!ect and A by thesis applications" as #ell as an example of a $hD
by pro!ect application.
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Example Number 1
DEGREE !"D in #"e $ield %$ Fine Ar# b& pr%'e(# %r
Ma)#er %$ Ar#) in #"e $ield %$ Fine Ar# b& pr%'e(#
SUMMARY OF !RO*ECT
&y referencing the images and texts of selected '(th century artists and #riters" my pro!ect #ill
investigate the #ays in #hich representations of atmospheric phenomena have permeated the )nglish
cultural psyche and become a significant element in the definition of )nglishness. The pro!ect #ill
culminate in a body of print%media based #or* #hich #ill reconsider the position of printma*ing in
contemporary art practice. The inherent properties of printma*ing" such as sameness and difference+
repetition and reproduction #ill be investigated" properties #hich underpin our readings of
atmospheric phenomena. The exegesis #ill contextualise the visual research by examining the
cultural conditions of '(th Century )ngland and their impact on the #or* of artists and #riters of
the time.
+, T-E RESEARC- !ROGRAM
+,1 Ti#le )xposed to the )lements, Representations of atmospheric phenomena and the
construction of a cultural psyche
+,. /rie$ De)(rip#i%n
Aims and Objectives:
The ob!ective of my research pro!ect is to develop a body of #or* for exhibition based on an
examination of the #ays that atmospheric phenomena" as represented in the art and literature of '(th
century )ngland" have permeated the psyche and become an element in the definition of )nglishness.
&y referencing selected texts and images by '(th century #riters and artists" - aim to explore and
elucidate connections bet#een representations of atmospheric phenomena and the psyche. This #ill
result in an exhibition of print%media based #or* engaging #ith and referencing these ideas.
Background:
The #eather has long been a topic of speculation. From the beginning of recorded history to the
present" atmospheric phenomena continue to have an impact on our lives. .ntil the Renaissance it
#as a ma!or theme for the discourse of /estern $hilosophy and literature and" although the topic
declined during the )nlightenment" it #as ta*en up again in a vigorous #ay by the Romantics #hen
images of the #eather pervaded painting and literature.
Associations bet#een the #eather and cultural distinctions began #ith Aristotle" #ho formulated one
of the first example of this lin* in his eteorologica" #here he compared and contrasted the
inhabitants of )urope" Asia" and Hellas. 0amuel 1ohnson also made similar associations in '2th
century )ngland" #hen he referred to the #eather as a sub!ect that everyone tal*ed about, 3-t is
commonly observed that #hen t#o )nglishmen meet" their first tal* is of the #eather+ they are in
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$age, ' of 6:
haste to tell each other" #hat they already must *no#" that it is hot or cold" cloudy or bright" #indy
or calm.<
Among the burgeoning scientific discoveries in '(th century &ritain #ere those relating to natural
phenomena" such as meteorology. This scientific progress fired the imagination of the age and had a
significant impact on the #or* of many )uropean artists and #riters" in particular" the =uintessential
)nglish artists" 1ohn Constable and 1/ Turner" and poets such as /illiam /ords#orth and
0amuel Taylor Coleridge.
-n '287" >u*e Ho#ard published his )ssay on the odifications of Clouds" follo#ed in '2': by
Thomas Forster?s Researches about Atmospheric $henomena. &oth these publications had a
profound effect on artists and #riters of the period. Constable studied both publications in detail and
responded to them #ith a series of cloud studies painted on the spot. ;n the bac* of each he made
notations about the #eather and the time of day.5 A typical entry reads, 30epr.'6.'26'. @oon.
/ind fresh at /est . . . sun very Hot. >oo*ing south#ard exceedingly vivid and Glo#ing" very
heavy sho#ers in the Afternoon but a fine evening. High #ind in the night.<
-n Turner?s #or* no t#o days or da#ns are ali*e and he too emphasised passing periods of time by
giving the shifting light of t#ilight or sunrise an unrepeatability by effects of light.
For both these artists" the passage of time is concurrent #ith changing #eather conditions. A lin*ing
of the momentary #ith subse=uent developments sho#s a 3modern< vie# of the #eather as a
se=uential process.
-n '276 )rnst >ehrs #rote an essay" The >anguage of the Clouds" in response to >u*e Ho#ard?s
'287 essay. This #as published" along #ith the reprint of Ho#ard?s )ssay on the odifications of
the Clouds" and it began,
$erhaps among no other people in the #orld is cloud%observation so #idespread and so *eenly
pursued as among the inhabitants of the &ritish -sles. ABBBB.C This *eenness in cloud study is"
of course" stimulated by the peculiar strength and beauty of the cloud formations in this part of the
#orld+ but it is also the symptom of a definite spiritual impulse #hich" from ancient Celtic times" has
#or*ed through the cultural evolution of this country.
$age, 6 of 6:
The portrayal of psychological conditions" a loo*ing in#ard" inevitably borro#s from the vocabulary
of the outer" and the vagaries of the #eather have been utilised to evo*e states of mind" not only in
the #or* of '(th century artists and #riters but persistently in the present. -n the paintings of '(th
century artists" Casper David Friedrich" 0amuel $almer" Heinrich Fuselli etc" t#ilights and dus*s
reflect the contents of the subconsciousness. The #or* of contemporary 3@e# Romantic< artists
such as April Gorni*" ar* -nnerst and 1oan @elson is grounded in the external" visible #orld" yet
implies the intimate and the mysterious and in Hamish Fulton?s photographs" s*ies and clouds
become mediums to convey the feelings aroused by the text belo# the images.
The main emphases of this research are the elemental forces of the #eather+ the transitory effects of
light and atmosphere and their influence on the psyche.
Studio and Technical Research:
- #ill employ a diversity of media to investigate the potential for printma*ing to enhance
representations of atmospheric phenomena. This #ill include traditional printma*ing techni=ues"
such as relief printing and meDDotint" alongside more contemporary means of reproduction and
replication such as digital imaging and photography" etc. - #ill encompass a range of formal
vocabularies from minimalism and photography to text%based conceptualism in the production of the
#or*.
The pro!ect #ill consider the position of printma*ing and print%based media and its role in
contemporary art practice. - #ill investigate and develop the possibilities of printma*ing in
addressing notions of sameness and difference" repetition and reproduction" etc." concepts #hich
underpin our readings of atmospheric phenomena.
As #ell as referring to actual images made during the early '(th century in )ngland" the visual
research #ill be based on selected texts of artists and #riters" in particular" incidental notations
referring to specific locations and atmospheric conditions at the time of the notation.
Research Questions:
/hat significant changes occurred in the culture of early '(th century )ngland that inspired artists
and #riters to place such particular significance on the representation of atmospheric phenomenaE
-n #hat #ays have representations of atmospheric phenomena and daily experiences of the #eather
entered the )nglish cultural psycheE
-n #hat #ays can print media be utilised to interpret '(th century images and texts and give them a
significance in contemporary art practiceE
+,+ Ra#i%nale $%r pr%0ram
The research #ill build on a long tradition of curiosity about atmospheric phenomena and their
impact on our daily lives. This study #ill contribute further to our understanding of '(th century
culture" art and science" casting additional light on this topic.
As the end of this millennium approaches there is an ever%increasing emphasis on the definition and
construction of personal and cultural identities. /e are inevitably a part of the atmosphere or air+ it
surrounds us and #e breathe it in. ;ne?s air" or temperament" is the point at #hich the self meets the
#orld" and it can apply to the self or the #ay one exists in the #orld. ;ur unconscious responses to
the atmosphere are ta*en for granted" including simply breathing in and breathing out and the body?s
ability to maintain thermal balance.
Attempts to control the #eather persist #ithout the possibilities to succeed and our helplessness in
this is seen periodically on television and in ne#spapers. Climate control is on the international
agenda and responsibility for dealing #ith it is vie#ed as a cultural issue. This pro!ect #ill examine
the role of the cultural psyche in response to a =uotidian experience over #hich #e have no control.
$age, 7 of 6:
The research #ill expand a#areness of ne# interpretations of cultural identity through an
investigation of the impact of the varying manifestations of atmospheric phenomena on the individual
psyche.
+,1 Me#"%d)
The literature research #ill be t#ofold,
An examination of the #or* of '(th century )nglish artists and #riters" such as Constable" Turner
and /ords#orth" #ith particular emphasis on their #or* #hich references atmospheric phenomena
)xamining contemporary references to atmospheric phenomena such as daily #eather forecasts"
#eather by fax and on the -nternet.
The visual research #ill be underta*en in my studio in the City of elbourne and at R-T in the
$rintma*ing 0tudio and Digital -maging Research lab. The #or* #ill utilise material collected from
boo*s in libraries in elbourne and )ngland and material do#nloaded from the -nternet" from
ne#spapers and faxes. Research for the exegesis #ill ta*e place in libraries and ma!or art collections
in elbourne and >ondon.
The visual research #ill result in an exhibition of print%based media. The exegesis #ill examine the
cultural conditions of early '(th century )ngland and their resultant impact on the #or* of artists
and #riters and their implications in the present. -t #ill also contextualise the visual research by
lin*ing the studio investigation to the #ritten #or*.
Stage 1 (18 months A!ril 1""8 # October 1"""
$reliminary library%based research to locate texts and identify the #or* of artists and #riters to be
investigated.
-nitial experiments #ith the possibilities of print%media including traditional approaches and more
contemporary means of production
1une '((2" exhibition of first stage of experiments" Galerie DFsseldorf in $erth.
1uly '(((" smaller exploratory exhibition in artist%run%space" Temple 0tudio
Develop bibliography
Stage $ (18 months %ovember 1""" & 'a( $)))
Continue research into appropriate images and texts in libraries and museums in elbourne. The
@GG has one of 1ohn Constables cloud studies from '266.
Continuation of research into techni=ues and materials #ith a particular emphasis on the
incorporation of contemporary means of transmitting information relating to atmospheric
phenomena.
)xamination of the ideas and issues raised in the research leading to the production of experimental
#or*s.
Digital -maging pro!ect connecting elbourne to >ondon.
Further exploratory exhibitions in experimental spaces.
Stage * (1$ months +une $))) & +ul( $))1
Hear%long" daily documentation of the #eather using photography and text
$ossible trip to >ondon to access primary research material in ma!or collections such as the &ritish
>ibrary" the Tate Gallery" the Gictoria and Albert useum. a*e contact #ith and vie# 0ainsbury
Gallery in @or#ich for possible exhibition of final #or*.
$articipation in selected group exhibition #hich #ill open in >ondon -nstitute Gallery" >ondon.
$reliminary outline of exegesis and the form it #ill ta*e.
Continuation of further technical research.
Stage , (1$ months August $))1 & Se!tember $))$
Analysis of primary research material collected on trip and its incorporation into the visual pro!ect
)valuation of #or* to date
$age, 9 of 6:
/or* on the final format of the exegesis. First draft
Further exploratory exhibitions in experimental spaces.
Stage - (. months October $))$ & A!ril $))*
Consolidation of #or* to date along #ith documentation
Development and consolidation of format for the final presentation of the #or*
Commence #or* for final exhibition
Final draft of exegesis
Stage . (. months 'a( $))* & October $))*
Finalise exhibition details such as presentation and installation of the finished pro!ect
Complete documentation of visual research inform of durable visual record
Complete exegesis and for#ard to supervisors
Final presentation of selected #or* for examination
Bibliography
@ot reproduced here.
Example Number .
!"D in #"e $ield %$ Fine Ar# b& pr%'e(#
+,1 Ti#le The image of the boat in contemporary Australian painting.
The ob!ective of this research is to examine the place of boat iconography in current
Australian painting" as evidenced in the #or* of selected artists" and to embody studio
investigation of this area in the form of an exhibition of #or*s #hich experiment #ith and
extend the application of symbolic boat images. The #or*ing hypothesis is that nautical
motifs" of so much significance in the art of previous Australian epochs" are again both
relevant and functionally useful in the context of Australian art.
Spe(i$i( Re)ear(" 2ue)#i%n)
/n 0hat 0a(s do boat images 1unction success1ull( as meaning1ul s(mbols in contem!orar(
Australian !ainting and ho0 is this related to their historical use2
3o contem!orar( artists di11erentiate bet0een the 4!ublic5 and 4!ersonal5 usages o1
nautical images in their !aintings2
Are there viable 0a(s to e6tend the em!lo(ment o1 boat iconogra!h( in !aintings2
Formal investigation #ill commence #ith a focussed survey of Australian painting" principally
using published material and museum collections" both to define terms and to frame the
preamble of the proposed thesis document. 0uch a survey #ill inevitably lead to
consideration of the contemporary examples to be used. ;nce the artists have been selected"
a process of personal intervie#s and close analysis of paintings #ill follo#. -t is initially
proposed that approximately six representative case studies be examined. The identified
artists #ould be chosen from those #ho have recently used boat images in their paintings in
either stereotypical or innovative #ays. ;ne example of a potential sub!ect is the Gictorian
artist -an $arry" #ho in the '(I8?s gave up teaching to supplement his artistic income #ith
professional fishing and #ho subse=uently produced a series of po#erful ocean4boat
paintings.
0tudio in=uiry #ill commence #ith an extended consideration of the studio problems and
possibilities of investigation in this area" the collection of source material" and #ith dra#ing.
$age, : of 6:
;f primary initial importance #ill be the identification of those elements that #ill enable the
completed series of #or*s" #ide%ranging in theme and emerging over a lengthy time%frame"
to clearly comprise an orderly and interconnected series. -t #ill also be necessary to
consciously identify the range of personal experiences and influences that - #ould inevitably
bring to bear on this #or* and to propose the range and general specifications of pieces.
A process of trial fabrications #ould then begin" leading to the construction of approximately
'J mixed media paintings. 0uch a set #ould then edit do#n to '8 % '6 for exhibition.
+,+ Ra#i%nale $%r !r%0ram
The boat has long been a potent symbol in Australian painting. eaningful representations of
vessels have appeared since the first days of )uropean presence but" also figure significantly
in indigenous arts.
-t should not surprise us that images of boats have continued to play an important role over a
long period of time because it is apparent that such a symbol is capable of carrying #ide%
ranging messages concerning immigration" settlement" trade" #ar" exploration and popular
myth. ost Australians have lived on the seaboard and relate immediately and intimately to
boat images. 0uch references as &ernard 0mith?s three #or*s 7uro!ean 8ision and the
South 9aci1ic KHarper L Ro#" '(2(M" Australian 9ainting 1:88&1"") K;xford .niversity
$ress" '(('M and /magining the 9aci1ic in the ;ake o1 the <ook 8o(ages Kelbourne
.niversity $ress" '((6M serve as an introduction to this area.
During the decades follo#ing the '(J8?s the role of such symbols #as diminished some#hat.
uch abstract art #as produced and the national consciousness became much more multi%
faceted. /ith the decline of passenger travel by sea and the increasing popular fascination
#ith ne# technology" boats appeared for the most part in formalist paintings by artists such
as /hiteley" Rees and Firth%0mith. &oats seemed reduced to the realms of beauty and sport.
/hile an argument may be mounted that there are parallels bet#een the idylls of Australian
impressionist paintings and certain Australian paintings of the '(I8?s" it is hard to argue for
any ma!or" long%standing significance of the latter and boats played" in any case" a minor role.
Ho#ever" during the '(28?s and (8?s the boat symbol has had a substantial renaissance.
-mages of boats are #ell%fitted to reflect the personal" narrative" philosophical themes that
have been typical of Australian art in this period. The boat appears again as a seemingly
ageless and substantial image #hich can be used for a multiplicity of contemporary purposes.
For example" a survey of #or*s chosen for inclusion in the oet L Chandon touring
exhibitions since the mid '(28?s reveals a number of successful and highly individualistic
#or*s #hich employ boat symbols. ;ne useful reference in this area is emory Hollo#ay?s
catalogue for 0hip#rec*ed" an exhibition at the 688 Gertrude 0treet Gallery in '(2J.
>iterary and academic texts #hich bear on aspects of this sub!ect are numerous. Relevant
examples #ould include the #or*s of >ouis &ec*e" such as South Seas Su!ercargo
K1acaranda $ress" '(JIM" Hector Holthouse?s Shi!s in the <oral: 76!lorers= ;recks and
Traders o1 the %orthern Australian <oast KAngus L Robertson '(2JM" and Robert
>angdon?s The >ost <aravel K$acific $ublications" '(I:M.
Given the longstanding relevance of Nthe boat? to painting to Australia and its current
topicality it seems #orth#hile to examine aspects of its current usage. Art practice is
informed both by the ongoing physical output of artists and the critical debate #hich
surrounds this. Discussion of contemporary boat icons #ould prove valuable to both artists
and theorists.
+,1 Me#"%d)
$age, J of 6:
RESEARC- SC-EDULE
Ini#ial Year 3 *ul& 1445 3 *une 1446
% $reliminary museum and library%based in=uiry Kincluding literature searchM" leading to
provisional identification of artists and #or*s for close analysis. -nitial documentation of
these.
% Consideration of studio parameters for #or*s" materials" dimensions" installation
possibilities.
% -nitial dra#ings.
Se(%nd Year 3 *ul& 1446 3 *une 1447
% Refinement of personal perspective relating to boat imagery.
% Analysis and documentation of selected #or*s.
% Further museum and archival investigations.
% -nitial intervie#s #ith selected artists.
% $roduction of #or*ing dra#ings and studies.
T"ird Year 3 *ul& 1447 3 *une 1448
% Further analysis and documentation of selected #or*s.
% Further intervie#s #ith selected artists.
% $roduction of ma=uettes and trial fabrication" further dra#ing.
F%ur#" Year 3 *ul& 1448 3 *une 1444
% Commencement of ma!or studio construction phase.
% $reliminary draft of sections of thesis document other than those relating to my o#n
#or*.
Fi$#" Year 3 *ul& 1444 3 *une .999
% Final analyses of selected #or*s.
% Final intervie#s" if necessary.
% Final documentation of selected #or*s.
% Continuation of ma!or studio construction phase.
Six#" Year 3 *ul& .999 3 *une .991
% Completion and selection of #or*s for exhibition. Documentation" crating and dispatch of
these to elbourne.
% Draft of entire thesis document by ay" allo#ing for revision by end of year.
% Final calculation of installation details for exhibition.
N%#e)
Collections utilised #ould include the ma!or museums and archives on the )ast Coast" to #hich -
have good access. Data searches and inter%library loan re=uests #ould be processed via the library of
my employing institution" 0outhern Cross .niversity. 0C. has a library Ncuc*oo? based at the
.niversity of Oueensland for express data delivery.
Throughout the period of research there #ill be cross%fertilisation bet#een formal academic in=uiry
and studio investigation. Formal research #ill inform and steer studio experimentation. 0tudio
in=uiry #ill highlight concerns to be addressed in discussion #ith artists and identify topics for
further consideration.
y intention is to visit elbourne regularly during the period of my research but to underta*e most
of the artistic #or* at home in @orthern @0/ #here - have excellent studio facilities. - #ill be able
to utilise over four months long service as re=uired and could ta*e leave from my institution for an
additional semester #ere it to prove necessary. As - exhibit in elbourne" 0ydney" $erth and
&risbane and also travel fairly fre=uently for my employing university - #ill be able to ta*e advantage
of opportunities to underta*e research tas*s nationally.
$age, I of 6:
- propose a document of the re=uired 68%98"888 #ords #hich firstly introduces the theme of boat
imagery in Australian painting and places this in cultural context" and then goes on to discuss at
some length a series of #or*s by the selected contemporary artists. -t #ill also contain reports of my
o#n studio experimentation and discuss the #or*s presented for examination. - #ill not attempt to
produce a full account of historical and contemporary boat iconography because this #ould be a
very substantial tas* re=uiring a lengthy #ritten thesis. y focus #ill clearly be on contemporary
possibilities and pertinent contemporary studio experimentation. - therefore see the culminating
exhibition as the principal demonstration of results and the documentation as an important"
supporting" record of observations" proceedings and results.
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Example Number +
Title o1 9rogram, -maging @ature in the Context of Contemporary Australian Culture
Brie1 3escri!tion:
Art and nature have been lin*ed since pre%history. As consciousness has changed so has the #ay #e
see and depict our environment. This depiction" in turn" helps us to define ho# #e see ourselves.
)xamples of this can be found throughout the history of art" for example in the High Renaissance.
After the invention of perspective" nature began to be portrayed and to be thought of" as something
rational and ordered" #hereas in the '2th Century it #as portrayed as an arena of fantasy and
romance. -n the early 68th Century the beginnings of abstraction mar*ed a ma!or shift in our self
perception and vie# of the #orld. Traditionally #e have defined #hat #e believe to be reality from
our environment and artists have shaped and reshaped this belief for generations.
@o# in the 68th Century the relationship of people to nature is of necessity being re%evaluated. The
re%evaluation is happening in Australia" as #ell as internationally.
any contemporary artists are involved in re%assessing ideas of depicting nature and environment. -
believe this area is of particular relevance to an artist in Australia #here our identity has been for so
long tied to an image of our natural environment.
&riefly" my aims are as follo#s,
To investigate the exploration of environment and nature in contemporary international and
Australian art" as #ell as an analysis of ho# my o#n #or* relates to these ideas.
&ased on my research" - #ill create a series of paintings and dra#ings. These #or*s #ill be an
ongoing record of my investigations" and - #ill exhibit several times throughout the course. - aim to
produce a resolved body of #or*s on canvas as #ell as numerous support dra#ings.
Rationale:
- believe that my research is in an area of great relevance to an artist in Australia #here the image of
our natural environment has had a particularly profound impact on our identity.
-t is an area of particular relevance to #omen" and especially to me as a #oman artist" because
#omenPs identity has for so long been lin*ed to our images of nature. As these images change the
identity of #omen" it enables me to participate in the reconstruction of my o#n identity.
$age, 2 of 6:
- #ill aim to produce a ma!or and significant body of #or* #hich - #ill exhibit in public galleries
#ith a #ide audience including experts" students and the general public. Hopefully this #ill generate
both debate and analysis.
'ethods:
The paintings - #ill do #ill be grouped into various series and #ill include the follo#ing,
Q@ature ReservesQ
A series of small #or*s on canvas approximately 6: x 6: cm" to be sho#n on one #all as an
installation. These #ill be individual #or*s" yet part of a related series.
)ach #or* #ill be in mixed media incorporating oil%paint" natural elements Ksuch as different types of
earth and sandM and collaged photographic or photocopied images.
)ach individual panel #ill have a metal frame Kprobably aluminiumM #hich #ill be a significant part of
the painting conceptually. )ach interior area #ill have a #ire mesh embedded into the surface to
indicate a sieve%li*e construction.
Q)xperimentsQ
A series of #or*s #hich #ill establish the idea of an experiment being carried out. - #ill produce a
group of paintings #hich relate to my research and actually illustrate the idea of QresearchQ. - #ould
li*e to use materials that react chemically to produce different surfaces and textures" as #ell as
mixing together paints #hich react chemically. To this aim - intend to do many rough #or*s in this
area.
QRe%appraisalsQ
To create a series of paintings and dra#ings #hich refer to our previous images of nature through
the use of appropriated imagery from earlier painting. To do this - #ill use both colour and blac*
and #hite photocopies and collage of other surfaces that - ma*e.
QCollectionsQ
A series of #or*s to do #ith those things #hich #e QisolateQ from the natural #orld in order to ma*e
art. - envisage using collage of actual ob!ects as #ell as painted ob!ects" to create QcollectionsQ.
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Example Number 1
Ma)#er %$ Ar#) in #"e $ield %$ Anima#i%n:In#era(#i;e Mul#imedia b& !r%'e(#
SUMMARY OF !RO*ECT
The aim of the pro!ect is to investigate ho# gender specific influences can inform content design for
net#or*ed interactive multimedia products #ith the ob!ective of developing a ne# content and
interactive net#or* model that is more inclusive and enabling for #omen.
+,1 Title , Gender )pe(i$i( i))ue) in ne#<%r=ed in#era(#i;e mul#imedia de)i0n,
Aim
The aim of this pro!ect is to investigate ho# gender specific influences can inform content
design for net#or*ed interactive multimedia products.
Re)ear(" >ue)#i%n)
The research #ill determine #hat factors affect #omen?s use of computers in relation to
net#or*ed interactive multimedia and the extent to #hich #omen and men differ in their use
$age, ( of 6:
of computer%based information and communications technology. -t #ill identify #hat content
and environments for net#or*ed interactive multimedia are specifically relevant to #omenPs
desires" needs and values.
/a(=0r%und re)ear("
A literature revie# of related research Kinformation technology" cognitive psychology"
ergonomics" theatre studies" communications theoryM #ill be analysed to inform ne#
net#or*ed interactive multimedia content and design.
!r%du(#i%n
This analysis #ill then focus the design and development of ne# net#or*ed interactive
multimedia content and environments specifically for #omen. This #ill involve the
production of a ma!or interactive multimedia program.
The success of this program Kin addressing #omen?s desires" needs and expectationsM #ill be
evaluated using infrastructure facilities available through such net#or*s as Gic@et and
involving appropriate sub!ect groups such as a #omanPs group" single sex high schools of
both genders and a mixed sex high school.
Ob'e(#i;e
The ob!ective of this research pro!ect is to develop a ne# content and interactive net#or*
model that is more inclusive and enabling for #omen.
L%(a#i%n and re)%ur(e)
The pro!ect is located in elbourne and #ill utilise the research and multimedia production
facilities of the Department of Gisual Communication.
$age, '8 of 6:
+,+ Ra#i%nale $%r pr%0ram Describe belo# #hy it is important to underta*e this program" in
terms of the field of study involved and anticipated benefits to the community. /hat is the
potential of the program to produce *no#ledge for some useful applicationE
At a recent high level ;)CD conference on Q/omen in the City, Housing" 0ervices and the
.rban )nvironmentQ it #as stated that,
?%e0 in1ormation and communication technologies certainl( hold out
!romising !ros!ects@ The( can be !ut to good use in !romoting 0omen and
their role in cities= !articularl( through the !rovision o1 s!ecial services
delivered direct to the home@@@@0e should be a0are o1 the !erverse e11ectsA
because a certain amount o1 skill and training is needed to o!erate these
technologies= the( ma( & i1 no conscious= deliberate !olic( is !ut in !lace &
merel( broaden the e6isting divisions and heighten discrimination against
0omen@?
0tudies have sho#n that people #ith restricted access to resources are usually those #ho are
most disadvantaged" the ma!ority of those #ith restricted access to resources tend to be
females of all ages. -nitiatives currently proposed in Australia
'
and many other countries in
the #orld intend to provide infrastructures and content for the Qinformation superhigh#ayQ
#hich could have the potential to further marginalise #omen as a disadvantaged" urban sub%
group.
y research intends to contribute to a net#or*ed" interactive multimedia environment #hich
#ill ensure that #omen do not become disadvantaged in an important era of technological
and social change.
+,1 Me#"%d) Describe belo# the envisaged process for underta*ing the program" including
bibliographic" laboratory" field#or* and any other ma!or components and ho# these relate to
the critical =uestionKsM. /here appropriate" ma!or references should be cited" to situate the
research proposal #ithin the current body of *no#ledge. -nclude details of the proposed
program se=uence and time schedule.
K-f the research program involves organisationKsM other than R-T" a letter from the other
organisationKsM should be attached" stating support #ith respect to staff time and reasonable
access to facilities.M
This research pro!ect #ill be underta*en in the follo#ing seven stages,
S#a0e 1, 6 m%n#")
>iterature revie# and bibliographic research on,
KaM Gender differences in utilisation of computer based technology.
KbM Computer interface design.
KcM -nteractive multimedia content design.
KdM Gender differences in communication and net#or*ing strategies.
S#a0e ., + m%n#")
Analysis of the factors #hich affect #omen?s use of computers and their involvement #ith
interactive multimedia systems.
S#a0e +, 4 m%n#")
Development of a ne# net#or*ed interactive multimedia design strategy incorporating
hypotheses derived from stages ' and 6.
S#a0e 1, 18 m%n#")
'
$age, '' of 6:
$roduction of ma!or net#or*ed interactive multimedia program.
)stablish test sites
Concept design
0elect soft#are L platform
Creation of storyboard or concept prototype
Test and evaluate prototype concept #ith selection of trial audience
Consolidate prototype results into design
Record relevant video4audio
)stablish net#or* lin*s
Author4program and edit content
Test program functionality
odify if necessary
S#a0e 5, 6 m%n#")
Developing criteria for evaluation.
Trials and evaluation of ne# interactive multimedia program on net#or*ed sites.
S#a0e 6, + m%n#")
Final production of the revised net#or*ed interactive multimedia program.
S#a0e 7, + m%n#")
$reparation for assessment" #hich #ill include full #ritten documentation
detailing the history of the pro!ect.
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Example Number 5
Ma)#er %$ Ar#) in #"e $ield %$ Fine Ar# b& T"e)i)
Title o1 9rogram, Criticism in the visual arts, !udgement and the idea of =uality.
Brie1 3escri!tion:
To distinguish art criticism from art history on the one hand and art theory on the other" and to see*
to establish the perimeters of each.
To determine the extent to #hich critical issues" discriminations and !udgements are ultimately moral
and4or political.
To analyse the criteria #hich underlie notions of individual achievement" and to examine the extent
to #hich they are" of necessity" sub!ective and temporal.
To consider the context Ksocial" economic" political" culturalM #ithin #hich appropriate analysis can
ta*e place.
To address the problem contained in the fact that the KverbalM P>anguageP in #hich #e examine and
discuss the visual arts is fundamentally different from the KvisualM P>anguageP through #hich they
actually communicate. Thus" to consider the =uestions of a vocabulary for visual and critical
analysis" critical language and terminology Kpractical considerations" technical terms" professional
and popular vocabulary" description versus analysis" bias" hidden agendas" preconceptions"
assumptions and loaded termsM.
To examine the manner #hereby =ualities inherent in a particular medium and4or style constitute a
fundamental part of the content of the communication process.
$age, '6 of 6:
KThe research #ill be based on the close examination of a range of printed sources in the field of art
and literature" reproductions and my long experience of the scrutiny of original material+ accordingly"
- can underta*e the program locallyM.
Rationale:
As an undergraduate in the fields of Art History and )nglish literature" - #as repeatedly struc* by the
disparities in the #ay the t#o disciplines dealt #ith their material. Compared #ith literary criticism"
it seems to me art criticism is a relatively undeveloped discipline. To some extent this has to be
predicated on the fact of the P>anguageP problem outlined under J.6. Traditional art historical
scholarship fulfils a valuable and necessary function" in so far as it illuminates =uestions of context"
influence" historical development and the interpretation of specific sub!ect matter. Ho#ever" -
believe it fre=uently fails to address the more intractable problem of the #ay in #hich" and the means
by #hich" a #or* Pspea*sP to its audience enduringly, the ultimate measure" - maintain" of creative
achievement" if a #or* is not to have a merely historical interest. -t is to#ards the resolution of
some of these issues that - #ish to #or*.
KA fruitful outcome #ould be for my conclusions to stimulate debate on the #ay #e tal* about art"
and" therefore" to lead to a more informed discussion concerning the role of art in community life"
thus improving the accessibility of art to the publicM.
'ethods:
K'M '((6,
$reliminary reading and analysis of seminal texts in the areas of literary criticism" art criticism and
theory.
K6M First half of '((7,
)stablish criteria for analysis" as outlined under the description.
K7M 0econd half of '((7 and first half of '((9,
Develop these criteria #ith reference to particular case studies representative of the historical
development of art in the period dominated in the /est by the idea of the individual vision of the
artist. KAt this stage - envisage restricting myself to t#o%dimensional #or*s" so as to *eep the
underta*ing #ithin manageable proportionsM.
K9M 0econd half of '((9,
Dra# conclusions and establish critical position on the criteria outlined in the program.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
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Example Number 6
Ma)#er %$ Ar#) in #"e $ield %$ Fa)"i%n b& T"e)i)
Title, An -nvestigation into the Giability of the -ndependent Fashion ar*et in elbourne
Brie1 3escri!tion:
The program #ill research and analyse the innovative target mar*et area *no#n as P-ndependent
FashionP" in consultation #ith labels and retailers affiliated #ith the P Fashion Design Council of
AustraliaP and assess potential for gro#th or development #ithin this mar*et.
Objectives:
To understand and define the mar*et segment applicable to -ndependent Fashion and to assess its
re=uirements+
$age, '7 of 6:
To develop" test and evaluate effective mar*et research techni=ues appropriate to the -ndependent
Fashion mar*et+
To research" analyse and evaluate the style trends of the -ndependent Fashion mar*et+
To evaluate the flexibility of -ndependent Fashion labels Kat a #holesale levelM to mar*et demands Kat
a retail levelM+
To evaluate the commercial viability of retailing -ndependent Fashion and the most effective systems
re=uired to attain profitability+
To provide a detailed comparative study of the -ndependent Fashion mar*ets in elbourne and
0ydney+
To research and provide reference comparisons of the -ndependent Fashion mar*ets that exist in,
KiM Adelaide" $erth" &risbane
KiiM >ondon" @e# Hor*
To provide information for course development relative to research techni=ues and opportunities for
this sector of the fashion industry.
$roblems to be investigated,
Defining the viability of -ndependent Fashion in terms of,
. fulfilling a social need+
. fulfilling a fashion need+
. financial profitability
The relationship of -ndependent Fashion to,
. economic trends+
. social trends+
. political trends
The life cycle of -ndependent Fashion. -f a label or retail outlet becomes successful4popular does it
become absorbed into the mainstream category of FashionE
Rationale:
&y virtue of its dynamic nature" the -ndependent Fashion sector of the -ndustry re=uires specialised
studies to understand its potential for #holesalers and retailers. This program intends to determine
the positive and negative aspects of this mar*et in the present climate and also to initiate and
evaluate effective mar*et research techni=ues that can help realise its potential in the future.
To date no systematic or detailed research or analysis has been done on the needs of the -ndependent
Fashion mar*et. )xtensive information is availableR on the volume and mainstream segments of the
fashion industry but #ith little reference or relevance to the more innovative fashion areas.
/hom #ill the program benefit,
The Fashion industry,
The report #ill define the sector of -ndependent Fashion and #ill provide reference to other
sectors for Fashion innovation+
Retailers4/holesalers,
The research and its findings #ill assist those #or*ing in the area of -ndependent Fashion to
position themselves in the mar*et in the most effective #ay to achieve profitable results+
$age, '9 of 6:
Fashion Consumer,
&y analysing the needs of the independent fashion customer the industry" hopefully #ill
respond to these re=uirements in a positive #ay that #ill satisfy consumer needs in improved
product and service+
R-T,
The research #ill assist the R-T Fashion course in relation to the education re=uired to
train students in the understanding of -ndependent Fashion and testing of appropriate methods
of mar*et research.
Fashion 1ournals,
The database developed regarding consumer needs and style trends #ill assist fashion
publications in reflecting an image appropriate to this mar*et sector.
The Researcher,
;n a more personal level" the research #ill provide the candidate #ith detailed and extensive
information in establishing herself as an expert in the field of -ndependent Fashion and improve her
career potential #ithin the -ndustry+
R Available through,
% Australian Chamber of anufactures+
% Textile" Clothing and Foot#ear .nion+
% Ragtrader % -ndustry Trade publication
$age, ': of 6:
'ethods:
'. )valuate existing data,

'.' )valuate existing F.D.C. data on previous sales and trend performance.
'.6 .tilising F.D.C. database of existing clientele,%
% prepare and issue general =uestionnaires to all existing customers
% establish pilot investigation #ith random group
% study behavioural patterns of random groups
'.7 .tilise available data on mainstream fashion and compare it to -ndependent Fashion.
'.9 .tilise data available through international trade sources to establish
comparative studies.
6. )stablish ne# data,
6.' -ntervie# representatives from -ndependent Fashion labels.
6.6 -ntervie# selected retailers of -ndependent Fashion.
6.7 -ntervie# industry professionals #here their area of expertise has relevance to
-ndependent Fashion.
6.9 0urvey potential customers,
% =uestionnaire format Kbroad groupM
% series of intervie#s Krandom groupM
7. Field#or*,
7.' /or* for approximately one day per #ee* #ith appropriate retail concerns,%
% ;ption ' Company name
% ;ption 6 Company name
7.6 -nvestigate consumer behaviour by observation #ithin different retail areas.
9. >iaison at R-T,
9.' /or* in liaison #ith existing Honours 0tudent $rogram to evaluate thecapsule collection
and response #ithin the mar*et
9.6 /or* in liaison #ith students in the fashion design #ith merchandising stream at R-T
to develop and test ne#" non% traditional methods of research.
:. Analyse and evaluate all data.
J. Final presentation #ill be in the form of a thesis supported by all relevant
documentation.
0chedule,
0tage ' K' year durationM
0tudy of elbourne -ndependent Fashion.
$repare interim report for F.D.C.
0tage 6 K' year durationM
.tilising criteria from 0tage '" compare #ith national and international mar*ets of
-ndependent Fashion.
;utline,
% 0tudy of ar*et,
ens#ear4/omens#ear
-ncome level and spending po#er
Age groupings % demographic study
>ifestyle % psychographic study
% 0tyle Trends,
>ife cycle of a style
$rice points
-mage4;ccasion dressing
$age, 'J of 6:
Ouality re=uirements
Giability of mar*et testing prior to collection release
$ast trends and lin*s to present trends
Degree of product differentiation
% Flexibility to ar*et,
K=uic* responseM
$resent mar*et coverage by #holesalers
$roduction re=uirements % manufacturing facilities" fabrics
and trims % availability and re=uirements
&udget planning
Costing % procedures and #or*able mar*%ups
Collection planning % siDe4structure4timetable
Distribution
% Retailing,
@umber of accessible retail outlets to suit mar*et
Galidity of vertical operations Kattached to #holesaleM
&uying trends % indent 4 consignment 4 open to buy
ar*eting and promotional re=uirements
Determining sales programs 4 mar*do#n strategies
0easonal calendar compared to mainstream trends
&udgeting % terms and conditions
$urchasing trends % ultiple 4 single sales 4 follo# up
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Example Number 7
DEGREE D%(#%r %$ !"il%)%p"& ?Media Ar#)@ b& Re)ear("
SUMMARY OF !RO*ECT
Research into the models and typologies of spatial narratology in film and architecture and
its application in multi%media environments. The research #ill be submitted as a thesis establishing
the discourse of spatial narratology and the production of visual models in
CD R; examining their application in multi%media design.
+,1 Ti#le Spa#ial Narra#%l%0& in Film and Ar("i#e(#ure and i#) Appli(a#i%n in -&per#ex#
and Mul#i3Media
/a(=0r%und
0patial @arratology is derived from my asters research in narrative structures in architecture. &y
aligning different types of spaces and by analysing spatial meaning in film and architecture" spatial
montage and spatial narrative becomes apparent.
Aim
The aim of the research is to establish the discourse of 0patial @arratology and to test the existence
of se=uences of spaces as having narrative and therefore navigational meaning to the user.
Re)ear("
The Doctorate involves both a strong theoretical component and the production of visual and spatial
models in a CD R; format. - #ill be developing spatial models based on a classical narrative
structure" derived from @athaniel Ha#thorne?s 3The arble Faun<" and a @ouveau Roman
structure" developed from Robbe%Grillet?s precepts of 3the ne# novel< #hich #ill have design
$age, 'I of 6:
applications in the structure of multi%media programmes" the design development of architecture" and
add to the theoretical *no#ledge of cinema.
-n particular the research #ill address the follo#ing =uestions,
% Are three dimensional literary structures appropriate design models for multi%media E
% Are classical narrative models or @ouveau Roman models more appropriate as
designing models in multi%media E
% Ho# is time structured in cinema and ho# are these temporal elements transposed
into multi%media E
% Does time e=ual space in multi%media E
% Ho# can complex theoretical models be explained through the visual models of
multi%media E
% Ho# does hypertext develop the structure of the narrative E
% Ho# can the navigational design systems in architecture contribute to the
navigational systems of multi%media E
% Ho# are movements and ob!ects represented in architecture and multi%media E
% /hat are the spatial relationships in architecture and film #hich can be coherently if
subliminally read by the user E
% Ho# do these relationships construct a spatial narratology E
Ob'e(#i;e
The ob!ective is to produce a thesis on the discourse of 0patial @arratology" a constructed 7D
model" and its translation into multi%media typologies as a CD R;.
L%(a#i%n and Re)%ur(e)
The research is based in the edia Arts course area of the Department of Gisual Communication
#or*ing #ith their computer systems and #ithin my o#n studio. The research #ill include liaison
#ith .-.T." the Canadian useum" the Sey Centre for Design Computing at the .niversity of
0ydney" and the Du*e .niversity in Chicago. The research also includes developmental design
pro!ects #ith the Department of Architecture at R..-.T.
+,+ Ra#i%nale $%r pr%0ram
-n entering the computer environment the common navigational means is via the flipping of screens+
the electronic e=uivalent of turning the pages of a boo*. -n architectural design the model of the
building is often navigated by a simulated 3#al* through<" or more precisely" a 3glide through<.
/hen space appears three dimensional in the computer environment it brings #ith it the conventions
of camera compositions and movements" and also adds the possibilities of infinitely extended focus"
morphing" the revealing of fractal geometries" and of simulating space in a non%euclidean
environment.
&y identifying" analysing and using the spatial narratives in literature" film" installation art"
architecture and urban design" #e can discover a more profound #ay to design for and navigate
#ithin multi%media.
This research #ill propose a number of spatial navigational models #hich can be used to design
multi%media programs" to suggest structures for three dimensional narratives" to advance
architectural design *no#ledge in the experiential meaning of space" and to add significant
*no#ledge to the theory and practice of cinema. This research #ill also assist us to more easily
conceive of ne# visual understandings of space and time in the development of multi%media content.
$age, '2 of 6:
+,1 Me#"%d) Describe belo# the envisaged process for underta*ing the program" including
bibliographic" laboratory" field#or* and any other ma!or components and ho# these relate to the
critical =uestionKsM. /here appropriate" ma!or references should be cited" to situate the research
proposal #ithin the current body of *no#ledge. -nclude details of the proposed program se=uence
and time schedule.
K-f the research program involves organisationKsM other than R-T" a letter from the other
organisationKsM should be attached" stating support #ith respect to staff time and reasonable access
to facilities.M
The research #ill be completed over three years.
Februar& #% *une 1445
&ibliographic research including,
;vervie# of theoretical discourse on 30patial @arratology<.
0urvey of structural @arratology including &arthes" 0egare" Chatham" Gremias.
Definition of @arratology 4 Definition of 0patial @arratology.
0patial 0tructure in the films of Hitchcoc*" Subric*" ;Du" Antonioni" Tar*ovs*y.
@on%Classical 0tructure in the films and novels of Robbe%Grillet.
0patial ontage in Fran* >loyd /right?s and Rem Soolhaus?s architecture.
0patial 0tructure in the Chinese city.
*ul& #% De(ember 1445
0patial analysis of @athaniel Ha#thorne?s 3The arble Faun<.
Completion of companion screenplay titled 3The Tender City<.
Construction of 7D spatial model.
*anuar& #% *ul& 1446
Familiarisation #ith multi%media author#are including acroedia Director" 7D 0tudio" 0trata"
Aldus 0*etch" Adobe $remier" Adobe $hotoshop.
Completion of storyboard.
$ublic presentation of theoretical paper.
Au0u)# #% De(ember 1446
CD R; pre%production including,
Translation of spatial model into multi%media environment.
&uilding image libraries
0canning and rendering reference material.
$reliminary image compositing.
*anuar& #% *une 1447
CD R; production.
Complete final draft of thesis.
*ul& #% De(ember 1447
CD R; post production including,
@on%linear editing and se=uencing of images and texts
usic and sound construction.
Compilation of CD R; master.
$reparation for submission.
Example Number 8
$age, '( of 6:
DEGREE Ma)#er %$ Ar#) b& re)ear(" in C%mmuni(a#i%n S#udie) b& #"e)i)
TITLE OF !ROGRAM The relationship bet#een business press publications and their host
industries in Australia #ith particular attention to the travel industry.
SUMMARY OF !RO*ECT A study is to be underta*en of the interaction bet#een business press
publications and their host industries #ith a vie# to reaching an understanding of ho# the
publications have shaped the industries and vice versa. Attention #ill focus on the travel industry and
those industries #ith #hich it is interdependent" such as the hotel and s*i industries.
/RIEF DESCRI!TION The aim of the research program is to investigate and analyse the
development and relationship of Australia?s business press publications #ith their host industries
giving particular attention to the travel industry. This #ill also entail some consideration of the
interaction bet#een those industries and the broader historical context.
&usiness press refers to publications #hich circulate #ithin a specific business" profession or
industry. The publications are produced in either magaDine or ne#spaper format.
&usiness press publications target specific publics and as such are not directed to the general public.
This distinguishes business press publications from the other forms of print media. An information
brochure entitled TBacts About Australian Business 9ress5 published by the Australian Association
of &usiness and 0pecialist $ublishers K the Association #hich represents business press publishersM
states that (( per cent of all trade publications are mailed to those on subscription lists. A fe# titles
are sold in ne#sagents.
The Australian Advertising Rates Data 0urvey" #hich provides a ma!or listing of business press
publications in Australia" currently lists I7J business press publications #hich are produced by 9IJ
publishing houses.
y thesis #ill concentrate on the development of the business press and on its relationship #ith its
host industries. As a result of the diverse range of publications available the thesis #ill concentrate
on one specific area" the travel industry as this industry has" over the years" undergone many changes
and thus provides a good case study.
The ob!ect of the thesis #ill be to define and explore the relationship bet#een business publications
and the industries they serve.
The research =uestions to be ans#ered include,
Ho#" #hen and #hy #ere the first travel business press publications established in AustraliaE
Ho# has the gro#th" nature and prosperity of travel business press publications been affected by
the development and prosperity of the travel industryE
/hy does the travel industry produce the publications it doesE
Ho# and #hy have the different travel industry publications evolved to their current formatsE
Ho# has the travel industry been influenced by its business press publicationsE
Ho# #ell does the travel industry consider itself to be served by its business press publicationsE
Given the nature of the pro!ect the greater part of the #or* #ill be underta*en in Australia.
RATIONALE FOR !ROGRAM $reliminary discussions held #ith the Australian Association of
&usiness and 0pecialist $ublishers suggests the only academic research #hich has been underta*en
on Australia?s &usiness $ress is a paper #ritten by ;rgan T.R. $lant
6
. Given the siDe of the
business press there is an urgent need for some further academic study on this form of media. -t is
6;.T.R. $lant. PThe Role of Australia?s &usiness $ress? in +ournal o1 Travel Studies Gol : @o6 1une '(I6.
$age, 68 of 6:
an area that has been ignored by Government and other bodies. /hile other media have been
studied for their po#er" development and influence the business press has not.
During intervie# sessions Australian Association of &usiness and 0pecialist $ublishers president
Alvin 0mith and national secretary /illiam 0ha*espeare expressed a desire for further study to be
underta*en on their industry.
- have also held discussions #ith the publishers of five leading travel industry publications" 1ohn
Seats %Travel onthly+ Henry >a#son %Travel Tips+ )liDabeth /indsor %Travel @o#s+ &ill Clinton%
Travel Hesterday+ and Alfred Tennyson %-nside Travel. All have indicated support for this thesis and
#ill provide as much assistance as possible. Ksee attached lettersM To date they have assisted in
helping to locate the early founders of Australia?s travel business press publications.
-n addition" the thesis #ill provide information on the history and development of Australia?s travel
industry" an area #hich also has attracted scant attention. Given the increased interest in tourism and
travel industries by Government such a study is timely and relevant.
MET-ODS /or* has already started on a bibliographical search for information on the
relationship bet#een business press and host publications #hich may have been published
internationally. This #or* #ill continue. The only literature found on the business press has been
#ritten by those directly involved #ithin the industry" that is the Australian Association of &usiness
and 0pecialist $ublishers
7
and the American &usiness $ress -nc.
9
An historical literature search #ill be underta*en to identify the changes #hich have occurred #ithin
the travel industry during the 68th century and the causes thereof. Historical texts by" for example"
1ohn Gunn
:
" i*e 0ebey
J
" 0usan $riestly
I
and occasional papers produced by the &ureau of
)conomic Transport )conomics
2
and other Government departments should assist in providing
information.
Research #ill also be underta*en to chart the changes in and development of Australia?s travel
industry business press. ost of this information is li*ely to come from the press itself and from
intervie#s #ith the founders" publishers and editors of travel industry publications.
Attention #ill be paid to avoiding the pitfalls of oral history pointed out by 1ohn urphy"
(
Gic*i
Co#den
'8
and $aul Thompson
''
as #ell as to ac*no#ledging and exploring its metaphorical content.
.se #ill be made of the ;ral History Association of Australia?s Oral Cistor( Duide in devising
intervie# procedures.
Currently there are six ma!or travel industry publications" Travel ;eek= Travel Trade= /nside
Tourism= Travel Talk= Travel Re!orter and Travel %e0s@ The editors of five of these publications
Kthe Travel Re!orter has recently been soldM have all expressed a #illingness to be intervie#ed Ksee
attached lettersM.
Another ma!or industry player" #ho established Travel Trade in Australia" is living in Australia and
attempts #ill be made to intervie# him. $ast editors of Travel ;eek" Travel Trade and /nside
Tourism #ill also be contacted. -n=uiries are under #ay to locate the original founders of travel
industry publications in Australia. -n total around ': intervie#s are li*ely to be conducted. These
intervie#s are expected to ans#er the primary research =uestions% ho#" #hen and #here #ere the
7
The Bacts About Australian Business 9ress=" Australian Association of &usiness $ress $ublications" '(22. Business 9ress is Bread and Butter 9ress=
Bood 1or Thought= Australian Association of &usiness $ress $ublications KundatedM
9Har*a#ay H" The .ni=ue Role of &usiness $ress" American &usiness $ress $ublications" '(22
:Gunn 1" Challenging HoriDons" Oantas '(7(%'(:9" .niversity of Oueensland $ress" '((8
J0ebum -" Challenge in the founding of TAA" Hyland House" elbourne '(I(
I$riestly 0" The Cro#n of the Road" the 0tory of the RACG" acmillian" '((7
2$ublications such as Bactors A11ecting 3emand 1or /nternational Travel to and 1rom Australia= ;ccasional $aper @o ''" &ureau of Transport
)conomics" '(I2" #ill provide very useful data.
(urphy 1" E8oices o1 'emor(: Cistor(= Autobiogra!h( and Oral 'emoriesF Historical 0tudies" Golume 66" @o 2I" ;ctober '(2J" pp':I%'I:.
'8Co#den G" 3Cistorical and Oral Cistor(: A !lea 1or Reconciliation E ;ral History Association of Australia 1ournal" @o :" '(26%'(27
''Thompson $" 3Oral Cistor( and Cistorians E ;ral History Association of Australia 1ournal" @o :" '(26%'(27
$age, 6' of 6:
first travel business press publications established in Australia" ho# has the gro#th" nature and
prosperity of the business publications been affected by the development and prosperity of the travel
industry" ho# and #hy have the different travel publications developed" #hat changes have they
made and #hy" the difference bet#een the travel trade publications and consumer publications and
the effects of the consumer media on the travel business press.
A study #ill also be underta*en of the different travel industry publications #ith particular emphasis
on changes in style" formats" content and siDe. This #ill help ans#er the research =uestions #hy
does the travel industry produce the publications it does" #hat are the differences bet#een travel
industry publications and ho# have the different travel industry publications developed. This
research" by acting as a chec*" #ill also help overcome some of the pitfalls associated #ith oral
history methodology.
-ntervie#s #ill also be conducted #ith ma!or travel industry players to help ascertain ho# the travel
industry has changed" their vie#s of the travel business publications" ho# they believe the
publications have changed" the influence they believe travel publications have had on their industries"
ho# the travel industry has been affected by trade publications and ho# #ell the travel industry
considers it has been served by its business press publications. Around ': intervie#s #ill be
conducted #ith representatives of the airline industry" the travel agency net#or*" the hospitality
industry and travel #holesalers as these are the ma!or groups serviced by travel industry publications.
Those intervie#ed #ill have been involved in the industry for a number of years.
/hile most intervie#s #ill be underta*en once research has been completed to identify ma!or
changes in Australia?s travel industry" given the failing health of several potential intervie#ees it may
be necessary to do some intervie#s earlier.
-n total the thesis is expected to ta*e four years. ;ne year #ill be spent conducting a literature
revie#" another year intervie#ing travel business press and industry personnel" one year analysing
travel industry publications and one year #riting the thesis.
February '((J % ;ctober '((J has been spent on the research methods sub!ect 00I8: and on
commencing a literature revie# #hich #ill be completed by February '((I. From February '((I %
February '((2 the ma!ority of my intervie#s #ill be conducted #ith travel industry personnel even
though given the health status of some personnel" intervie#s #ill also be conducted before this date.
February '((2 % February '((( #ill be spent analysing travel industry publications" #hile from
February '(((% February 6888 #ill be spent #riting the thesis.
Example Number 4
DEGREE D%(#%r %$ !"il%)%p"& ?Fa)"i%n@ b& Re)ear(" 3 T"e)i)
+,1 Ti#le The 0ignificance of the $rivate Dressma*er to the @e# Uealand Apparel -ndustry
from '(9: to the late '(I8?s
SUMMARY OF T-ESIS
This thesis researches the proliferation of private Nhome? dressma*ers in @e# Uealand follo#ing the
0econd /orld /ar" #ith a vie# to analysing the impact that these practitioners may have on the
@e# Uealand apparel industry from this time to the '(I8?s" and their contribution to the socio
economic culture of the period. The study #ill benefit future students" educators" historians and
practitioners of fashion and textiles by adding to the body of *no#ledge of the industry in @e#
Uealand.
/rie$ De)(rip#i%n
$age, 66 of 6:
The aim of the research program is to investigate and analyse the significance of the private Nhome?
dressma*er to the @e# Uealand apparel industry from '(9: to the '(I8?s. This #ill entail some
consideration of the broader historical context that allo#ed dressma*ing" as an occupation or a
business" to flourish in @e# Uealand. )bbett K'(IIM and $earce K'(26M suggest that the s*ills of
tailors" seamstresses and dressma*ers #ere in great demand in colonial @e# Uealand in the '2:8?s
and '2J8?s. 0*illed needle#omen #ere recruited for the colony from &ritain and 3although many
seamstresses #ere busily employed" the demand for their services #as such that there never seemed
to be enough of them< K$earce" '(26M.
The ensuing economic and social environment that led to the support of the occupation of
dressma*er from @e# Uealand?s first days as a colony into the t#entieth century #ill be investigated.
For the purposes of this study" 3dressma*er< refers to a 3#oman #ho ma*es #omen?s clothes<
K;xford ini Dictionary" '(('M" generally to order and from her o#n home or small business
premises.
The study #ill focus on the #or* of these #omen" from '(9: to the '(I8?s. From preliminary
research" it #ould seem that many #omen in @e# Uealand during this period added to the family
income" or supported the family" by #or*ing at home ma*ing clothes for private clients. The focus
#ill begin #ith the period from the end of /orld /ar --" #hen rationing of clothing materials
ceased" #hen servicemen did or did not return from the #ar" and #hen" possibly" #omen had the
time and resources to be interested in fashion and clothing again. The focus #ill end either during
the '(I8?s" #hen a proliferation of fashion bouti=ues offered fashion garments to the youth mar*et
and fashion definitely differed for the generations or" during the '(28?s" #hen the introduction of the
removal of tariffs on imported clothing led to the increase in availability of cheap clothing from retail
outlets. -t is hoped that the investigation #ill determine the appropriate end point.
The thesis #ill concentrate on the environment in #hich the dressma*ers #or*ed" both social and
economic. -t #ill discuss ho# and #hy they established their businesses" the s*ills and *no#ledge
that they ac=uired and utilised" the extent of their production" and the significance of their
contribution to the @e# Uealand apparel industry.
The research =uestions to be ans#ered include,
'. /hat caused the establishment of private dressma*ing businesses in @e# Uealand and #hy did
clients utilise their services during the period from '(9: to the '(I8?sE
6. Ho# #ere these businesses established" promoted" resourced and operatedE
7. /hat specialist s*ills and *no#ledge did the dressma*ers have and ho# did they ac=uire their
s*ills and *no#ledgeE
9. /hat #as the retail and #holesale apparel environment of the period and #hat impact did private
dressma*ers have on the retail and #holesale apparel tradeE
:. -s the tradition of dressma*ing being carried for#ard to todayE
Ra#i%nale $%r pr%0ram
To my *no#ledge no investigation has been made of the significance of the contribution of @e#
Uealand?s private dressma*ers to the history of fashion and apparel in @e# Uealand during this
period. -t is important to determine the extent of the impact of their contribution" in the historical
and economic context" #ithin @e# Uealand culture at that time.
-nitial identification of practitioners suggests that there #ere many #omen all over @e# Uealand
#ho operated small dressma*ing businesses. $riDes #ere a#arded for excellence in dressma*ing in
competitions such as at Agricultural and $astoral 0ho#s. A brief search of the literature reveals that
private colleges offered dressma*ing courses K@U// '(7( to '(:'M and the @e# Uealand
/oman?s /ee*ly offered a free pattern service to its subscription readers from at least '(7( to
'(::.
3The service has been specially designed to meet the re=uirements of this Dominion. -ts aim is to
ma*e possible for @e# Uealand #omen to be smartly dressed< K@U// 9 December '(9'M.
$age, 67 of 6:
All these factors suggest that dressma*ing #as a popular and respected occupation.
-t is important that material related to dressma*ing during this period is recorded and that the
contribution made by these #omen is not overloo*ed. -t is also important that the experience and
*no#ledge that they gained is not lost to future generations" bearing in mind that they are an ageing
population. @e# Uealand museums do not have the personnel or monetary resources to pursue
investigations of this nature and there are" as yet" no post graduate degrees by research in this field of
fashion in @e# Uealand" that could lead to a resource of student researchers pursuing historical
research in the field.
The study #ill benefit,
Fashion and Textile Historians % by documenting ne# *no#ledge and adding to the body of
*no#ledge in regard to @e# Uealand?s social history in general and apparel and textile history in
particular.
The Apparel -ndustry % by providing a context #ithin #hich to vie# the contribution of a specific
category of practitioner" ie. the private dressma*er" to the history of the industry over the defined
period.
Fashion educators % by providing a resource that can be referenced for the teaching of t#entieth
century fashion" particularly from a local perspective.
Fashion students % by providing further information on recent fashion history to inform the context in
#hich they are studying.
0ocial History and Fashion 1ournals % by providing material for discussion and potential articles.
Me#"%d)
T"e re)ear(" <ill be under#a=en in #"ree )#a0e)
0tage ' >iterature research and personal investigation
0tage 6 Analysis" evaluation and organisation of data
0tage 7 -nitial draft of thesis" evaluation and revision and final draft of thesis
S("edule
S#a0e 1 *ul& 1444 3 *ul& .991 appr%x,
'.' Conduct information search in relevant literature" texts and !ournals. Conduct internet search.
-t is anticipated that a high proportion of the #ritten information #ill be found in #omen?s !ournals
of the period.
'.6 Research public and private collections" in particular original garments and accompanying
documentation housed in the Auc*land useum. KThe useum have expressed a particular interest
in the pro!ectM.
'.7 -ntervie#s and site visits
Research primary sources of information and conduct intervie#s #ith dressma*ers #ho operated
businesses during the period of the investigation.
Research and intervie# leading manufacturers and retailers of apparel from the period.
;ther related research+ visits to dressma*ers" manufacturers" retailers and #holesale supply
houses connected to the apparel industry.
'.9 Collate and index all information
S#a0e . *ul& .991 3 .99+ appr%x,
;f necessity there #ill be some overlap bet#een stages.
Analyse" evaluate and continue to organise all information
Conduct further research as re=uired
$age, 69 of 6:
$repare outline of chapters.
S#a0e + *ul& .99+ 3 .995
/rite initial draft of thesis
Further analysis and evaluation
Revise and modify #or* to date
/rite final thesis and conclusions
/ibli%0rap"&
Coney" 0. K'((7M" 0tanding in the 0unshine" $enguin &oo*s" @e# Uealand.
Coney" 0. K'((2M" 0troppy 0heilas and Gusty Girls" Tandem $ress" @e# Uealand.
Dept. of 0tatistics K'((8M" /omen in @e# Uealand" inistry of /omen?s Affairs" @e# Uealand.
)bbett" ). K'(IIM" -n True Colonial Fashion" A.H L A./ Reed" @e# Uealand.
Holcroft" .H. K'((8M" The Gillage Transformed, Aspects of Change in @e# Uealand
'(88%'((8" Gictoria .niversity $ress" @e# Uealand.
Sedgley" 0. L Garnham" . K'((7M" Heading @o#here in a @avy &lue 0uit" Daphne &rasell
Associates" @e# Uealand.
Sing" . K'(22M" After the /ar, @e# Uealand 0ince '(9:" Hodder L 0toughton" @e# Uealand.
althus" 1. K'((7M" Dress for Greater Freedom" Ha#*es &ay useum" @e# Uealand.
@e# Uealand /oman?s /ee*ly" @e# Uealand agaDines" @e# Uealand.
$earce" G.>. K'(26M" The $ioneer Craftsmen of @e# Uealand" /illiam Collins" @e# Uealand.
$age, 6: of 6:

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