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    Painting towards a new feminine noise : an exegesis presented in partial fulfilment of the degree of Doctor of Philosophy, Massey University
    (Massey University, 2025-11-28) Corkery, Stella
    This exegesis seeks to offer insights into and critical analysis of the motivating ideologies and painting methodologies undertaken within my studio practice. The structure of the document is oriented in relation to each word of my thesis title, Painting, Towards, New, Feminine, Noise, exploring how I understand and position these terms. My creative practice doctoral study brings together a series of visual art bodies of work, predominantly studio-based painting extending into working with photographic processes, and found objects (historical records). The visual research is underpinned and in conversation with a consideration of how Lauren Fournier’s articulation of Autotheory¹ intersects with my positionality as an artist. While at the same time the research reflects on trajectories of practice and political thought prior to and during this doctoral study, (encompassing the hybrid practices of painting and Noise Music) in order to develop a deeper understanding of and language for painting towards a new feminine noise. Through artistic experimentation I explore how my painting practice operates in response to the new conditions of noise I propose in order to develop a deeper understanding of, and language for, painting towards a new feminine noise. This research considers the traditional meaning or intention of Noise Music as a politicised musical genre where loudness and annoyance are recognised as a protest against the status quo, during which I also observed and considered the wider patriarchal histories of Western art from a critical position. In order to explore impacts on new meanings in sonic thought, my painting practice seeks to imagine and test ways in which the work can paint towards a new feminine noise. One such conceptualisation can be understood through artist Ellen Moffat’s words: “…the capacity of small sounds to sound the differences of others…”² ¹  Lauren Fournier, Autotheory as Feminist Practice in Art, Writing and, Criticism (London, The MIT Press, 2021). ²  Ellen N Moffat, “Strings of Sound and Sense: Towards a Feminine Sonic” (Electronic Thesis and Dissertation Repository. 8201, 2021), ii.
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    Violins, venues and vortexes : interrogating pre-reflective relationality in orchestral work : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Management at Massey University, Manawatū Campus, Palmerston North, New Zealand
    (Massey University, 2022) Gilling, David
    This thesis explores the social structures of organising through an analysis of pre-reflective relationality in orchestral performance across three exemplary settings. These are: the opening stanza of a performance by the orchestra in which I play; a highly regarded performance by a well-known orchestra and conductor; and a concert performed under the shadow of COVID-19. Within these contexts, the player’s relationship with instrument and score, the role of the conductor, relations between conductor and player, and the player’s relations with audience, artifact and colleague are discussed. The study draws on autoethnography and the descriptive phenomenological method of Giorgi (2012). This framework allows work practices that are specialized, tacit, and entrenched to be interrogated through the theoretical lens of Merleau-Ponty’s (1968) late ontology as represented by the constructs of reversibility, écart, and Flesh. The research contributes to organisational knowledge on three dimensions. The contribution to theory is made through the interrogation of the pre-reflective relational bonds in symphony orchestras, first between individuals and artifacts, and then between individuals and colleagues, which shape the inter-collegial ‘between space’ (Ladkin, 2013) where the organizing of performance – the music-making itself – happens. The contribution to method is made in the exploration of specialized personal experience for research purposes through Giorgi’s framework and Merleau-Ponty’s constructs, while the contribution to practice builds on this foundation by using Merleau-Ponty’s ideas to acknowledge the inanimate alongside the human and so offer a fresh starting point for the understanding of organizational relationality. This approach also allows orchestral performance to emerge as a primordially interwoven, inherently reversible meshwork of relational connectivity harnessed in pursuit of a collective purpose. As organizations look beyond COVID-19 to a world where the virtual and hybrid must be accommodated alongside the longstanding and traditional, holistic approaches such as the one offered here will resonate with researchers and managers alike as they come to terms with relational structures and organizational contexts transformed by the combined effects of pandemic-related disruption and technological change.