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Item Along the waterline : cameraless photography and the haptic register of nocturnal seaborne activity : an exegesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy, Creative College of Arts Toi Rauwhārangi, Massey University, Wellington, New Zealand(Massey University, 2022) Miles, KevinThis creative practice research shifts the cameraless image from being an imponderable visual media already associated with experiential ’essences’ of the sea from land or shoreline perspectives; to an assertive document associated with the tangible, processual and material notion of a seaborne place experience. Using a methodology in which haptic qualities and processes extend the field of cameraless photography as a post-phenomenological aesthetic, I engage the skinlike sensitivity of photographic materials to the place phenomena and materiality of seaborne sites and activities. My research explores the aesthetic and ecstatic potential of cameraless photography, not as a critique of ‘the everyday’ as a concern, but as a retromodernist application of photography’s potential to defamiliarise the everyday. This attention to the common quality of things, and thus to perception and experience, grounds my study in critical phenomenological aesthetics. This approach of defamiliarisation underpins a unique cameraless interrogation of photography; to provoke and register a latent ecstasis harboured in ‘everyday’ seaborne experience. The research has consequently developed a methodology to confirm whether cameraless photography can be redefined in these terms. I revise a standard photographic form by presenting a unique set of socio-autobiographical, critical circumstances and methods, enhanced by living aboard a sailing vessel. By extending previous and current enquiries beyond their traditional terrestrial limits, I expand contemporary understanding of how cameraless photography can be defined as a post-phenomenological aesthetic.Item Pelagic states : beyond nomadic and oceanic practices : an exegesis written in partial completion of a PhD in Creative Practice at Massey University College of Creative Arts(Massey University, 2018) Trubridge, SamOceanographers have a name for that remote part of the ocean that is not connected to or defined by a coastline or sea-bed. This is the ‘pelagic zone’, where movement and operation occurs in a completely four-dimensional environment. My creative practice examines, occupies, and emerges from this condition, applying it across the spatial, technical, cultural, geographic, philosophical, and aesthetic layers across various works and processes. In the theatres, galleries, public spaces, dry deserts, and ocean spaces that I have worked in there is a pervasive liquidity and a pelagic nature that characterises all the states and forms that my works move through. This thesis argues that a fluid, mobile, and self-sufficient methodology of this kind is necessary in order to navigate the equally fluid landscapes of contemporary performance and culture, traversing diverse disciplinary boundaries, geographies, and modes of working in order to formulate a unique model for what is defined here as a pelagic practice. The ‘pelagic’ (from ancient Greek ‘pelagos’: of the open sea) is an adjective describing a complete, unboundaried liquidity. It is a term is often attached to species of ocean-going birds and fish, with little use outside of scientific texts, thus providing this research with an undefined space for discussion on creative practice, performance, and philosophy. It is also a term that suggests a proximity to and correlation with Pacific theorists and culture, allowing me to pay homage to this significant body of knowledge whilst avoiding appropriation of their specific cultural knowledge or viewpoints.--From Orientation