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Practice-based Theses: Artefact and Critical Research Component

Most practice-based theses at La Trobe are undertaken in creative disciplines and involve the submission of two distinct pieces of work: the artefact and the critical research component, although in limited cases these may be combined. It is critical at the outset that you understand the purpose of each and the relationship between them: the two components must be conceived of together and in dialogue with each other. This is described in the Graduate Research School guidelines in the following way:

A practice-based research degree … is primarily a research undertaking. The artefact and the critical research component represent complementary outcomes of a single research project, addressing specific research aims… In all circumstances both components of the work will be examined in relation to each other (La Trobe University, Graduate Research School).

You therefore need to conceptualise the Artefact as an object and a way of thinking – not only as a creative form of expression. It is vital that you understand that this a method of research that cannot be done in any other way – do not think of it in terms of art.

 

Writing the Critical Research Component (Exegesis)

The purpose of the critical research component is to address the research aims employed when creating the artefact from an analytical and /or theoretical perspective (GRS).

The two components are not examined or weighted separately, but examiners will often read exegesis first as a kind of frame for the artefact, something that situates your work within an intellectual tradition. That said, reading each is not necessarily linear, but dialogic.

You need to link both components theoretically, starting from the scholarship on the knowledge you are seeking to interrogate, and you must explain how the artefact represents a development in the research and has contributed to new forms of knowledge. This should include an explanation of why you approached the knowledge questions in this way (i.e. through the artefact). There should be an explicit statement about how the project in its entirety has contributed significantly to intellectual discourse and knowledge in your field.

The length of the critical component will depend on the length of the artefact, but is usually 30,000-50,000 words.

 

Tips for getting started

  • Keep a reflective journal that documents your thoughts and questions as you conceive of and produce the artefact. This helps develop reflexivity in your thinking and provides a valuable record of process.
  • Do some early and regular writing about the theoretical contexts that inform your practice.
  • Start early on the critical component – try not to leave thinking about it until you have completed the artefact. This can help you in developing the dialogue between the two works.
  • Keep your research questions front of mind when writing the critical component.
  • Explicitly create links between the artefact and the critical component

 

Further advice (thanks to Tara Brabazon)

  • Be clear about the limitations of the Artefact – what exactly is it?
  • Don’t confuse research and art – it is the research that will be evaluated
  • Think of the Exegesis as a frame for the Artefact – needs to explain why the Artefact is the way it is
  • Focus on the WHY of the research, not the HOW of the artefact production
  • Ensure connection between the two components is overt. The critical component should clearly indicate to your examiners how to examine your thesis

 

N.B. La Trobe usually refers to this as the Critical Research Component, not Exegesis, although other terms such as critical commentary are also used. You should check the specific requirements for your discipline listed in the Graduate Research School advice to examiners listed below.