Doctoral Pilot Study – Part 24b

Research Study

Abstract

The aim of this Doctor of Creative Industries Research Project is to investigate both my DIY music and sound-making practice and my self as a practitioner during the process of creating and producing a cultural artefact (EP). My research study is designed to be a multi-method qualitative study: a practice-based, arts practice as research, auto-ethnographic study that is to include a first-person narrative of my personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of my music-making practice. As an auto-ethnographic study, I designed the project for me to be performing the dual primary roles of being both the practitioner as subject, and the researcher. Such a multi-tiered examination represents a significant departure from current discussion of music and sound practice, developing praxis of contemporary practice. In this Project 1 research study exegesis submission I narrate the process to date, highlighting observations around my practitioner self, my music and sound-making practice and the emergent distinctions integrated into my developing contemporary music and sound-making praxis.

(Page 2015a)

Preamble

Continuing on from my previous blogs (Page 2015b) in this series….

In the beginning……

My journey in music-making commenced a number of decades ago. I made music via physical instruments without much thought of the process. I strummed chords on a guitar or piano, hummed or played a melodic phrase, developed lyrics, and over time a song emerged. I felt connected to the process; I felt connected to the music. I recall getting positive feedback when I shared my acoustic instrument-based songs with an audience. I followed this process several hundred times over several decades, and because of the relative ease these songs came to me, I did not feel a need to consider my music and sound-making process.

As technologies developed, I transitioned into music and sound-making using digital virtual technologies. I invested in virtual technologies, trialling a number of virtual music and sound-making applications – digital audio workstations (DAWs). I experimented; I spoke to local pro audio retailers; I experimented some more; I bought instructional books and videos; I studied; I experimented a lot more. Over a number of years however, I found that irrespective of how much time and money I invested into my virtual music and sound-making production practice, I never managed to achieve a similar flow or a similar feeling – a creative high – as I had music-making using physical instruments. My frustration using virtual technologies to make music grew. I enrolled into a practical tertiary course. The course assisted me greatly to develop my theory and practical skills. However, using virtual technologies to make music that I felt connected to, (largely) continued to elude me. There was one instance, a remix project where I felt a connection. That experience gave me hope that my attempts to use virtual technologies to make music I felt connected to, was not going to be in vain. I continued to experiment; I continued to read; I continued to invest; I continue to immerse my self into my virtual music and sound-making production practice. However, I still found I wasn’t achieving a similar flow or a similar feeling – a creative high – using virtual technologies to make music as I had music-making using physical instruments. My frustration was at an all-time high. I had arrived at a juncture in my life where I felt there was now no alternative: my virtual music and sound-making production practice needed an intervention. I needed to put my creative practice using virtual technologies to make music and sound under scrutiny. In 2014 I applied to a formal academic research program – a professional doctorate program. I commenced the program in 2015. My formal research journey began.

My doctoral research study……

Research Study – 1st Observation:

I acknowledged that I approached my music and sound-making practice in terms of the outcome – the finished product. I was not considering the process in which I was music and sound-making, any more than with a cursory glance. My music and sound-making practice was product-driven.

(Page 2017a)

I recognised that I approached my music-making with physical instruments in a different manner to my approach to music and sound-making using virtual technologies (using my laptop to make music and sound for example). In drilling down I determined that much of this was how I viewed both devices.

Physical instruments as I played were derived directly from nature. Pianos and guitars that I played were manufactured from woods from the forest. They are physical instruments that have natural resonant qualities. The woods expand and contract, depending upon temperature and humidity. They are large instruments that I can touch, embrace and/or feel the resonant qualities as they are played.

I viewed virtual technologies very differently. The actual device that housed the music-making application software (DAW) was a computer (a laptop for example). I saw a laptop as a device that houses many many application software that enabled me to record data and/or make transactions. I used computer technologies for administrative purposes (applications such as iNote, word, excel, etc); organisation purposes (applications such as iCal, reminders, etc); and everyday personal and business management (services such as the internet-based social media sites, banking sites, utility sites to pay bills, etc). I viewed the music and sound-making application software (DAW) as somewhat removed from me. It was housed in a aluminium and plastic case, that I could see, but not touch. The virtual keyboards were engaged by pressing a computer keyboard letter; or perhaps a key on a plastic physical keyboard controller. Neither devices are derived directly from nature. They are manufactured. A computer and a keyboard controller are physical devices which also have natural resonant qualities. They only minimally expand and contract in extreme conditions, with such occurrences perhaps likely to render these devices inoperable. There is also a slight delay between the time you touch the key and having the sound emitted out of the computer monitors. They are not what I consider to be large resonant devices that can be embraced and/or feel the resonant qualities as they are played, such as I experience with a piano or guitar.

Research Study – 2nd Observation:

As I attempted to scope out the parameters of my research study, I was led to look at the industry of my practice, the field of music production, and the particular discipline of virtual technologies to make music. This process revealed gaps in my knowledge, and enabled me to form linkages across several strands within the field of contemporary music production.

I then looked in greater detail at the history of my practice, understanding for perhaps the first time the implications of how I approached my music and sound-making practice – as product rather than process. I also started to consider me as a practitioner, as the music and sound-maker. Who was I? How did I arrive to be this person?

My eyes were starting to open.

(Page 2017b)

Project 1 Pilot Study – 3rd Observation:

As I progressed my initial Project 1 Pilot Study, exploring the parameters of my music and sound-making practice, I started to highlight certain elements which I considered key to my practice. As a flow on from my music and sound-making practice, I acknowledged that the self was an element that had to be included. What motivated me to practice?

(Page 2017c)

My music praxis (v4) had six (6) elements listed: self, motive, music style, location, technology and workflow.

(Page 2015b)

My initial pilot study was to be an exploratory investigation to determine the parameters of my music practice; and to investigate what – if any – relationship existed between these elements. I engaged in conscious, deliberate and systematic reflective and reflexive practice of my creative practice, and as part of this process I felt obligated to consider everything that I observed.

As I progressively immersed myself into my quite isolated pilot study, I began to focus in on what I was doing at any point in time, as both the practitioner subject and the observer/researcher. To juggle both responsibilities was not beyond challenge and limitations. How was I to do both – be the creative practitioner, and simultaneously observe my practice?

Project 1 Pilot Study – 6th Observation:

One of the first elements I noted to be part of my developing music praxis (v5) – beyond the initial six (6) elements I had observed at the time of my Project Brief submission – was listening. I noticed listening was central to agency within my practice. Listening directed my choices and decision-making within my practice in terms of music style – in my ability to critically and analytically listen to reference tracks; in terms of my selecting appropriate notes and/or sonic event samples during the creative, pre-production or production stages; in terms of hearing needed or possible options of contra-melodies, rhythms, harmonies or instrumentation during the creative, pre-production or production stages; in terms of determining the degree of adjustment of sound sources or processing that needed to occur during the production or post-production stages.

(Page 2017d)

I started to observe that a central aspect of this listening was also in terms of my practice overall, such as deciding when I needed to have a break. Yes, listening to an inner voice, reminding me I was in need a break from creative practice. I started to notice by paying more attention to my self – to listening to my self – there was a great deal of head chatter occurring while I was engaged in practice.

(Page 2016a)

I had always known of my head chatter, but had accepted it by my mid-twenties as the outpouring of my inner fears as I approached a new experience. By my early-thirties I had learnt to manipulate this head-chatter, to work for me rather than against me. I used my head chatter to consciously motivate and focus my self. I have continued to develop this practice throughout my life, assisting me in preparing for any form of performance, be it: public speaking, education practice (as educator), learning practice (as learner in formal instrument or personal development), and my music and sound-making practice (on stage performing). However, I had never considered, nor explored my head chatter beyond this; particularly within the context of my creative practice.

As I listened more, I recognised that this head chatter – inner speech – did not just consist of just one voice, but were in fact multiple voices; multiple voices with multiple perspectives. As I focussed in on my listening – consciously, deliberately and systematically – I realised these voices were not necessarily independent. There was often a dialogue occurring between them. As I honed my focus and developed my inner listening, I noticed that the dialogue within my head was occurring across three perspectives of time – one of now; one of past; and one of future. In effect, three voices representative of each point in time. As Wiley (2010, P17) refers to it: the I of the present; the me of the past; and the you of the future. An epiphany. A light bulb moment, an ‘aha’ moment for me. The head chatter – as I had always referred to it – that had accompanied me in so many events and stage of my life, was indeed the inner speech of my dialogic self.

As my immersion in reflective and reflexive practice of my research study deepened, I honed in on the incessant daily dialogue of my dialogical self and began to distinguish between the inner speech – the three inner voices, the triadic voices of the I, the me, and the you – for each of my three selves operating at any point in time within the site of my practice: the self, the practitioner self and the observer/researcher self. I would take time to listen to the dialogue at any point in time during my creative practice, as they considered and debated: what I was seeing or observing, what I was hearing, what I was feeling, what I was imagining, what I was recalling, what I was smelling, or even what I was tasting; in order to better understand my music praxis. I devised ways to take notes during my practice of these daily triadic conversations, in order to return to them, reflect on them, and decode them. My music and sound-making praxis developed as a result of this process, to not only acknowledge significantly more stages and elements of my music-making process; but, perhaps most significantly, the non-linear form of my music praxis (v8i).

DLP DCI Praxis v8i.20161231.P1.png

(Page 2016b)

I realised my music praxis was in fact very circular, with reflective and reflexive practice occurring constantly at any point in time.

My practice has now developed to the point where I can engage in multiple forms of listening whilst immersed and engaged in any stage of practice. I can now distinguish between the triadic voices of my three selves: the self, the practitioner self and the observer/researcher self in the present, the past, and the future within a very short amount of time, or sometimes, almost instantaneously and/or simultaneously. Just as my critical and analytical listening has developed over many decades of practice, my ability to listen and decipher the dialogue occurring within my dialogical selves at any point in time has also developed.

I liken this developed complex skill to other forms of practice where multiple tasks are required in sequence over a very short amount of time, often times almost instantaneously and/or simultaneously. The practice of driving a car and the practice of performing are similar type complex skills that need to be learnt; and are often awkward or impossible when one first attempts them with no prior experience. The act of driving a car – accelerating, braking, looking to the side for another car, indicating, moving lanes, whilst watching cars to the side, in front and behind is an example of such a complex task. Another example of a complex task would be leading a band, singing into a microphone, engaging an audience, playing guitar, and selecting guitar floor pedals, over a very short amount of time, often times almost instantaneously and/or simultaneously. I recall when I was younger, that I would never be able to learn how to do both complex tasks. Now I reflect on how many times a year I engage in both practices without any preparation, and perform them to a very high level of practice: almost unconsciously.

Learning about, and getting to know my dialogical self has assisted my music practice exponentially. As part of the process, I have developed a greater understanding of my self which in turn informed my practitioner self. This in turn allowed me to develop my music and sound-making praxis to a greater depth and level of detail than I was able to previously. I now have far greater agency of my praxis (v9k), and its twenty-one (21) interdependent elements, at each of the various eight (8) stages of my creative practice.

(Page 2017e)

As a result, I have far greater agency of my praxis (v9k) while practicing music and sound-making. I am now exponentially more focussed and more deliberate in my practice, most noticeably in my music and sound-making within virtual technologies. I have found my self now responding within my music and sound-making micro workflow in a similar vein to that of my performing – improvising – on my long-term physical instrument of choice, the electric guitar. I observe that I now engage – almost instantaneously and/or simultaneously – in the voices of the I, the me, and the you – at any point in time, within my site/s of practice. A split second in-practice, on-practice and for-practice dialogue – in performance, in assessment of what the practitioner self just heard or performed, in consideration of what options the practitioner self now has before them, their decision as to what they want to express, and the performing of the next music-making action. Yes, a fluid practice performance that demonstrates the harmonious integration of the elements of self, listening, reflective and reflexive practice. In essence: I listen, I practice, I reflect, I analyse, I consider, I choose, I prepare to act, I act – almost instantaneously and/or simultaneously.

This Project 1 Pilot Study has been a personal journey of creative and research practice, highlighting the co-constituted nature of my music-making practice. I now engage in the process of music-making in pursuit of authentic expression of self, irrespective of the medium. My authentic music-making practice – in contrast to my practice prior to engaging in this doctoral research – now transgresses the mediums of: physical instruments and virtual technologies. I now have a sense of who I am, what I am attempting to create, why I am attempting to create it, and an affective connection in the creation of it, irrespective of the medium of my music-making practice – physical instruments or virtual technologies. Virtual technologies are now as much an extension of my music-making practitioner self’s body, as playing my physical instrument of choice, the electric guitar. Allow me now to share my finding of this Project 1 Pilot Study – holistic model of sustainable authentic practice – my journey and development through the four (4) phases of: identity-driven practice, value-driven practice, narrative-based practice, and embodied practice.

(Page 2017f)

This blog series is planned to continue next month with Research Practitioner Part 25 (Page 2017g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David L. 2017g. Doctoral Pilot Study – Part 25 Accessed 3rd January, 2018

Page, David L. 2017f .17th Observation image courtesy of David L Page DCI Project 1 Research Study Holistic Model of an Authentic Practitioner. Created 9th June, 2017

Page, David L. 2017e. Praxis v9k image courtesy of David L Page. Created 20th May, 2017

Page, David L. 2017d. 6th Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017c. 3rd Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017b. 2nd Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017a. 1st Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2016b. Praxis v8i image courtesy of David L Page. Created 29th, November, 2016

Page, David L. 2016a. Praxis v5b image courtesy of David L Page. Created 15th April, 2016

Page, David L. 2015c. Praxis 4 image courtesy of David L Page. Created 1st December, 2015

Page, David L. 2015b. Doctoral Research Study – Part 3 Accessed 1st December, 2015

Page, David L.2015a. image courtesy of David L Page. Created 14th September, 2015

Wiley, Norbert. 2010. “Inner speech and agency.” In Conversations about reflexivity, edited by Margaret S. Archer, 17-38. New York: Routledge

– @David L Page 27/12/2017

– updated @David L Page 03/01/2018

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Who I am……

(Page 2017a)

Me, myself, I – the multi-facetted/multi-dimensional practitioner

As described in my blog Research Practitioner Part 16 (Page 2017b), I am a multi-facetted/multi-dimensional practitioner – a practitioner across multiple practices of education & learning, research study commitments, creative practice, professional consulting practice and family responsibilities. I concluded that:

“All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site”(Page 2017c).

(Page 2017g)

A broad definition of me, myself, I – the creative practitioner

You will note that in terms of creative practice, I refer to my self as a creative practitioner. I consciously choose to use this broad term, not specific to any particular discipline – as I see my self as a creative being who likes to engage in a broad range – a very broad range – of creative practice. Whilst I love to engage in what I would classify as the primary focus of my creative practice – music and sound; listening, creating and performing – music and sound alone does not define me. Being passionate about music and sound does not mean that I am not also passionate about other forms of creative practice. I am a multi-facetted person, with many diverse dimensions to who I am as a being, and in what I love to engage in. I engage in visual arts, in design, in film and animation.

Engagement with particular creative media platforms for particular purposes

I also engage in web, but I see this as not so much as a creative process where I am creating, I see my engagement with web as a creative process in terms of function; curation for gathering resources to use as a practitioner; curation of resources to source inspiration; resources of others practice and/or viewpoints that assist me in the reflection process; to create a sense of identity – for my self, and for others; and, to market and distribute my creative practice.

As I indicated in my blog Media Identity & Curation Part 2 (Page 2014), I apply a diverse media strategy to include my media sites of: about.me, gravatar.com, wordpress.com, tumblr.com, twitter.com, linked-in.com, myspace.com, facebook.com, pinterest.com, you-tube.com, soundcloud.com, instagram.com, lastfm.com, slideshare.com, googlescholar.com, academia.com and google.com. I use these media sites for quite specific purposes.

For example, David L Page wordpress.com (Page 2017d) allows me to communicate detail of my professional practice – as a creative practitioner/subject, as a education & learner practitioner, as a reflective practitioner, as a management practitioner, and as a a researcher/observer in any or all of these areas.

(Page 2017d)
I use David L Page Pinterest.com (Page 2017e) to provide a curated static visual view of my multi-facetted self. I am a professional practitioner who loves diversity. I love culture, having been blessed to live across three diverse cultures to date – European Australian, Japanese, Indian. I have experienced many more cultures in my global travels. I love all things music and sound – audio, in terms of production (tracking), post-production, live and theory. I believe in the access of education for everyone (referred to as community education). I love performance. I love fast fun things. I love the environment. .. I love… I love…. I love… I love…..

(Page 2017e)

I use David L Page you-tube.com (Page 2017f) to provide a curated audio-visual view of my multi-facetted self. As indicated above, I am a professional practitioner who loves diversity, culture, all things music and sound, education for everyone, performance, comedy, or fast fun things.. I love diversity….

(Page 2017f)

Engagement with particular creative media mediums dictates what cultural productions I engage in

How I engage in media depends upon what cultural production – what cultural artifact – I will engage in at any particular time. Depending upon the medium I choose to listen to music or soundtracks will depend upon what I choose to listen to. Am I going to use the internet to stream; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system?

It is the same situation for visual arts and design. Depending upon the medium I choose to view visual arts and design will depend upon what I choose to view. on a small screen device such as an iPhone; via a static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; in a small art gallery with physical visual art or graphic displays; in a large National art gallery with physical visual art or graphic displays?

It is the same situation for film. Depending upon the medium I choose to watch film will depend upon what I choose to watch: on a portable small screen device such as an iPhone; a portable smallish screen device such as a laptop; on a small screen TV; on a large screen TV with a hi-fi 5.1 surround system; in a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system?

As a creative practitioner, I have listed examples below of media across four (4) disciplines and how I view them. Providing examples of four (4) different creative media disciplines I believe enables me to make my point of how engagement with particular creative media mediums very much dictates what cultural productions I actually engage in at any point in time.

(AE 2015a)

1. 4 different listening behaviours I exhibit:

eg 1: Pink Floyd’s “Dark Side of the Moon” for me, is best listened in the medium of an album, played on a HiFi record player system, in one sitting, in a comfortable chair, with ambient/subdued lighting (lava lamps etc), at the end of a day. Strict rule – no talking during each side… Flipping the album from side 1 to side 2 is the opportunity to have a break if one needs;

(Pink Floyd 1973)

eg 2: Tim Buckley’s “Greetings from LA” must be played as a full album, in sequence , in one go. I do not mind what medium I listen to it on (album on stereo, cassette tape, on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones) BUT MUST be listened to in sequence, at one time! (not negotiable);

(Buckley 1972)

eg 3: Where I did not buy the artist’s songs as an album, or I did, but I have never or have infrequently listened to it as a continuous complete album, I am happy to play the songs randomly in a multi-artist, multi-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones);
eg 4: ambient music, or dance music for me is about a soundtrack to my life at that moment in time, supporting my emotional or physical state at that time, or my desired emotional or physical state at that time. I am happy to play the songs randomly in a multi-artist, signle-genre playlist via any medium (generally on itunes in car system, studio system, or on laptop/desktop/ipod/iphone via studio quality headphones).

(Olsen 2017)

2. 4 different visual arts and design viewing behaviours I exhibit:

eg 1: traditional art – physical paintings, etc – I do like to see in an art gallery, particularly a curated art gallery with a theme, or an artist’s works.. I like taking time to wander around in a relaxed stated;
eg 2: In saying that, I usually also like to have copies of my favourite works electronically (desktop pictures, pinterest, etc) to see and remind myself of that experience in the art gallery;
eg 3: I do view traditional art – physical paintings, etc – in coffee table books, but generally to see and remind myself of that experience in the art gallery…. eg 4: virtual design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc;
eg 4: Functional design, such as promotional or marketing brochures for me are best in a physical tactile state. i like to pour over them, digest them, turn the page, revisit the previous page, perhaps circle or add notes around the borders of the text that I may be attracted to, and have further questions about. I tend to want to engage physically with these mediums;
eg 5: virtual creative, artistic design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc.

3.4 different film viewing behaviours I exhibit:

eg 1: I most like watching feature movies on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. For me, watching movies is a shared experience, watching with someone. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience, but mainly for the lack of watching in a relaxed shared experience environment. An example of a movie that i have seen in these conditions would be “Shawshank Redemption”;

(Entertainment, Castle Rock. 1994)

eg 2: Certain movies eg (original) “Point Break”, “Star Wars” are a cinematic experience, and lose a great detail of impact for me when not watched in cinema, but on my home TV system;
eg 3: Where I want to view a trailer to see if I am interested in watching it in full, I am happy to watch them on alternate mediums such as a laptop or desktop
eg 4: Certain movies eg “Blair Witch Project” I believe benefit from being watched on alternate mediums such as a laptop or desktop as this smaller – more intimate? individual? secretive? -medium lends itself more to the intent of the narrative in my opinion.

4. 3 different animation viewing behaviours I exhibit:

eg 1: I most like watching feature animation movies on a movie theatre wide screen and sound system. However, I mostly watch them from the second or third time via a DVD on my 65″ home TV with sound system – for convenience. “Lion King” is a good example of this. For me – now – “Lion King” is best listened to (note, not necessairly watched) in one go. It can be in background playing as i am working. In one particular period when i was working home over a three (3) month period, I recall “Lion King” was playing in the background on repeat, all day, every day for those three (3) months;

(Disney 1994)
eg 2: I most like watching animation movies (eg Disney or Pixar) on a movie theatre wide screen and sound system. However, I mostly watch them on my 65″ home TV with sound system – for convenience. I do not like watching animation movies on laptops or small screen for both the limited visual and audio experience;
eg 3: Where there are short animations (3 minute Pixar), I am happy to watch them on alternate mediums such as a laptop or desktop, just to entertain myself for a short moment to lift my mood, distract me, etc.

5. x different games viewing behaviours I exhibit:

eg 1: No contribution possible. mes not a gameboy!!!

Conclusion

What creative media medium I engage with will dictate to a degree what cultural production – what cultural artifact – I will engage in at any particular time. As a creative practitioner, I have provided examples across four (4) disciplines of how I may engage in particular creative media mediums, dictating what cultural productions – what cultural artifacts – I engage in at any point in time.

I love many, varied forms of creative media, In my personal situation have access to many, varied creative media mediums: the internet; an iPod; a CD player – in a house, or a CD player in a car; a car radio; a portable tape player; a cheap record player; a high-end stereo system; or a high end 5.1 surround sound hi-fi system; a small screen device such as an iPhone; a laptop; a desktop; static image platform such as Pinterest.com; via an audio-visual dynamic image platform such as you-tube.com; a small art gallery with physical visual art or graphic displays; a large National art gallery with physical visual art or graphic displays; a small screen TV; a large screen TV with a hi-fi 5.1 surround system; a local suburban cinema; in a surround sound movie theatre equipped with dolby; or an outdoor drive in movie theatre with a window mono speaker system. Most of us in western countries have many, varied options and access in this era.

The mediums one chooses to access media through, could therefore dictate what media you actually engage in.

How do you access creative media?
How does this inform what cultural production – what cultural artifact – you choose to engage in at any point in time?

References

AE 2015a Music note montage in the universe image courtesy of: Angelic Exorcism (AE) Studio Projects Accessed 11th March 2015

Buckley, Tim. 1972. Greetings from LA. Straight Records. Vinyl LP.

Disney, Walt. 1994. The lion king. Walt Disney Feature Animation. DVD.

DLP 2017a image courtesy of David L Page Accessed 11th June, 2017

DLP 2017g image courtesy of David L Page Accessed 11th June, 2017

Entertainment, Castle Rock. 1994. The shawshank redemption. Colombia Pictures. DVD.

Olsen 2017 image courtesy of Sydney Sun [or King Sun] 1965, National Gallery of Australia © John Olsen Accessed 11th June, 2017

Page, David L. 2017b Research Practitioner Part 16 Accessed 11th June, 2017

Page, David L. 2017c Research Practitioner Part 18 Accessed 11th June, 2017

Page, David L. 2017d David L Page wordpress.com Accessed 11th June, 2017

Page, David L. 2017e David L Page Pinterest.com Accessed 11th June, 2017

Page, David L. 2017f David L Page you-tube.com Accessed 11th June, 2017

Page, David L. 2014 Media Identity & Curation Part 2 Accessed 11th June, 2017

Floyd, Pink. 1973. Dark side of the moon. Harvest. Vinyl LP.

– ©David L Page 11/06/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 17a

(Page 2014a)

This blog is a continuation of a series. See here (Page 2014b) for the previous blog.

Reflecting on 2014 ….

My approach to practice was so different to that of my recently recruited peers. As part of the creative media studies stream, learners were now to be immersed in specific creative media lexis and theory, via tasks that guided the aspiring practitioners in the development of them selves as unique and individual creative media identities. They were to learn to critically consider what creative media is for them as practitioners; researching and investigating both concepts and areas of the creative media industry they may possibly choose to engage in via their practice. They were to then apply these concepts to develop their unique creative media practice. With a developed sense of themselves, having time to form their world views, they would be guided in their development as aspiring professional practitioners; and as academic researchers.

2017 Update

I commenced the doctoral program in February 2015. My formal research journey had begun. On the back of the knowledge and approach in 2014 as described in the previous blog in this series, I implemented a new blog strategy at the beginning of 2015. This saw me changing my blog site from tumblr.com to wordpress.com. I did this for a number of reasons, but primarily due to:

wordpress.com is what we were guiding our learners to create as their primary creative practice blog site;
functionality of the wordpress.com site, including the use-friendly nature of the interface, the editing features, and the ability to publish multi-media within the one entry.

(Page 2017a)

A selection of the 2014 journal entries were published retrospectively in wordpress.com as blog posts as soon as I opened that site. In revisiting this particular blog post- formerly named Reflecting Part 2 – now, nearing the end of my Project 1, I have chosen to rename some of those blog posts. Most noteworthy are:

my realisation that Reflecting Part 1 was essentially about my self , effectively situating my self in regard to my – at the time – pending research study. I therefore renamed this Doctoral Research Study Part 1;
my realisation that Reflecting Part 2 (this blog post) was essentially about my practitioner self , effectively situating my practitioner self in regard to my – at the time – pending research study. I therefore renamed this Doctoral Research Study Part 2.

(Page 2017b)

Standing here today, reflecting, I now realise how my focus within this Project 1 was influenced by my experience within my HE education & learning role in 2013 and 2014. The small sample of blogs I currently have listed on my wordpress.com site under the menu category DCI Phase 0 – Starting Point (Page 2017c) – are representative of some of the new knowledge and approach I acquired and developed during that period. These journals/blogs were completed prior to my official commencement of my doctoral studies, the research study I was choosing to embark on to seek out answers to my long-term queries regarding my music practice. Yes, these blog entries represented 10,000 words book-ending the beginning of my research study.

My view of 2013 & 2014, looking back from 2017….

Reflecting from this point, I realise now how much I have developed over the course of the past almost four (4) years, in terms of new knowledge and approach. I have developed a new set of eyes in terms of my self, and as a practitioner. I look at my developed identity – self and practitioner selves – in 2017, differently to how I saw my self and my practitioner self in 2013, just under four (4) years ago. I am surprised with the level of detail I now see my self, my practitioner self, and my practice is detailed. After all, I have always actively engaged in reflection. However, two (2) key distinctions have emerged.

Firstly: I always knew I was complex; I always knew I was diverse. I now accept I am complex. I now accept I am diverse. I have a wonderfully varied and diverse life. In my need to ground my self during a period of failing creative practice (‘writers block’?), in order to re-connect to my muse, it was suggested I attempt to re-connect to my identity. As a result, I revisited a task that I have led hundreds of professional through in their professional development; I developed a Charter of Values and Beliefs for my self and practitioner self across my Project 1. Three (3) versions over the course of sixteen (16) months. I noted a summary of these developments in my blog last month:

“Quantifiably, the development across the three (3) versions of the Charter of Values and Beliefs over the sixteen (16) months of Project 1 has been:

v1: 26 green entries – new entries – under 8 categories

v2: 55 entries under 10 categories (112% growth in entries)

v3: 87 entries under 11 categories (58% growth in entries)” (Page 2017d)

Viewing this blog in the graphic below – where v1 is column 1, v2 is column 2, and v3 is column 3 – the level of development across the sixteen (16) months is exemplified (see Research Practitioner Part 18 Page 2017d for greater detail of this chart):.

(Page 2017e)

Secondly: I acknowledged early in my Project 1 journey that I realised I was a multi-disciplinary practitioner (see Research Practitioner Part 5):

“I began to recognise that I naturally took a multi-discplinary approach in not only my music practice, but in my life in general. I recall few times in my life where I was content to focus on one discipline for an extended period of time. I have accepted that my practice now covers three broad disciplines: a broad definition of music practice (Small 1998), education and learning practice, and my most recent engagement, research practice” (Page 2016).

As per my blog Research Practitioner Part 16 in January (Page 2017f), this passage of time has also provided me an opportunity to realise I am a multi-facetted, multi-dimensional practitioner. Based on evidenced practice-led data, I have documented at various point in my journey multiple instances of how my self informs my practice; and how my practice inform my self.

Reflecting thus far, I realise how I immersed my self into this research study, a creative project opportunity that has provided me reflections of my self, and of my practitioner self. I can see with more clarity who I am as a unique and individual creative media identity. I have critically considered how I choose to engage in creative media – what motivates me – as a practitioner. I have researched and investigated how I engaged in my unique creative media practice. In doing so, I have left no stone unturned. Having crystallised my world view, with a developed sense of my self, I was then able to guide my own development via conscious, deliberate and systematic reflective and reflexive practice of my creative practice, as a professional practitioner; and as an academic researcher.

Yes, much like Bilbo Baggins (Bros 2014) I am grateful in retrospect, for the opportunity to go on the journey into what was largely unknown territory for me – academic research. It was a self-imposed intervention process in many ways, to look at my creative practice through a very different set of eyes than I had previously. I stepped forward out of my comfort zone, and put just about every facet of my practice under the microscope. I was the subject; and I was the observer. At points I thought I was going out of my mind, observing my practitioner self in the midst of practice, trying to conduct two roles at once. I faced large droughts of creativity, playing with session files for hours on end, and yet not connecting at all to the music I was making. When i finally did connect, i experienced quite the complete opposite situation. All of a sudden I felt I was drowning in a mass of data – electronic and paper notes, creative doodles, mindmaps, charts, textural, theoretical and methodological literature, session files, microphones, recording equipment, software updates, and an increasing list of potential blogs – my attempts to narrate my journey as I progressed. As I near the end of Project 1, and attempt to further streamline my findings, into an exegesis, i immerse my self more into the journey it has been to date. What a journey to date. Once I submit this document, I can then embark on the next Project this research study journey. I can’t imagine what is install for that next leg.

(Terry-Toons Comics 1945-1951)

This blog series is planned to continue next month with Research Practitioner Part 23 (Page 2017g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

Bros, Warner. 2014. “The Hobbit.” Accessed 26th December, 2014

Learning Philosophy image courtesy of: Learning Accessed 25th December 2014

Page, David L. 2017a. David L Page wordpress.com site Accessed 15th May 2017

Page, David L. 2017b. Revised DLP Blog Category Topics Accessed 15th May 2017

Page, David L. 2017c. DCI Phase 0 Starting Point Accessed 15th May 2017

Page, David L 2017d. Research Practitioner Part 18 Accessed 15th May 2017

DLP 2017e. image courtesy of Data for DLPs Project 1_Music and Sonic Collage.20170529.v39 Accessed 15th May 2017

Page, David L. 2017f. Research Practitioner Part 16 Accessed 15th May 2017

Page, David L. 2017g. Research Practitioner Part 23 Accessed 15th May 2017

Page, David L. 2016 Research Practitioner Part 5 Accessed 15th May 2017

Page, David L. 2015. A Creative Artist’s Need – Gratitude Accessed 15th May 2017

Page, David L. 2014a image courtesy of David L Page Linked-In site Accessed 25th December, 2014

Page, David L. 2014b. Doctoral Research Study Part 2 Accessed 15th May 2017

Reflection image courtesy of: Reflection Accessed 15th May 2017

Terry-Toons Comics. 1945-1951. Mighty Mouse in Mighty Mouse #38-85 Accessed 8th March, 2014.

– @David L Page 15/05/2017

– update @David L Page 17/06/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Creative Practitioner – Part 246

Doctorate of Creative Industries Project 1

(Self Reflection 2016)

This blog is a continuation of a series. See here (Page 2017a) for the previous blog.

Observations of my developing perspective

Based on my observations of practice over the course of this doctoral program, in pure quantitative terms: the number of elements of my Praxis has increased from six (6) to twenty-one (21) elements of practice; the stages of practice has expanded from five (5) to ten (10); and my motives for practice have increased from the original nine (9) in Praxis v4 (end 2015); to nineteen (19) in Praxis v7i (end-2016); and twenty (20) in Praxis v8j (20170401). Perhaps most importantly, my view of what music is, and how I define music and sound-making practice, has exponentially broadened over this time. My knowledge of the lineage, and of the functions and faculties required in each of the approaches to music-making practice has exponentially deepened.

As a music-making practitioner, I believe I had always defined music in what I thought were quite broad terms. I always considered my self blessed to have had such diverse musical lineage influences from a relative young age, such as: European high art-based music; roots-based music from any number of continents and cultures, including indigenous musics from many cultures including Australia, North America, Japan, Thailand, East Africa and India; and electroacoustic and sonic art-based experimental pieces. From the age of eight (8) my house was filled with the orchestrations of European symphonies and operas (see Page 2014). By the age of ten (10), I was immersing myself in all things mainstream popular. Firstly via the only device I had access to, the radio; then, after a piano was placed in my room[1], I dabbled with that instrument over the next few years. My father returned overseas with a semi-acoustic guitar for my brother, which further fuelled my musical desires for particular instruments. Through radio, my brother and his friends, and my friends, my development of a broad range of music and sound styles continued, to include an array of roots-based musical styles such as folk, country, blues, rhythm & blues, rock, rock opera, and psychedelic rock (see Page 1990). Next my father returned overseas with another guitar – an acoustic guitar –; this time for me. I increasingly was using my pocket money to purchase records (45 rpms and then 33 rpm LPs) to satisfy a growing thirst of listening to all things music. From a young age, I was musicking. Inadvertently, as technology was developing exponentially, I was introduced to various alternative forms of music what I know now to have been electroacoustic and sonic art-based experimental pieces; and roots-based experimental pieces. As a result of both my parents regularly receiving international guests; then their relocation overseas and my extensive travelling with them; followed by my independent travels and relationships, I have also experienced a wide range of indigenous music, other than the mainstream popularised westernised form of roots-based music.

(Hiveminer 2018)

I hear musical elements in many forms of daily life, such as a goods training crossing at a local road. I hear a rhythm as each wheel passes over a particular join in the tracks. If I close my eyes – whilst waiting at the intersection – I hear the metallic sound of metal on metal – the wheel on the rail. Not a screech, but a high frequency that sits in the background of the developing soundtrack that appears to be unfolding before me. I hear the local galahs sitting in the tall gums in the campus behind me, become restless at the noise of the passing train, and squawk as they take off to fly to another location. As the train approaches the station about five (500) hundred metres down the tracks to my left, I hear the driver sound its horn. Within the surrounds of the station, and the commuter car park opposite, the sound seems to spiral into the air, adding further dramatic elements to this soundtrack, being written before me, continuing to unfold as time continues on. Is this music? Is this a musical piece with the homogenous musical elements of duration, pitch, dynamics and timbre (rhythm, harmony, and melody)? Mmmmm… perhaps it would be argued not by High Art-based trained musicologists. But is it a piece of soundtrack that accompanies the experience I am having in my life at that moment in time? Does this piece possess the heterogeneous sonic elements of mass, spatialisation, and sequence an electroacoustic and sonic art-based composition may have? I would respond with a resounding yes. Perhaps more importantly, does this soundscape have meaning – and therefore relevance – to the surrounding environment, the culture, the society, the community, and the individual? If this sample of my soundscape had been recorded, and played to any members of of a community, would they be in a position to derive meaning from it? Some may be reminded of where they once grew up, and be stimulated to travel; some may have a memory triggered, that takes them back to their childhood visiting cane growing areas such as Gladstone, Queensland, as I did as a boy; some may be reminded of being held up by the inconvenience of this train crossing; others may recognise the soundtrack, and get lost in the effect of the sounds of the galahs, the sound of the locomotion for the moment they are required to patiently wait; others may be reminded of where they live, and have their wander to narratives including other sound objects and sound events.

Gratitude

For me, I now take an even broader view of what music is. Music to me is no longer restricted to roots-based song, or High Art-based compositions created by what we know in the west as musical instruments. Music and sound for me now encompasses all things that may be embedded in an electroacoustic and sonic art-based style soundtrack. These may or may not include musical instruments, but will also likely include other sound related textures that may derive from synthetic devices, or from everyday life itself – sonic events, or sound objects.

At this point in time, there is less clear distinction between music-making and musicking. For me, there is less clear distinction between what I see as the elements of Praxis in my music-making practice, and the elements of Praxis in my non-music-making practice. The line between my music-making practice, and my non-music-making practice is now very blurred – if not feint, and becoming more feint every day as more time passes. I would argue, within my head there is always a soundtrack unfolding before me, over time. The primary governor here is, whether I am in a state – a personal space – to listen to the surrounding environment, and allow my self to have a memory triggered, or to immerse myself in musical and sonic textures of the particular soundtrack that is unfolding, over time. When I am in this personal space and allow my self to do so, I often find my self breaking a smile at this point, enjoying the aesthetic of the moment, re-situating one self into a past event, or another location, whilst often simultaneously in full-flight in an unrelated form of practice[2]. I may look around the current site of practice I am in at that moment, and if/as one of the participants asks for assistance, I re-immerse my self back into that moment in time, and interact with that person in full presence. At that moment, I am. I am experiencing every moment both as private self, and social self. I am music-making within the environment by allowing my self to focus on an unfolding soundtrack, over time. A soundtrack that is not created using traditional musical instruments; a sound track that unfolds over time within that environment, drawing on any material generated from within that environment. That soundtrack supports me, as I make-meaning of that soundtrack at that particular point in time, based on my individual experience, memories, emotions and creative choices within my imagination. Concurrently, I am self-making. I am developing my self-image and self-concept based on that experience of both music and sound-making and meaning-making, at that moment of time. I then return to the immediate context – the particular environment of my practice at that moment in time, and engage with someone in real time, assisting them as they require. I am. On this note, I return to my conclusion of Moore’s quote in Chapter 1:

“music can be a useful resource in the development of the self – a way we can develop our identities; it is likely to be an individual experience in terms of deriving meaning; and a way to support the communication of our identities in social and cultural settings” (Page 2018, reflecting on Moore 2012).

I can say confidently that I now have greater clarity regarding my music and sound-making practice. However, the process has been far being a simple one. I had been warned that auto-ethnographic research studies would likely be an affective experience, both revealing and confronting. The warning was appropriate. The journey to date has been both, and so much more. At this stage of the research study, in few ways do I consider my self to be the same practitioner as when I considered embarking on this post-doctoral journey in 2014. In few ways do I consider my self to be the same person. Whilst I still don’t feel academic, I do note my ability to draw on a wide range of knowledge, and offer more frequent insight to those around me from a place of greater conviction, than I had previously. This is perhaps not surprising given the volume of titles of books, articles, and artifacts[3] I have either read or at least skimmed and pondered their relevance to my particular pilot study.

~DLP Pro Image 1.20141020

(DLP 2016)

The phrase music and sound-making, meaning-making and self-making has very clear meaning for me today, that more than likely would have glanced off my ears some two years months ago. I now ponder what I may understand in another two year that may currently glance off my ears? This thought now excites me, despite knowing that in the next Project 2 I am again likely to experience overwhelm and varying levels of anxiousness. I now understand these states represent a disparity between self-image, (in-) experience and self-esteem, that which can only be re-aligned through continuing to practice and realising the learning required. I now accept in the pursuit of new knowledge, as someone on a deliberate path of adaptive learning for fully-functionality and self-actualisation, experiencing these extra-rational faculty affective states are somewhat necessary. Academics such as Csikszentmihalyi (2005), Ohman (2010), Fredrickson & Cohn (2010), Kensinger (2010) connect overwhelm and anxiousness as emotional extra-rational faculty affective states associated with, and having an effect on self-making, meaning-making and practice. As a result of this Project 1 pilot study, I now better understand multiple selves; the causal relationship of emotion, memory and values of self or selves in practice; and how they may influence my decision-making across the broad elements and stages of practice. I can see clearly now[4] how one’s practice informs one’s self, and how one’s self informs one’s practice. I now accept my music and sound -making practice, my creative practice – in fact all of the forms of my practice – as “technology of the self” (Foucault 1988, 16).

[1] My grandfather’s piano our family inherited following his death. For some reason, this piano was put into my room. I do not recall why, but in hindsight, I suppose I am grateful that it occurred given the influence it had on my musical development.

[2] For example, I may be at the time delivering a management training session to a group of business persons

[3] 1,896 titles currently inhabit my Endnote software application, along with another 4,000 PDFed articles, evidencing the breath and depth of textural artifacts and literature I have engaged in this relatively short time frame.

[4] The song “I can see clearly now” was a major influence as I was growing up. Nash, Johnny. 1972. I can see clearly now. Epic. Vinyl LP.

(Reality Shifts 2017)

Next Step

This blog series is planned to continue next month with Doctoral Pilot Study – Part 16a (Page 2017b). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

DLP 2016 image courtesy of David L Page. Accessed 28th November, 2016

Foucault, Michel. 1988. “Technologies of the self.” In Technologies of the Self: a Seminar with Michel Foucault, edited by Luther H Martin, H Gutman and Patrick H Hutton, 16-49. London: Univ of Massachusetts Press.

Hive miner. 2018. South-East Queensland goods train image courtesy of Hiveminer.com Accessed 30th August, 2018

Moore, Allan F. 2012. Song means: analysing and Interpreting recorded popular song, Ashgate Popular and Folk Music Series. Surrey: Ashgate Publishing Ltd.

Nash, Johnny. 1972. I can see clearly now. Epic. Vinyl LP.

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David, L. 2018. KK59 Project 1 Submission. Accessed 30th August, 2018

Page, David L. 2017b. Doctoral Pilot Study – Part 16a. Accessed 2nd April, 2017

Page, David 2016 Research Practitioner Part 14 Accessed 28th November, 2016.

Page, David L. 2014. Music Practitioner Pt1 Beginnings Accessed 27th March, 2017.

Page, David L. 1990. Memory Age 10 Accessed 30th March, 2017.

Reality Shifts. 2017. Film clip courtesy of Reality Shifts youtube channel. Accessed 27th March, 2017.

Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth Accessed 18th March, 2016.

– ©David L Page 01/04/2017

– updated ©David L Page 02/04/2017

– updated ©David L Page 30/01/2018

– updated ©David L Page 30/08/2018

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 15a

Doctorate of Creative Industries Project 1

(Research 2016)

Precis

Continuing on from my previous blogs in this series; as I am now into my third year of my post-graduate academic research study, I felt motivated to revisit and develop my values, goals and beliefs for both my self and my music practice. It is now early- Year 3, with the pending significant milestone being the completion of my Doctoral Research Study Project 1. You will note in the following blog, the considerable insight I have gained into both my self and my practice over the past three (3) to four (4) months since my last blog post – Charter of Values and Beliefs v2 , on the 28th November 2016.

(Self Reflection 2016)

Opening remarks

Over the course of the past sixteen (16) months, I have gained new levels of understanding and clarity about my self and practice. The most notable development to the Year 2 (2016) Charter of Values and Beliefs v2 was over a three (3) to four (4) month period from November 2016 to the near end of February 2017. In living my very busy life across full-time employment, research study commitments, creative practice, professional consulting practice and family responsibilities, I noticed I was no longer just restricting my research study observations of my creative practice, but I was now observing how my self was engaging in my multiple forms of practice. It was as though the many forms of practice I had previously treated as quite separate entities, suddenly were being seen through a lens as one of the same thing: a multi-discplinary practice. In realising what was occurring, in January 2017 I recorded my observations in the blog the multi-facetted/multi-dimensional practitioner (Page 2017).

(Page 2017a)

Over the course of this period (from v2 to v3), I broadened the term I refer to my practitioner self from music practitioner to a more holistic view to that of, creative practitioner. From that point in time, the manner in which I now saw my self and my practice has been very much through a non-disciplinary specific – or perhaps a multi-discplinary lens. This illumination was for me, profound. I developed my Charter of Values and Beliefs v3 , and now consider this to be exponentially more aligned with my self and my practitioner self, irrespective of my form of practice I am engaging in at any point in time. Over the course of this period, I broadened the term I refer to my practitioner self, from music practitioner to creative practitioner; to now that of only, practitioner. I am a practitioner across many industries, fields, disciplines and sites. All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site.

(Page 2017b)

The chart below visually shows (left column is v1, middle column is v2, right column in v3) the degree of development of my Charter of Values and Beliefs from v1 (green lines = new entries, and grey lines = no entry), to v2 (white lines = same entry as previously made in v1, green lines = new entries, and yellow entries = a development of a previous green entry), to v3.

(Page 2017c)

Quantifiably, the development across the three (3) versions of the Charter of Values and Beliefs over the sixteen (16) months of Project 1 has been:

v1: 26 green entries – new entries – under 8 categories

v2: 55 entries under 10 categories (112% growth in entries)

24 white entries (previous existing entries with NO change)
1 yellow entry (development of previous existing entries) [4% change in previous existing entries]
30 green entries (new entries, or complete re-write/change to previous existing) [115% growth in new entries]

v3: 87 entries under 11 categories (58% growth in entries)

19 white entries (previous existing entries with NO change) [35% of v2 total]
36 yellow entries (development of previous existing entries) [65% of v2 total]
32 green entries (new entries, or complete re-write/change to previous existing) [106% growth in new entries]

However, whilst the quantifiable number of entries demonstrates the volume of change, it is only when you engage in each and every entry, that you can begin to understand the significance of the development from v2 to v3 of the Charter of Values and Beliefs. It is in the quality – the depth and breadth – of these new (green) entries, and the revised (yellow) entries. I welcome you to engage in my findings that I believe reveals a more aligned self with my practice; with my multi-facetted, multi-dimensional, multi-disciplinary practitioner self; my authentic self.

(DLP 2016a)

DLP’s Charter of Values and Beliefs v3

Year 1 Research Study Part 1a – who I know I am now

1a. Self: N/A [Value]. N/A [Goal]. I believe self as being central/core to my being [Belief].

1b. Self: In life, I value a phenomenological approach to life – to experience, to learn and to continually develop knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Value]. I strive to maintain a phenomenological approach to life – to experience, to learn and to continually develop my knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Goal]. I take a phenomenological approach to life – to experience, to learn and to continually develop my knowledge and skills. (Just about) Every person has the capacity (ability) to learn – to experience, to learn and to continually develop knowledge and skills (eg: think learning to baby talk, crawl, talk, walk, converse, function at home, go to school, etc) [Belief].

1c. Self: I value an empirical evidentiary approach to life – a physical and sensory experience – gaining knowledge by means of my senses, particularly that of observation and experimentation [Value]. I strive to gain knowledge by means of my senses, particularly that of observation and experimentation [Goal]. I gain knowledge most effectively and efficiently by means of my senses, particularly that of observation and experimentation [Belief].

1d. Self: In life I value authenticity [Value]. I aspire to being authentic in life, living true to my values and beliefs [Goal]. I believe I live to a high degree of authenticity in life, living true to my values and beliefs [Belief] [see *Note below].

1e. Self: In life, I value a spiritual approach to life – to develop understanding, respect and acceptance of self [Value]. I strive to maintain spiritual balance within my life – to develop understanding, respect and acceptance of self [Goal]. We are spiritual beings, engaging in a human experience. My human journey is to resolve the limitations, contradictions and inconsistencies of being human – to experience, to learn, and to develop understanding, respect and acceptance of self – and to engage congruently within the physical world [Belief] [see *Note below].

1f. Self: I value a holistic perspective of self, with consideration of the many facets and dimension that each person possesses [Belief]. I strive to see a holistic perspective of self, looking for the many facets and dimensions that each person possesses [Goal]. In life, I accept a holistic perspective of self, revealing the many facets and dimensions that each person possesses [Belief].

1g. Self: In life I value self-reliance [Value]. I aspire to being self-reliant in life [Goal]. I am self-reliant in life, but choose to be, or not to be, as I see appropriate [Belief] [see *Note above].

1h. Self: I value inner speech to guide the self [Value]. I strive to develop my inner speech to act as a more effective inner guide the self [Goal]. I have developed my inner speech to act as a more effective inner guide the self [Belief].

1i. Self: In life, I value the conscious pursuit of the development of self and identity – exploring one’s narrative – in order to align to one’s purpose [Value]. I consciously strive to in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose [Goal]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].

1j. Self: I value the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Value]. I strive to develop the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Goal]. I have developed the triadic voices of the dialogic self that guide the self across time – ‘the I, the me, and the you’ [Belief]

1k. Self: In life, I value an embodied approach to life: an immersive physical and sensory experience with physical connection to tools or process [Value]. I strive to exercise an embodied approach: an immersive physical and sensory experience with physical connection to tools or process [Goal]. I exercise an embodied approach in practice: an immersive physical and sensory experience with physical connection to tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to tools or process [Belief].

1l. Self: In life, I value affective connection [Value]. I strive to be affectively connected [Goal]. I am an affected being [Belief] [see *Note above].

1m. Self: In life, I value balance [Value]. I strive to be balanced, to be a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Goal]. Whilst being very busy, I have balance in my life. I am a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Belief].

[*Note: though I became quite imbalanced over the last three months of 2016, by choosing to overlook the balance of my spiritual, physical and mental being. I am happy to report though, this balance has mostly returned by the close of the year].

1n. Self: In life, I value diversity of orientation [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal]. Being contrast orientated, I have a great opportunity in life. I believe I am target-orientated and effective and efficient in realising personal goals: I believe I do not waiver from my focus. However along the journey, I believe I am process-orientated in my expression and reflection. I believe I immerse my self in the process [Belief].

1o. Self: In life, I value an open intellect/mindfulness [Value]. I strive to approach life with an open and inquiring mind [Goal]. I approach most aspects of my life with an open and inquiring mind, applying thought and mindfulness [Belief].

1p. Self: In life, I value joy [Value]. I strive to be connected to joy and happiness [Goal]. I am a joyful being [Belief] [see *Note above].

1q. Self: I value a sincere and deep level of engagement with others [Value]. I aspire to engaging with others in a sincere way, and to a deep level of engagement with others [Goal]. I engage with others in a sincere way, and to a deep level of engagement with others – in a genuine and congruent manner [Belief] [see *Note above].

1r. Self: I value nurturing as a human quality [Value]. I aspire to be a nurturing soul [Goal]. I am a nurturing soul [Belief] [see *Note above].

Year 1 Research Study Part 1b – who I know I am now as a practitioner

2a. Self & Practice: N/A [Value]. N/A [Goal]. I believe the practitioner self is central/core to my practice [Belief].

2b. Self & Practice: I value a phenomenological approach to practice – to experience, to learn and to continually develop knowledge and skills [Value]. I strive to maintain a phenomenological approach to practice – to experience, to learn and to continually develop my knowledge and skills [Goal]. I take a phenomenological approach to practice – to experience, to learn and to continually develop my knowledge and skills [Belief].

2c. Self & Practice: I value an empirical evidentiary approach to practice – sense experience, gaining knowledge by means of my senses, particularly that of observation and experimentation [Value]. In practice, I strive to gain knowledge by means of my senses, particularly that of observation and experimentation [Goal]. I believe I gain knowledge most effectively and efficiently in practice by means of my senses, particularly that of observation and experimentation [Belief].

2d. Self & Practice: In practice I value authenticity, maintaining alignment to my values and beliefs [Value]. I aspire to being authentic in my practice, being true to my values and beliefs, maintaining alignment to my values and beliefs [Goal]. I believe I demonstrate a high degree of authenticity in my practice, maintaining alignment to my values and beliefs [Belief].

2e. Self & Practice: I value a holistic perspective of the practitioner self, with consideration of the many facets and dimension that each practitioner possesses [Belief]. I strive to see a holistic perspective of the practitioner self, looking for the many facets and dimensions that each practitioner possesses [Goal]. I accept a holistic perspective of the practitioner self, revealing the many facets and dimensions that each practitioner possesses [Belief].

2f. Self & Practice: In practice I value self-reliance [Value]. I aspire to being self-reliant in my practice [Goal]. I am self-reliant in my practice, but choose to be, or not to be, as I see appropriate [Belief] [see *Note above].

2g. Self & Practice: In practice, I value inner speech to guide the practitioner self [Value]. In practice, I strive to develop my inner speech to act as a more effective inner guide the practitioner self [Goal]. In practice, I have developed my inner speech to act as a more effective inner guide the practitioner self [Belief].

2h. Self & Practice: In practice, I value the conscious pursuit of the development of practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose [Value]. I consciously strive in the development of my practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose [Goal]. I consciously strive in the development of my practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose. I now possess a clearer view of who I am as a practitioner, and what my purpose is [Belief].

2i. Self & Practice: I value the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in practice [Value]. I strive to develop the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in my practice [Goal]. I have developed the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in my practice [Belief].

2j. Self & Practice: I value an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Value]. I strive to exercise an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Goal]. I exercise an embodied approach in practice: an immersive physical and sensory experience with physical connection to the practice – tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to engage in the practice – tools or process [Belief].

2k. Self & Practice: I value a high volume of post-training practice (10,000 hours) in order to develop a professional level of knowledge and skill in that practice [Value]. In any form of new practice I choose to learn, I set the goal on 10,000 hours of post-training practice in order to develop a professional level of knowledge and skill in that practice [Goal]. The forms of practice I have developed a professional level of knowledge and skill in, is the result of having invested 10,000 hours of post-training practice [Belief].

2l. Self & Practice: I value a high standard of practice [Value]. I aspire to execute a high standard of practice within the various forms of practice I engage in [Goal]. I believe I operate at a high standard of practice within the various forms of practice I engage in [Belief].

2m. Self & Practice: Further to 2c above, I value a multi-faceted/multi-dimensional approach to practice [Value]. I aspire to execute a multi-faceted/multi-dimensional approach within the various forms of practice I engage in [Goal]. I execute a multi-faceted/multi-dimensional approach to practice, within the various forms of practice I engage in [Belief].

2n. Self & Practice: I value diversity of orientation in my practice [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal]. Being contrast orientated, I have a great opportunity in life. I believe I am target-orientated, effective and efficient in realising goals within the various forms of practice I engage in: I believe I do not waiver from the output focus for that practice. However within my various forms of practice, I believe I immerse my self in the process of practice with my expression and reflection [Belief] [see *Note above].

2o. Self & Practice: In practice, I value spontaneity (being spontaneous = freedom for DLP) [Value]. In my practice, I aspire to spontaneously – effortlessly, naturally – alter my practice as I see fit/appropriate [Goal]. I operate in a spontaneous manner – effortlessly, naturally – within the various forms of practice I engage in [Belief].

2p. Self & Practice: In practice, I value being prepared [Value]. I aspire to being prepared in all situations of my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I prepare thoroughly for my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others. I believe such preparation is an integral part of the practice process [Belief] [see *Note above].

2q. Self & Practice: In practice, I value appearing to be in a relaxed state [Value]. I aspire to appearing to be in a relaxed state in all situations, enabling the execution of what appears to be an effortless/natural/automatic high level of practice; in turn facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I prepare thoroughly for my practice, prior to practice, in order to be in a relaxed stated at the time of public practice (ie the performance). Being in this state in turn facilitates optimum engagement and maximizes the opportunity of an optimum experience for others. I believe such a relaxed state in public performance is a key element of the practice process [Belief][see *Note above].

2r. Self & Practice: I value practice that provides opportunities for nurturing [Value]. I aspire to practice that provides opportunities to nurture (both my self and others)[Goal]. I engage in practice that provides opportunities to nurture (both my self and others) [Belief] [see *Note above].

Year 1 Research Study Part 1c – who I know I am as a practitioner

3a. Social and Cultural contexts: I value social and cultural diversity [Value]. I strive to live across a very wide and broad range of social and cultural contexts – countries and cultures in my life [Goal]. I embrace a very wide and broad range of of social and cultural contexts – countries and cultures in my life [Belief].

3b. Social and Cultural contexts: I value equal opportunity for all – irrespective of gender, race, sexual preference, impairment [Value]. I strive to provide equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Goal]. I assist people by providing equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Belief].

3c. Social and Cultural contexts: I value opportunity for all for learning and development to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… (what I refer to as “community education”) [Value]. I strive to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Goal].I assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Belief].

3d. Social and Cultural contexts: I value opportunities in contexts that provide opportunities for nurturing [Value]. I aspire to practice in contexts that provides opportunities to nurture (both my self and others) [Goal]. I engage in practice in contexts which provides opportunities to nurture (both my self and others) [Belief].

~DLP Pro Image Fun 5b small.20141020

(DLP 2016b)

Year 1 Research Study Part 1d – who I know I am as a creative practitioner

4a. Creative practice: In my creative practice I value authenticity [Value]. I aspire to being authentic in my creative practice, maintaining alignment to my values and beliefs [Goal]. I believe I demonstrate a high degree of authenticity in my creative practice, maintaining alignment to my values and beliefs [Belief].

4b. Creative practice: I value the conscious pursuit of the development of self and identity – exploring one’s narrative – in order to align one’s purpose to one’s creative practice [Value]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose to one’s creative practice [Goal]. I consciously strive in the development of self and identity – exploring one’s narrative – in order to align to one’s purpose to one’s creative practice. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].

4c. Creative practice: I value diversity of orientation in my creative practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my creative practice [Goal]. Being contrast orientated, there is a great opportunity in my creative practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my creative practice, not wavering from the output focus – the product – for that creative practice. However within my creative practice, I believe I immerse my self in the process of the creative practice with my expression and reflection for creative benefit [Belief].

4d. Creative practice: I value social and cultural diversity of creative practice, music and sonic styles [Value]. I strive to experience and be influenced by a very wide and broad range of diversity of creative practice, music and sonic styles in my life [Goal]. I am open to experience and be influenced by a very wide and broad range of diversity of creative practice, music and sonic styles [Belief].

4e. Creative practice: I value creative practice occurring in a supportive environment or culture [Value]. I strive for my creative practice to occur in a supportive culture and environment in my life [Goal]. I facilitate my creative practice to occur in a supportive culture and environment [Belief].

4f. Creative practice: I value creative practice assisting participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Value]. I strive for creative practice to assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Goal]. Creative practice workshops I provide assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Belief]. My creative practice workshops assist participants to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community creative education”, “community music education”, etc) [Belief].

4g. Creative practice: I value creative practice workshops that provide opportunities for nurturing [Value]. I aspire to provide creative practice workshops that provide opportunities to nurture (both my self and others) [Goal]. I provide creative practice workshops that provide opportunities to nurture (both my self and others) [Belief]. My creative practice is engaged in a manner that is nurturing (of both my self and others) [Belief].

Year 1 Research Study Part 1e – who I know I am as a sound-track making practitioner

5a. Composition and Performance of Narrative: I value authenticity in my composition and performance of narrative practice [Value]. I strive to maintain authenticity with my composition and performance of narrative practice, maintaining alignment to my values and beliefs [Goal]. I believe I maintain authenticity with my composition and performance of narrative practice, maintaining alignment to my values and beliefs [Belief].

5b. Composition & Performance of Narrative: I value diversity of orientation in my composition and performance of narrative practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my composition and performance of narrative practice [Goal]. Being contrast orientated, there is a great opportunity in my composition and performance of narrative practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my composition and performance practice, not wavering from the aim and objective focus for that practice. However within that practice, I believe I immerse my self in the process of the composition and performance practice with my expression and reflection for creative benefit. I believe I am in the moment during that practice [Belief].

5c. Composition & Performance of Narrative: I value narrative compositions combining a range of music and sonic textures, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Value]. I strive to create narrative compositions combining a range of music and sonic textures, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Goal]. I integrate a range of music and sonic textures into my narrative compositions, appropriate to the music and sonic style, woven together in an original holistic cohesive manner [Belief].

5d. Composition & Performance of Narrative: I value composing and performing instrumentation and/or music and sonic elements, integrating all of the music and sonic textures together into an original holistic cohesive manner [Value]. I strive to compose and perform instrumentation and/or music and sonic elements, integrating all of the music and sonic textures together into an original holistic cohesive manner [Goal]. I compose and perform instrumentation and/or music and sonic elements, in and around other instruments, integrating all of music and sonic textures together into an original holistic cohesive manner [Belief].

5e. Composition & Performance of Narrative: I value composing and performing music and sonic narratives that are nurturing of both my self and others [Value]. I aspire to compose and perform music and sonic narratives that are nurturing of both my self and others [Goal]. I compose and perform music and sonic narratives that are nurturing of both my self and others [Belief].

Year 2 Research Study Part 2a – who I am discovering/accepting my self to be as a professional practitioner

6a. Self and Professional Practice: In my professional practice I value authenticity [Value]. I aspire to being authentic in my professional practice, being true to my values and beliefs, maintaining alignment to my values and beliefs [Goal]. I believe I live to a high degree of authenticity in my professional practice, maintaining alignment to my values and beliefs [Belief].

6b. Self & Professional Practice: I value the conscious pursuit of the development of professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice [Value]. I consciously strive in the development of my professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice [Goal]. I consciously strive in the development of my professional practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose to the professional practice. I now possess a clearer view of who I am as a professional practitioner, and what my professional practice purpose is [Belief].

6c. Self and Professional Practice: I value an embodied approach to professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Value]. I strive to exercise an embodied approach to professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Goal]. I exercise an embodied approach in professional practice: an immersive physical and sensory experience with physical connection to the professional practice – tools or process [Belief]. I am a physical being – a tactile being, a kinaesthetic being, a sensual being that chooses to engage in the professional practice – tools or process [Belief].

6d. Self & Professional Practice: I value diversity of orientation in my professional practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my professional practice [Goal]. Being contrast orientated, there is a great opportunity in professional practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my professional practice, not wavering from the aim and objective focus for that practice. However within that professional practice, I believe I believe I am in the moment. I immerse my self in the process of that practice with my expression and reflection, for great benefit to both my self and my practice. [Belief].

6e. Self & Professional Practice: In my life I value reflection – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value]. I aspire to being reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am able to be reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Belief].

6f. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice [Value]. I aspire to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am committed to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Belief].

6g. Self & Professional Practice: I value varied motives of professional practice [Value]. I practice professionally due to many varied motivations [Goal]. I practice professionally as a result of:

Discovery (to use creative practice as a medium for exploring, attempting to do something which you haven’t done previously)
Technically (to technically develop one’s skills)
Social (to connect to others)
Affectively (to express or connect to emotion)
Aesthetically (for expression or engagement in something artistic or of beauty)
Creatively (for action, just to do)
Physical (for physical expression, for exercise]
Commercial (for income generation purposes)
Educational (to demonstrate specific practice to my students, live or in preparation)
Cathartic (for self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self)
Performance (to maximise my performance standard, and what others get to see of me/ practice)
Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate this motive in my education and learning practice; nurturing of others (eg when I am performing either as an artist, or as a producer) and nurturing of my self (when I am performing to/for my self) in my creative practice; and nurturing of my self (eg when I am reflecting) in my research practice [Belief].

6h. Self & Professional Practice: I value nurturing of my self and others – across my areas of my professional practice (creative – music, education, research, management, or governance practice) [Value]. I aspire to be a nurturing being – of my self and others – across my areas of my professional practice (creative -music, education, research, management, or governance practice) as appropriate [Goal]. I am a nurturing being – of my self and others – across my areas of my professional practice (creative – music, education, research, management, or governance practice) – a social carer, an encourager, a coach, a mentor, an educator, a friend…. as appropriate [Belief].

Year 2 Research Study Part 2b – who I am discovering/accepting my self to be as a creative practitioner

7a. Self & Creative Practice: As a contemporary creative practitioner, I value practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Value]. As a contemporary creative practitioner, I strive to practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Goal]. As a contemporary creative practitioner, I practice across all of the eight (8) stages of creative practice: everyday practice, creating the narrative, composing the narrative, performing the narrative, pre-production planning, producing the music and sonic narrative, post-production polishing, and distributing the narrative [Belief].

7b. Self & Creative Practice: I value creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions – the majority of which are non-commercial [Value]. I strive to engage in creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions in my life – the majority of which are non-commercial [Goal]. I engage in creative practice – the composing and performing of music and sonic narratives – motivated by a diversity of intentions – the majority of which are non-commercial such as:

Discovery (to use creative practice as a medium for exploring, attempting to do something which you haven’t done previously)
Technically (to use creative practice as a medium to practice one’s craft, and technically develop one’s craft skills)
Social (to use creative practice as a medium for social interaction purposes, to connect to others [communicative])
Affectively (to use creative practice as a medium to express or connect to emotion)
Aesthetically (to use creative practice as a medium for expression or engagement in something artistic or of beauty)
Creatively (to use creative practice as a medium for action, just to do [expressivity])
Physical (to use creative practice as a medium for physical expression, for exercise]
Commercial (to use creative practice as a medium for income generation purposes)
Educational (to demonstrate specific creative practice to my students, live or in preparation)
Cathartic (self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self)
Performance (where my primary motive is to perform, and therefore all creation and creative development is built upon wanting to maximise my performance standard, and what others get to see of me/my art/my creative practice
Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate this motive in my education & learning practice; nurturing of others (eg when I am performing either as an artist, or as a producer) and nurturing of my self (when I am performing to/for my self) in my creative practice; and nurturing of my self (eg when I am reflecting) in my research practice [Belief].

7c. Self & Creative Practice: I value music and sonic narratives primarily for their affective, expressive and communicative qualities [Value]. I strive to perform and compose music and sonic narrative primarily for their affective, expressive and communicative qualities [Goal]. I perform and compose music and sonic narrative primarily for their affective, expressive and communicative qualities [Belief].

7d. Self & Creative Practice: I value embodied creative practice, connecting affectively to the linguistic, music and sonic narratives irrespective of the technology that is used to create such cultural productions [Value]. I strive to exercise embodied creative practice – to connect affectively to the linguistic, music and sonic narratives irrespective of the technology that is used to create such cultural productions [Goal]. I more effectively and efficiently exercise embodied creative practice. I understand how I connect affectively to my linguistic music and sonic narratives, irrespective of the technology that is used to create such cultural productions [Belief]. I understand that for me to exercise embodied creative practice, I necessarily engage in deep reflective practice: in-situate, re-experiencing the experience – generated creative writing. In doing this, I realize a core of authenticity – of affective connectedness to the linguistic, music and sonic narratives, irrespective of the technology that I use to create such cultural productions [Belief].

7e. Self & Creative Practice: I value creating music and sonic narratives that I have an affective connectedness to. I value these narratives more, when I draw on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact. [Value]. I strive to create music and sonic narratives that I have an affective connectedness to. I aim to do this by drawing on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact [Goal]. I create music and sonic narratives that I have an affective connectedness to. I do this by drawing on deep reflective practice – in-situate, re-experiencing the experience – in order to generate an associative memory-based narrative whilst I am in the moment of the creative process, to maximize the affective connection of the product outcome/artifact [Belief].

7f. Self & Creative Practice: I value commencing the creative process using one of the forms of: narrative, prose or song lyrics [Value]. I intuitively commence creative practice using one of the forms of: narrative, prose or song lyrics [Goal]. I intuitively commence the creative process by using one of the forms of: narrative, prose or song lyrics [Belief].

7g. Self & Creative Practice: I value creative practice of a range of cultural origins, based on a diversity of interest, observation and experience [Value]. I strive for my creative practice to extend across of a range of cultural origins, based on a diversity of interest, observation and experience [Goal]. My creative practice extends across a range of cultural origins, based on a diversity of interest, observation and experience [Belief].

7h. Self & Creative Practice: I value the practice of listening to music and sonic narratives on any of the three levels: holistic, associative, or critical and analytical listening [Value]. I strive to practice listening to music and sonic narratives on any of the three levels: holistic, associative, and critical and analytical listening [Goal]. I practice listening to music and sonic narratives on all of the three levels: holistic, associative, and critical and analytical listening [Belief].

Year 2 Research Study Part 2c – who I am discovering/accepting myself to be as a creative practitioner

8a. Self & Creative Practice: I value creative practice of music and sonic narratives, which extends across diverse technologies, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across diverse technologies, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse technologies, to influence the cultural production outcome [Belief].

8b. Self & Creative Practice: Intuitively, I value physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in [Value]. I intuitively seek a range of physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These technologies are to become extensions of my self [Goal]. I intuitively seek and engage in/play a range of physical music and sonic narrative technologies that emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These generally become extensions of my self [Belief].

8c. Self & Creative practice: I now also value physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I may not necessarily be able to physically embrace and/or engage in [Value]. I now seek a range of physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I may not necessarily be able to physically embrace and/or engage in. These technologies are to become extensions of my self [Goal]. I now seek and engage in/play a range of physical music and sonic narrative technologies, which don’t necessarily emit vibrations and resonances; of a style and size I can physically embrace and/or engage in. These are now becoming extensions of my self [Belief].

8d. Self & Creative Practice: I value creative practice of music and sonic narratives which extend across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites; to influence the cultural production outcome [Value].I strive for my creative practice of music and sonic narratives to extend across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites; to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse sites, where one site’s practice influences and/or informs other forms of practice in other sites such as studio performance; which in turn can influence and inform other forms of practice such as live performance; to influence the cultural production outcome [Belief].

8e. Self & Creative Practice: I value creative practice of music and sonic narratives, which extend across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across a range of holistic work practice, including composition of songs and soundtracks, to influence the cultural production outcome [Belief].

8f. Self & Creative Practice: I value creative practice of music and sonic narratives, which extend across diverse (micro) workflows, to influence the cultural production outcome [Value]. I strive for my creative practice of music and sonic narratives to extend across diverse (micro) workflows, to influence the cultural production outcome [Goal]. My creative practice of music and sonic narratives extends across diverse (micro) workflows, to influence the cultural production outcome [Belief].

Year 2 Research Study Part 2d – who I am discovering/accepting my self to be as a sound-track making practitioner

9a. Technology used for the Composition & Performance of Narrative: I value a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative [Value]. I strive to engage in my creative practice a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative [Goal]. I now – with confidence – engage in a diversity of technology – analogue, digital or digital virtual devices – in the practice of – creation and layering of – music and sonic textures in the composition and performance of narrative. I have developed a diversity of technology that I access and engage in, in the creation and layering of music and sonic textures in my composition and performance of narrative [Belief].

9b. Technology used for the Composition & Performance of Narrative: I value the incorporation of acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes; in cultural productions [Value]. I strive to incorporate acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes, in cultural productions [Goal]. I incorporate acoustic style instruments and their specific timbres; and the manipulation of at-the-time generated or pre-recorded sound sources for creative practice purposes, in cultural productions [Belief]. I have developed my live/studio technology (rig) to facilitate the manipulation and layering of music and sonic textures, and duplicate these irrespective of location – in both live and studio settings for cultural productions [Belief].

9c. Technology used for the Composition & Performance of Narrative: I value the manipulation and layering of music and sonic textures to be duplicable equally in live and studio settings. I value a performance rig that facilitates sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Value]. I strive to manipulate and layer music and sonic textures that are duplicable equally in live and studio settings. I strive for my performance rig to facilitate sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Goal]. I manipulate and layer music and sonic textures that are duplicable equally in live and studio settings. My performance rig facilitates sourcing these music and sonic textures irrespective of site (stage or studio) at any moment in time [Belief].

9d. Technology used for the Composition & Performance of Narrative: I value a diversity of technology used for the composition & performance of narrative, that influences the cultural production outcome [Value]. I strive to use a diversity of technology in the composition & performance of narrative process, to influence the cultural production outcome [Goal]. I use a diversity of technology in the composition & performance of narrative process, to influence the cultural production outcome [Belief].

Year 2 Research Study Part 2e – who I am discovering/accepting my self to be as a creative practitioner

10a. Creative Practitioner: I value creative practitioners who aspire to create cultural production as a personal narrative, conscious it is technology of their self [Value]. I intuitively strive to be a creative practitioner who aspires to create cultural production as a personal narrative, conscious it is technology of their self [Goal]. I believe I am a creative practitioner who aspires to create cultural production as a personal narrative, conscious it is technology of my self [Belief].

10b. Creative Practitioner: I value holistic authentic creative practitioners – an identity-driven, value-driven, narrative-based, embodied practitioner [Value]. I aspire to being a holistic authentic creative practitioner – an identity-driven, value-driven, narrative-based, embodied practitioner [Goal]. I believe I am now a holistic authentic creative practitioner – an identity-driven, value-driven, narrative-based, embodied practitioner [Belief].

10c. Creative practice: I value the conscious pursuit of the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner [Value]. I consciously strive in the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner [Goal]. I consciously strive in the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner. I now possess a clearer view of who I am as a person, and what my purpose is [Belief].

10d. Creative Practitioner: I value creative practice with origins in artistic expression, over creative practice solely reliant on craft expression. I value drawing on all forms of life practice – not necessarily only creative practice – in order to in order to compose or perform narratives [Value]. I strive to practice music for artistic expression, over creative practice solely for craft expression [Goal]. I strive to be an innovator, an artist, an experimental artist, a non-musician composer, a technologist producer, drawing on any technological device – analogue, digital or digital virtual devices – or otherwise – natural medium – or site – studio, outdoors or nature – in order to compose or perform narratives [Goal]. I am now practicing music for artistic expression, rather that practicing music solely for craft expression [Belief]. I am now practicing to be an innovator, an artist, an experimental artist, a non-musician composer, a technologist producer, drawing on any technological device – analogue, digital or digital virtual devices – or otherwise – natural medium – or site – studio, outdoors or nature – in order to compose or perform narratives [Belief].

10e. Creative Practitioner: I value diversity of orientation as a creative practitioner [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) as a creative practitioner [Goal]. Being contrast orientated, I believe there is a great opportunity as a creative practitioner. I believe my target-orientation allows me to effectively and efficiently realise goals, not wavering from the aim and objective focus of that practice. However, I believe I am in the moment as a creative practitioner, fully immersed in the process of my creative practice [Belief].

10f. Creative Practitioner: I value a described music praxis – a framework that outlines the interdependent elements for consideration during the stages of one’s creative practice [Value]. I strive to describe my music praxis – a framework that articulates the interdependent elements for consideration during the stages of one’s creative practice [Goal]. I have developed a considered music praxis – a framework that outlines the elements for consideration during the stages of one’s creative practice. These primary elements of my Creative practice Praxis v9k 20170520 are: self, listening/hearing, decision to act, reflection/reflective practice, reflexive practice, motive, theme, song mood, decision to commence, music production approach, compositional approach, agreed reference track, music and sonic style, simple versus complex textures, technology, site, holistic work practice, micro workflow, aesthetic choices, time opportunity, and social network engagement [Belief].

10g. Creative Practitioner: I intuitively value self-reliant DIY creative practitioners who aspire to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Value]. I intuitively strive to be a self-reliant DIY creative practitioner who aspires to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Goal]. I am a self-reliant DIY creative practitioner who aspires to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k (see below) [Belief].

DLP DCI Praxis v9i.20170420.P1

Figure I – Project 1 Research Study Developed Praxis v9k (Page 2017d)

Year 2 Research Study Part 3 – who I have discovered and accepted my self to be as a practitioner, as a result of this Research Study, at this point in time

11a Practitioner: I value authenticity – an authentic affective connection across all stages of practice – process and technology – across all practice [Value]. I strive to maintain being an Authentic practitioner = maintaining an authentic affective connection across all stages of practice – process and technology – across all practice [Goal] As an authentic practitioner (holistic, embodied, value-driven, narrative-based), I engage in life to consciously, deliberately and systematically, stream my self to inform (all) practice, and (all) practice to inform my self [Belief]

(DLP 2016c)

Significant Differences between my Project 1 end-Year 2 Charter of Values and Beliefs v2; and my early-Year 3 Charter of Values and Beliefs v3

As mentioned in my opening remarks: the quantifiable number of entries demonstrates the volume of change I made from v2 to v3 of the Charter of Values and Beliefs in the course of four to six (4 – 6) months of living my very busy life across full-time employment, research study commitments, creative practice, professional consulting practice and family responsibilities (especially relative to the previous ten to eleven month period). However, it is only when you engage in each and every actual entry, that you can begin to understand the significance of the development from v2 to v3 of the Charter of Values and Beliefs. It is in the quality – the depth and breadth – of these new (green) entries, and the revised (yellow) entries.

A notable development to the Year 2 (2016) Charter of Values and Beliefs v2 were in the inclusions of my self-knowledge within an academic environment as I had experienced since the beginning of 2015. I felt these were key to include to broaden the scope of how I saw my self:

2b. Self & Practice: I value a phenomenological approach to practice – to experience, to learn and to continually develop knowledge and skills;

2c. Self & Practice: I value an empirical evidentiary approach to practice – sense experience, gaining knowledge by means of my senses, particularly that of observation and experimentation.

Other notable developments that I felt key to include to broaden the scope of how I saw my self and my practice, were the inclusions from with in my holistic approach to practice, and my developing praxis:

2a.Self & Practice: I believe the practitioner self is central/core to my practice;

2d. Self & Practice: In practice I value authenticity, maintaining alignment to my values and beliefs;

2h. Self & Practice: In practice, I value the conscious pursuit of the development of practitioner self and identity – exploring one’s narrative – in order to align to one’s purpose;

2i. Self & Practice: I value the triadic voices of the dialogic self that guides the practitioner self across time – ‘the I, the me, and the you’ in practice;

2e. Self & Practice: I value a holistic perspective of the practitioner self, with consideration of the many facets and dimension that each practitioner possesses;

2j. Self & Practice: I value an embodied approach to practice: an immersive physical and sensory experience with physical connection to the practice – tools or process;

2g. Self & Practice: In practice, I value inner speech to guide the practitioner self

I also felt it was important to reiterate my approach to practice:

2k. Self & Practice: I value a high volume of post-training practice (10,000 hours) in order to develop a professional level of knowledge and skill in that practice

These were then developed across all forms of practice and specific stages of practice, broadening finally as expressions of the creative practitioner:

10a. Creative Practitioner: I value creative practitioners who aspire to create cultural production as a personal narrative, conscious it is technology of their self;

10b. Creative Practitioner: I value holistic authentic creative practitioners – an identity-driven, value-driven, narrative-based, embodied practitioner;

10c. Creative practice: I value the conscious pursuit of the development of one’s practitioner self and identity – exploring one’s narrative – in order to develop as a holistic authentic creative practitioner;

10d. Creative Practitioner: I value creative practice with origins in artistic expression, over creative practice solely reliant on craft expression. I value drawing on all forms of life practice – not necessarily only creative practice – in order to in order to compose or perform narratives;

10f. Creative Practitioner: I value a described creative praxis – a framework that outlines the interdependent elements for consideration during the stages of one’s creative practice;

10g. Creative Practitioner: I intuitively value self-reliant DIY creative practitioners who aspire to compose or perform complex textured narrative soundscapes in each and every practice session, irrespective of the interdependent elements as outlined in Praxis v9k.

Over the course of this period (from v2 to v3), I broadened the term I refer to my practitioner self from music practitioner to a more holistic creative practitioner view. However, it was the next step that was to be the most profound. In living my very busy life, I noticed I was no longer just restricting my observations of my creative practice, but I was now observing how my self was engaging in my multiple forms of practice. It was as though the many forms of practice I had previously treated as quite separate entities, suddenly were being seen through a lens as being one of the same thing – a broad generic form of practice: a multi-disciplinary practice. I therefore revisit my Charter of Values and Beliefs v3, and added;

Year 2 Research Study Part 3 – who I have discovered and accepted my self to be as a practitioner, as a result of this Research Study, at this point in time

11a Practitioner: I value authenticity – an authentic affective connection across all stages of practice – process and technology – across all practice [Value]. I strive to maintain being an Authentic practitioner = maintaining an authentic affective connection across all stages of practice – process and technology – across all practice [Goal] As an authentic practitioner (holistic, embodied, value-driven, narrative-based), I engage in life to consciously, deliberately and systematically, stream my self to inform (all) practice, and (all) practice to inform my self [Belief]

From January 2017, I now see my self and my practice are very much a multi-disciplinary approach. I now consider this Charter of Values and Beliefs v3 to be exponentially more aligned with my self and my practitioner self. I accept I am a practitioner across many industries, fields, disciplines and sites. All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site. I believe my Charter of Values and Beliefs v3 reveals my multi-facetted, multi-dimensional, multi-disciplinary practitioner self; my authentic self.

Summary

As I indicated in my last blog Charter of Values and Beliefs v2 (Page 2017b)

As a person new to formal academic research studies, I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time (Page 2017b).

In an attempt to anchor my self to my creative practice, I developed my Charter of Values and Beliefs to maintain a valid contemporary values statement – a Charter of Values and Belief for both my self and my practice at any point in time. In doing this, I have been able to continue to observe a significant number of distinctions and insight into my multiple forms of practice and my self, and apply these reflexively to my self and practice.

This blog series is planned to continue next month with Research Practitioner Part 19. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

DLP 2017a image courtesy of Research Practitioner Part 16 Accessed 28th May, 2017

DLP 2017b image courtesy of Research Practitioner Part 20 Accessed 29th May, 2017

DLP 2017c image courtesy of Data for DLPs Project 1_Music and Sonic Collage.20170529.v39 Accessed 29th May, 2017

DLP 2017d image (Figure I) courtesy of Project 1 Research Study Developed Praxis v9k Accessed 29th May, 2017

DLP 2016a image courtesy of David L Page. Accessed 31st December, 2016

DLP 2016b image courtesy of David L Page. Accessed 31st December, 2016

DLP 2016c image courtesy of David L Page. Accessed 31st December, 2016

Ohm image courtesy of: Ohm Accessed 28th May, 2016

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David 2017a Research Practitioner Part 16 Accessed 20th March 2017

Page, David 2017b Research Practitioner Part 14 Accessed 20th March 2017

Pulsating image courtesy of: Image Accessed 15th January, 2016

Research 2016 image courtesy of: Research Accessed 28th January 2016

Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth Accessed 28th March, 2015

– ©David L Page 20/03/2017

– updated @David L Page 29/05/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 13a

Doctorate of Creative Industries Project 1

(Research 2017)

Precis

Continuing on from my previous blogs in this series, I find my self now in a process of reflective practice. In much the same way as described in my education & learning practice session blog (see Layer 10: Reflective practice following the learning practice), I am away from the site of that last reflective practice, with some considerable time – eleven (11) days -having lapsed post-my December reflective practice session. As a not uncommon occurrence of this second stage of reflective practice, I am experiencing a separation of the expected automated response that could be activated by reflecting on the practice of December’s reflective practice, that I find my self now engaging in. The amount of time expired between that actual practice session and this reflective practice session has allowed my mind to turn over the distinctions I gained in redeveloping my Charter of Values and Beliefs. I am finding that I have distilled out the less significant events, and now focussing on the more prominent and significant aspects of that development. The primary entry I find my self now focussing on is:

2d. Self & Practice: a complex multi-dimensional approach to practice

Research Study Project 1 music practice and my music practitioner self

As I continue with my music practice as part of my research study, I have observed that quite often I am distracted by my other forms of practice – either my research practice (researching, investigating, analysing or reflecting) or my education & learning practice (recalling processes I undertake in preparing for, and delivering my education & learning practice sessions – both of creative media learners, and of aspiring educator peers). I often find myself being drawn into these other forms of practice quite unexpectedly to my original intended focus of practice as scheduled.

I have observed these distractions – unexpected mindful wanderings – usually commences on-site and in practice. It often starts with my noting my thoughts and/or my feelings during practice. This reflection then often progresses into further reflection, where I find myself drilling down to illuminate possible reasons for such a distraction at that particular time or stage of practice. In doing so, the act of reflection effectively causes the practice to cease and therefore becomes on-site and on practice. Any ongoing engagement in this process generally has me wandering away from the site to continue reflecting on my practice. Whilst I outlined this process in my July 2015 Music Practitioner Part 3 blog, I expressed my concern of the disruption this subject/observer phenomena could have on the creative practice flow in my Research Practitioner Part 5 blog in the early stages of my Project 1 study. However, on the back of recently completing the update of my Charter of Values and Beliefs – a holistic guide of my self, life with application across the varied forms of my practice, I am now reviewing my perspective. Do I continue to see a disruption to one form of practice, for reflection or performance of another form of practice, as a disruption. The word disruption has an inbuilt negative connotation within my mind, having one’s focus or attention forced away from one form of practice, to another form of practice. But I am now less sure of my view of this disruption being a negative process, or actually part of a more holistic integrated process. A necessary attribute of a more holistic self and multi-dimensional practitioner self. A multi-facetted practitioner self that incorporates multiple aspects of our practitioner selves.

The multi-facetted/multi-dimensional practitioner

Over the course of the past eleven (11) days, despite being on leave from my current primary income source of education & learning practice, with a very strict schedule outlined to develop my research study Project 1 – specifically the music practice creative component of a composition of my associative memories – I have observed that I have spent a significant amount of time reflecting on my last trimester of 2016 education & learning practice. Whilst this is in itself not a bad thing, I have found myself continually perplexed as to why it continues to happen.

I find central to this reflection is the self. I have noted that whenever I commence consideration of any form of practice I engage in, I find that the reflection process – planned or unplanned – progresses consistently back to the self. Having engaged in this auto-ethnographic study for just over a twelve month process to date, I have found that this occurrence is now predictable – if not predictably unpredictable. Perhaps not surprising, my values regarding professional practice and self include:

6a.Self & Professional Practice: I value diversity of orientation in my professional practice [Value].

6b. Self & Professional Practice: In my life I value reflection – regular conscious interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value].

6c. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice [Value].

6d. Self & Professional Practice: I value varied motives of practice such as:

- Discovery (to use music practice as a medium for exploring, attempting to do something which you haven’t done previously);
- Technically (to technically develop one’s skills);
- Social (to connect to others);
- Affectively (to express or connect to emotion);
- Aesthetically (for expression or engagement in something artistic or of beauty);
- Creatively (for action, just to do);
- Physical (for physical expression, for exercise];
- Commercial (for income generation purposes);
- Educational (to demonstrate specific practice to my students, live or in preparation);
- Cathartic (for self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self);
- Performance (to maximise my performance standard, and what others get to see of me/ practice);
- Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate in my education & learning practice; nurturing of both others (eg when I am ‘performing’ either a} and myself in my creative practice; and nurturing of myself in my research practice).

6e. Self & Professional Practice: In my life I value nurturing of my self and others – across my areas of my practice (family, music, education, research, practice) as appropriate [Value].

What I have found as a by-product of my twelve (12) month research study Project 1

I engage passionately in all forms of my multi-faceted practice, consisting of creative practice, research practice, or education & learning practice. After much observation, I now accept that the self informs my multi-faceted practice of creative practice, research practice, or education & learning practice – conceptually and literally. My multi-faceted practice of creative practice, research practice, or education & learning practice in turn informs/contributes to the self, even if that contribution is only with increased clarity around that particular practice, which in turn increases confidence within the self. I have observed within the self, that this increase in confidence in turn informs and/or shapes my practice – irrespective of what practice I am about to engage in – my creative practice, my research practice, or my education & learning practice. Over the course of the twelve (12) month research study Project 1, I have observed this cycle of interdependency and commonality between the self – my self – and the various incarnations of my practice – creative practice, research practice, or education & learning practice.

DLPs Multi-faceted Practitioner.20170212.P4

Figure I – Project 1 Research Study Developed Approach (Page 2017)

Core principles of the multi-facetted/multi-dimensional practitioner

I devote my time to all forms of practice, irrespective of what practice that is;
My weekly schedule outlines what I need to realise;
My self guides me to what practice I need to do at that moment in time;
My self informs all forms of my practice;
All of my multiple forms of practice inform my self;
This situation aligns to my Charter of Values – freedom

~DLP Pro Image 1.20141020

(DLP 2016)

7. I apply this approach to all forms of practice in my life:

- being spontaneous
- being flexible
- being proactive
- my self guides me to what I need to do, when I need to reflect, to research, to create, to practice, whatever I need to learn, what ever I need to become, what ever I need to realise……

8. I apply this approach to all forms of practice in my life, as evidenced by the past twelve (12) months whilst undertaking this research study, Project 1.

9. Whilst I am interested in all of my forms of practice, I am particularly focussed on observing how this cycle of interdependence can bring benefit to the central theme of this research study, my music practice. I therefore, by definition practice reflective practice across all forms of my practice.

10. In order to develop all forms of my practice, I therefore necessarily engage in reflexive practice across all forms of my varied practice. My belief is: since all forms of practice inform my self, which in turn can inform all forms of my practice – by developing any aspect of either my self, or any of my forms of practice, I am potentially, likely, to develop any and all aspects of my self and/or my practice. As Deming refers to it – constant, and never ending change.

(Self Reflection 2016)

Summary

As a person new to formal academic research studies, I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time. Therefore in order to try to anchor myself, I continue to develop my Charter of Values and Beliefs to maintain a valid contemporary values statement – a charter of values for both myself and my music practice at this time. In doing this, I am able to continue to gain new levels of understanding of my self and my practice, and start to apply them reflexively to my self and practice.

Engaging in this research study has allowed me to continue to develop my self, increase my self confidence, and develop clarity regarding my practice. It is my intention – through reflective and reflexive practice – to increase my confidence with this task at hand as a practitioner with my Research Study Project 1. In short, following such practice process has allowed me to become a more holistic and balanced practitioner; or as I refer to it, an expanded practitioner (see figure I above).

Next Step

I realise that as my Research Study Project continues and I gain more insight and greater clarity about my self and my practice, this document will require even more development. It remains a dynamic document that will continue to evolve, in line with my reflections and insights of my self interests, and my practitioner self interests.

This blog series is planned to continue next month with Research Practitioner Part 17. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

DLP 2016 image courtesy of David L Page. Accessed 28th November, 2016

Page, David 2016 Research Practitioner Part 14 Accessed 28th November, 2016.

Page, David 2017 Project 1 Research Study Developed Approach Created 11th January, 2017

Research 2017 image courtesy of: Research Accessed 28th January, 2016

Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth Accessed 18th March, 2016.

Walton, Mary. 1988. Deming management method. London: Penguin.

– ©David L Page 11/01/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Memory – Age 20 Part 2

(Kent 2012)

This is another in-situated recollection of what I consider to have been a significant event in my life, when I was Age 20.

Herein, after…..

Herein, after …..(passage to the afterlife))©David L Page 2016

Verse 1: What I knew has vanished all around

My world has turned inside out

there is over here, and here is over there

I am dizzy from the spinning

What’s this all about?

Verse 2: The oceans have parted, and sucked me in ….

I can feel it forcing its way down on top of me..

I have strained every muscle trying to withstand it

my chest is caving in, I can’t breathe

my down is up, and my up is down

(The Big Blue 1988)

Verse 3: Seconds pass like hours

my arms explode from the load

my chest gives in to the pressure,

the weight of a thousand houses hits me

I can see my own blood flow

Verse 4: I swallow an entire ocean

And start to float upward like seaweed

Fish swim past not knowing

who I am, where I have been

Whale shark

Verse 5: I can no longer feel a thing..

No breath, no sensation,

no pins or needles, no pain

a seahorse swims past not knowing

who I am, where I have come from

Chorus: something happened,

I am not aware of

my down is up, and my up is down

the sea swims past not knowing

who I am, where I have come from

Underwater Image.P2

(Peterson 2017)

I float like a leaf in a winter breeze

my time (in the after life) has just begun….

my world turned upside down

my down is up, and my up is down

my arms gave in, my chest gave out

my time (in the after life) has just begun….

Now my down is up, and my up is down

I float off now….

Never ….

to ….

be …..

found….

Page, David L. 2016. “Herein, after (passage to the afterlife)” ©David L Page 2016. This audio event represents a developed sense of my recollection of this significant event.

Whilst this the last blog in this Project 1 series chronologically, there is one more written. See here for Memory – Age 15.

The next blog in the Project 2 series is Memory – Age 21.

References

Big Blue, The. 1988. The Big Blue Accessed 2nd January, 2017

Celestial Galaxy image courtesy of: Celestial Galaxy Accessed 2nd January, 2017

Herein, after (passage to the afterlife) …. audio link courtesy of: David L Page Accessed 2nd January, 2017

Kent, Harry. 2012. Brett Whiteley’s Ghost Accessed 2nd January, 2017

Page, David L. 2017. Memory – Age 15 Accessed 3rd April, 2017

Page, David L. 2016. “Herein, after (passage to the afterlife)” ©David L Page 2016

Page, David L 2014a David L Page’s About.me Accessed 16th October, 2014

Peterson, Allan. 2012. Underwater Cathedral Light image courtesy of: Allan Peterson Accessed 2nd January, 2017

Underwater Fish image courtesy of: Underwater scene Accessed 2nd January, 2017

– ©David L Page 09/12/2016

– updated ©David L Page 02/01/2017

– updated ©David L Page 30/01/2017

– updated ©David L Page 03/04/2017

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Doctoral Pilot Study – Part 11b

Doctorate of Creative Industries Project 1

(Research 2016)

Precis

Continuing on from my previous blogs in this series; as I am now at the end of my second year of my post-graduate academic research studies, I felt it is important to revisit and develop my Charter of Values and Beliefs v1 of goals, values and beliefs for both myself and my music practice.

I have taken the liberty to re-post my findings at the end of Year 1 as I have gained considerable more insight relative to the last post I made on the 25th April 2016.

(Self Reflection 2016)

Over the course of the seven (7) months of life, music practice and reflective practice, I have crystallised my thoughts and understandings, and gained fresh levels of clarity about my self and practice. The most notable development to the Year 1 (2015) Charter of Values and Beliefs v1 was over the last quarter of this year, in my efforts to balance full-time work and full-time research study commitments, and family responsibilities, I became quite stressed. In re-reading my Charter, I reassessed the order and priority of my item 1b. In the original 2015 description I had listed 1b as being:

1b. Self: I strive to be balanced, to be a balanced, functional human being – affective, expressive and communicative – mentally, physically, spiritually [Goal]. Whilst being very busy, I believe I have balance in my life. I believe I am a balanced, functional human being – affective, expressive and communicative – mentally, physically, spiritually [Belief]

However, over the last three months of 2016 I appraised my self as being anything but balanced. I have now reflected and found that this imbalance has come as a result of choosing to overlook the balance of my spiritual, physical and mental being.

In the 2015 listing, I had ordered the three areas of priority as being mentally, physically and spiritually. However, in reflecting on these areas, I realised that their priority was incorrect for me, and my priority was in fact the reverse order of this: spirituality was my highest priority, followed by physical, and then followed by intellectual – mental. In my addressing my imbalance, by focussing on the order of these in terms of spiritual, physical and mental I quickly returned to a greater degree of balance.

As I had essentially looked over the spiritual aspect in my original Charter, I recognised the oversight of this, and therefore I added some additional points in, including 1b for example.

1b. Self: In life, I value a spiritual approach to life – to experience, to learn, and to develop respect and acceptance [Value]. I strive to maintain spiritual balance within my life – to experience, to learn, and to develop respect and acceptance [Goal]. I believe we are spiritual beings, engaging in a human experience. I believe my human journey is to resolve the limitations, contradictions and inconsistencies of being human – to experience, to learn, and to develop respect and acceptance – and to engage congruently within the physical world [Belief]. [see *Note above].

I remain surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past seven (7) months of embarking on my research study, I have increasingly developed a clearer understanding of who I am as a self, and as a creative practitioner. No doubt this view is likely to continue to develop as I progress with my research study, but given I was nearing the completion of Project 1, I felt it was timely to update my Charter of Values and Beliefs.

(DLP 2016)

DLP’s Charter of Values and Beliefs v2

Year 1 Research Study Part 1a – who I know I am now

1a. Self: In life, I value a holistic perspective [Value]. I strive to consider life from a global holistic perspective [Goal]. I believe I consider my life and varied forms of practice from a global holistic perspective [Belief]

1b. Self: In life, I value a spiritual approach to life – to experience, to learn, and to develop respect and acceptance [Value]. I strive to maintain spiritual balance within my life – to experience, to learn, and to develop respect and acceptance [Goal]. I believe we are spiritual beings, engaging in a human experience. I believe my human journey is to resolve the limitations, contradictions and inconsistencies of being human – to experience, to learn, and to develop respect and acceptance – and to engage congruently within the physical world [Belief]. [see *Note below].

1c. Self: In life, I value balance [Value].I strive to be balanced, to be a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Goal]. Whilst being very busy, I believe I have balance in my life. I believe I am a balanced, functional human being – affective, expressive and communicative – spiritually, physically and mentally [Belief]

[*Note: though I became quite imbalanced over the last three months of 2016, by choosing to overlook the balance of my spiritual, physical and mental being. I am happy to report though, this balance has mostly returned by the close of the year].

1d. Self: In life, I value diversity of orientation [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal].Being contrast orientated, I believe I have a great opportunity in life. I believe I am target-orientated and effective and efficient in realising personal goals: I believe I do not waiver from my focus. However along the journey, I believe I am process-orientated in my expression and reflection. I believe I immerse my self in the process [Belief] [see *Note above].

1e. Self: In life, I value physical connection [Value. I strive for physical connection in everything I do [Goal]. I believe I am a physical being – a tactile being, a kinesthetic being, a sensual being [Belief] [see *Note above].

1f. Self: In life, I value an open intellect/mindfulness [Value]. I strive to approach life with an open and inquiring mind [Goal]. I believe I approach most aspects of my life with an open and inquiring mind, applying thought and mindfulness [Belief]

1g. Self: In life, I value emotion [Value]. I strive to be emotionally connected [Goal]. I believe I am an affected being [Belief][see *Note above].

1h. Self: In life, I value joy [Value]. I strive to be connected to joy and happiness [Goal]. I believe I am a joyful being [Belief][see *Note above].

1i. Self: I value a sincere and deep level of engagement with others [Value]. I aspire to engaging with others in a sincere way, and to a deep level of engagement with others [Goal]. I believe I engage with others in a sincere way, and to a deep level of engagement with others – in a genuine and congruent manner [Belief][see *Note above].

1j. Self: I value nurturing as a human quality [Value].I aspire to be a nurturing soul [Goal]. I believe I am a nurturing soul [Belief] [see *Note above].

Year 1 Research Study Part 1b – who I know I am now as a practitioner

2a. Self & Practice: In my life I value self-reliance [Value]. I aspire to being self-reliant [Goal]. I believe I am able to be self-reliant in most aspects of my life, but choose to, or not to as I see appropriate [Belief][see *Note above].

2b. Self & Practice: I value a high standard of practice [Value]. I aspire to execute a high standard of practice [Goal]. I believe I operate at a high standard of practice in most areas of my life [Belief].

2c. Self & Practice: I value a high volume of post-training practice (10,000 hours) in order to develop a professional level of knowledge and skill in that practice [Value]. In any form of new practice I choose to learn, I set the goal on 10,000 hours of post-training practice in order to develop a professional level of knowledge and skill in that practice [Goal]. The forms of practice I have developed a professional level of knowledge and skill in, is the result of having invested 10,000 hours of post-training practice [Belief].

2d. Self & Practice: I value diversity of orientation in my practice [Value]. I am very end product/goal-orientated with actions; and I also very process-orientated with expression and reflection [Goal]. Being contrast orientated, I believe I have a great opportunity in life. I believe I am target-orientated, effective and efficient in realising goals for my practice: I believe I do not waiver from the output focus for that practice. However within practice, I believe I immerse my self in the process of practice with my expression and reflection [Belief] [see *Note above].

2e. Self & Practice: I value a complex multi-dimensional approach to practice [Value]. I aspire to execute a complex multi-dimensional approach within my practice [Goal]. I believe I execute a complex multi-dimensional approach within my practice [Belief].

2f. Self & Practice: I value spontaneity (being spontaneous = freedom for DLP) [Value]. I aspire to spontaneously – effortlessly, naturally – alter my practice as I see fit/appropriate [Goal]. I believe I operate in a spontaneous manner – effortlessly, naturally, within my practice [Belief].

2g. Self & Practice: In my life I value being prepared [Value]. I aspire to being prepared in all situations, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I believe I prepare thoroughly for my practice, facilitating optimum engagement and maximizing the opportunity of an optimum experience for others. I believe such preparation is an integral part of the practice process [Belief] [see *Note above].

2h Self & Practice: In my life I value appearing to be in a relaxed state [Value]. I aspire to appearing to be in a relaxed state in all situations, enabling the execution of what appears to be an effortless/natural/automatic high level of practice; in turn facilitating optimum engagement and maximizing the opportunity of an optimum experience for others [Goal]. I believe I prepare thoroughly for my practice, prior to practice, in order to be in a relaxed stated at the time of public practice (ie the performance). Being in this state in turn facilitates optimum engagement and maximizes the opportunity of an optimum experience for others. I believe such a relaxed state in public performance is a key element of the practice process [Belief] [see *Note above].

2i. Self & Practice: I value practice that provides opportunities for nurturing [Value]. I aspire to practice that provides opportunities to nurture (both my self and others) [Goal]. I believe I engage in practice that provides opportunities to nurture (both my self and others) [Belief][see *Note above].

Year 1 Research Study Part 1c – who I know I am as a practitioner

3a. Social and Cultural contexts: I value social and cultural diversity [Value]. I strive to live across a very wide and broad range of social and cultural contexts – countries and cultures in my life [Goal]. I believe I embrace a very wide and broad range of of social and cultural contexts – countries and cultures in my life [Belief].

3b. Social and Cultural contexts: I value equal opportunity for all – irrespective of gender, race, sexual preference, impairment [Value]. I strive to provide equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Goal].I believe I assist people by providing equitable levels of service and practice for all – irrespective of gender, race, sexual preference, impairment [Belief].

3c. Social and Cultural contexts: I value opportunity for all for learning and development to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… (what I refer to as “community education”) [Value]. I strive to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Goal]. I believe I assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community education”) [Belief].

3d. Social and Cultural contexts: I value opportunities in contexts that provide opportunities for nurturing [Value]. I aspire to practice in contexts that provides opportunities to nurture (both my self and others) [Goal]. I believe I engage in practice in contexts which provides opportunities to nurture (both my self and others) [Belief].

Year 1 Research Study Part 1d – who I know I am as a music practitioner

4a. Music Practice: I value diversity of orientation in my practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my music practice [Goal].Being contrast orientated, I believe there is a great opportunity in my music practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my music practice, not wavering from the output focus for that music practice. However within my music practice, I believe I immerse my self in the process of the music practice with my expression and reflection for creative benefit [Belief].

4b. Music Practice: I value social and cultural diversity of music style [Value].I strive to experience and be influenced by a very wide and broad range of diversity of music styles in my life [Goal]. I believe I am open to experience and be influenced by a very wide and broad range of diversity of music styles [Belief].

4c. Music Practice: I value the practice of music in a supportive environment or culture [Value]. I strive to practice music in a supportive culture and environment in my life [Goal]. I believe I practice music in a supportive culture and environment [Belief]

4d. Music Practice: I value the practice of music to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community music education”) [Value]. I strive to practice music to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community music education”) [Goal]. I believe the practice of music can assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community music education”) [Belief]. I believe I practice music to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community music education”) [Belief].

4e. Music Practice: I value the practice of music which provide opportunities for nurturing [Value]. I aspire to practice music which provides opportunities to nurture (both my self and others) [Goal]. I believe I engage in the practice of music to provide opportunities to nurture (both my self and others) [Belief]. I believe I practice music in a manner that is nurturing (of both my self and others) [Belief].

Year 1 Research Study Part 1e – who I know I am as a music practitioner

5a. Composition & Performance: I value diversity of orientation in my composition and performance practice [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my composition and performance practice [Goal]. Being contrast orientated, I believe there is a great opportunity in my composition and performance practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my composition and performance practice, not wavering from the aim and objective focus for that practice. However within that practice, I believe I immerse my self in the process of the composition and performance practice with my expression and reflection for creative benefit. I believe I am in the moment during that practice [Belief].

5b. Composition & Performance: I value compositions combining a range of music and sonic textures, appropriate to the music style [Value]. I strive to create compositions integrating a range of music and sonic textures into all of my compositions and performances, appropriate to the music style [Goal]. I believe I integrate a range of music and sonic textures into all of my compositions and performances, appropriate to the music style [Belief].

5c. Composition & Performance: I value compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Value]. I strive as a music practitioner to create and play compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Goal]. I believe as a music practitioner, I create and play compositions combining a range of music and sonic textures, woven together in a holistic cohesive manner [Belief].

5d. Composition & Performance: I value performing the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Value]. I strive to perform the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Goal]. I believe I perform the instruments and musical parts I play, in and around other instruments, integrating/gluing all of the instrumental music and sonic textures together [Belief]

5e. Composition & Performance: I value composing and performing music that is nurturing of both my self and others [Value]. I aspire to compose and perform music that is nurturing of both my self and others[Goal]. I believe I compose and perform music that is nurturing of both my self and others [Belief].I believe I practice music in a manner that is nurturing of both my self and others [Belief].

Year 2 Research Study Part 2a – who I am discovering/accepting my self to be as a practitioner

6a. Self & Professional Practice: I value diversity of orientation in my professional practice [Value].I strive to exercise both a goal-orientation (product), and a process-orientation (process) with my professional practice [Goal]. Being contrast orientated, I believe there is a great opportunity in professional practice. I believe my target-orientation allows me to effectively and efficiently realise goals for my professional practice, not wavering from the aim and objective focus for that practice. However within that professional practice, I believe I believe I am in the moment. I immerse my self in the process of that practice with my expression and reflection, for great benefit to both my self and my practice. [Belief].

6b. Self & Professional Practice: In my life I value reflection – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my practice [Value]. I aspire to being reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my practice (family, music, education, research and management & governance) as appropriate [Goal]. I am able to be reflective – conscious, deliberate, systematic, interrogative introspection in order to consider, critically analyse and appraise my self and my practice (family, music, education, research and management & governance) as appropriate [Belief].

6c. Self & Professional Practice: In my life I value ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice [Value]. I aspire to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice (family, music, education, research and management & governance) as appropriate [Goal]. I believe I am committed to ongoing development – constant and never-ending reflexive practice, in order to maintain proactive development of my self and my practice (family, music, education, research and management & governance) as appropriate [Belief].

6d. Self & Professional Practice: I value varied motives of practice [Value]. I strive to practice resulting from many varied motivations [Goal]. I believe I practice as a result of:

Discovery (to use music practice as a medium for exploring, attempting to do something which you haven’t done previously);
Technically (to technically develop one’s skills);
Social (to connect to others);
Affectively (to express or connect to emotion);
Aesthetically (for expression or engagement in something artistic or of beauty);
Creatively (for action, just to do);
Physical (for physical expression, for exercise];
Commercial (for income generation purposes);
Educational (to demonstrate specific practice to my students, live or in preparation);
Cathartic (for self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self);
Performance (to maximise my performance standard, and what others get to see of me/ practice);
Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate in my education & learning practice; nurturing of both others (eg when I am ‘performing’ either a} and myself in my creative practice; and nurturing of myself in my research practice) [Belief].

6e. Self & Professional Practice: In my life I value nurturing [Value]. I aspire to be nurturing being – of my self and others – across my areas of my practice (family, music, education, research, practice) as appropriate [Goal]. I believe I am a nurturing being – of my self and others – across my areas of my practice (family, music, education, research, practice) – a social carer, an encourager, a coach, a mentor, an educator, a friend…. as appropriate [Belief].

(DLP 2016)

As I developed my Research Study through Project 1 in the second year of my doctoral studies, I developed my Charter of Values and Beliefs progressively, and updated the following as of 31st December 2016.

Year 2 Research Study Part 2b – who I am discovering/accepting my self to be as a music practitioner

7a. Self & Music Practice: As a contemporary music practitioner, I value the practice of music across all of the six (6) stages of music practice: performance, creation, pre-production, production, post-production, and distribution [Value]. As a contemporary music practitioner, I strive to practice music across all of the six (6) stages of music practice: performance, creation, pre-production, production, post-production, and distribution[Goal]. As a contemporary music practitioner, I believe I practice music across all of the six (6) stages of music practice: performance, creation, pre-production, production, post-production, and distribution [Belief].

7b. Self & Music Practice: I value music primarily for its affective, expressive and communicative qualities [Value]. I strive to perform and compose music primarily for its affective, expressive and communicative qualities [Goal]. I believe I perform and compose music primarily for its affective, expressive and communicative qualities [Belief]

7c. Self & Music Practice: I value the practice of music motivated by a diversity of intentions – the majority of which are non-commercial [Value]. I strive to practice music motivated by a diversity of intentions in my life – the majority of which are non-commercial [Goal]. I believe I practice music motivated by a diversity of intentions – the majority of which are non-commercial such as:

Discovery (to use music practice as a medium for exploring, attempting to do something which you haven’t done previously)
Technically (to use music practice as a medium to practice one’s craft, and technically develop one’s craft skills)
Social (to use music practice as a medium for social interaction purposes, to connect to others [communicative])
Affectively (to use music practice as a medium to express or connect to emotion)
Aesthetically (to use music practice as a medium for expression or engagement in something artistic or of beauty)
Creatively (to use music practice as a medium for action, just to do [expressivity])
Physical (to use music practice as a medium for physical expression, for exercise]
Commercial (to use music practice as a medium for income generation purposes)
Educational (to demonstrate specific music practice to my students, live or in preparation)
Cathartic (self-development or intervention purposes. For me to connect with my emotions – to notice, to reflect, to acknowledge the emotion, and their significance, to work through that emotional experience – to deal with specific and/or significant events, and hopefully in doing so, move beyond certain emotions associated with these significant events, developing my self)
Performance (where my primary motive is to perform, and therefore all creation and creative development is built upon wanting to maximise my performance standard, and what others get to see of me/my art/my music practice
Nurturing (core to my Charter of Values is nurturing – nurturing of self and others. I demonstrate in my education & learning practice; nurturing of both others (eg when I am ‘performing’ either a} and myself in my creative practice; and nurturing of myself in my research practice) [Belief]

7d. Self & Music Practice: I value the practice of listening to music on any of the three levels: holistic, associative, or critical and analytical listening [Value]. I strive to practice listening to music on any of the three levels: holistic, associative, and critical and analytical listening [Goal]. I believe I practice listening to music on all of the three levels: holistic, associative, and critical and analytical listening [Belief].

7e. Self & Music Practice: I value the practice of music of a range of cultural origins [Value]. I strive to practice music across of a range of cultural origins [Goal]. I believe I practice music across a range of cultural origins [Belief]

Year 2 Research Study Part 2c – who I am discovering/accepting myself to be as a music practitioner

8a. Self & Music Practice: I value the practice of music across a range of diverse technologies [Value]. I strive to practice music across a range of diverse technologies [Goal]. I believe I practice music across a range of diverse technologies [Belief].

8b. Self & Music Practice: Intuitively, I value physical instruments that emit vibrations and resonances, of a style and size I can physically embrace [Value]. I intuitively research across a range of physical instruments to play that emit vibrations and resonances, of a style and size I can physically embrace [Goal]. I believe I intuitively search for and play a range of physical instruments that emit vibrations and resonances, of a style and size I can physically embrace [Belief].

8c. Self & Music Practice: I value the practice of music in a range of diverse sites, where one site’s practice can influence and/or inform another form of practice in another site [Value]. I strive to practice music in a range of diverse sites, where one site’s practice can influence and/or inform another form of practice in another site [Goal]. I believe I practice music in a range of diverse sites, where one site’s practice such as live performance influences and informs another form of practice in another site such as studio performance; which in turn can influence and inform another form of practice such as live performance [Belief].

8d. Self & Music Practice: I value the practice of music across a range of diverse holistic work practice, including compositional songs and soundtracks [Value]. I strive to practice music across a range of diverse holistic work practice, including compositional songs and soundtracks [Goal]. I believe I practice music across a range of diverse holistic work practice, including compositional songs and soundtracks [Belief].

8e. Self & Music Practice: I value the practice of music across a range of diverse (micro) workflows [Value]. I strive to practice music across a range of diverse (micro) workflows [Goal]. I believe I practice music across a range of diverse (micro) workflows [Belief].

Year 2 Research Study Part 2d – who I am discovering/accepting my self to be as a music practitioner

9a. Composition & Performance Technology: I value a diversity of technology in the creation and layering of musical and sonic textures within the music practice of composition and performance – analogue, digital or digital virtual devices [Value]. I strive to create a diversity of technology in the creation and layering of musical and sonic textures within the music practice of composition and performance – analogue, digital or digital virtual devices [Goal]. I believe I use a diversity of technology to create and layer the musical and sonic textures within my music practice of composition and performance – analogue, digital or digital virtual devices. I have developed a diverse range of technology to create and layer musical and sonic textures within my music practice of composition and performance – analogue, digital or digital virtual devices [Belief].

9b. Composition & Performance Technology: I value both acoustic style instruments and their timbre, and the manipulation of at-the-time generated or pre-recorded sound sources for creative purposes [Value]. I strive as a music practitioner to integrate the initial primary focus of acoustic style instruments and their timbre, with the manipulation of at-the-time generated or pre-recorded sound sources for creative purposes [Goal].I believe as a music practitioner I attempt to integrate the initial primary focus of acoustic style instruments and their timbre, with the manipulation of at-the-time generated or pre-recorded sound sources for creative purposes [Belief]. I believe I developed my live/studio technology (my rig) to facilitate the manipulation and layering of sonic textures, and duplicate these irrespective of location – in both live and studio settings [Belief].

9c. Composition & Performance Technology: I value the manipulation and layering of sonic textures must be duplicable equally in live and studio settings. Therefore my rig must facilitate sourcing these sonic textures irrespective of site [Value]. I strive to manipulate and layer sonic textures and duplicate equally in live and studio settings. I strive to develop my live/studio technology (my rig) to facilitate sourcing these sonic textures irrespective of site [Goal]. I believe I manipulate and layer sonic textures and duplicate equally in live and studio settings. I believe I have developed my live/studio technology (my rig) to facilitate sourcing these sonic textures irrespective of site [Belief].

Year 2 Research Study Part 2e – who I am discovering/accepting my self to be as a music practitioner

10a. Creative Practitioner: I value diversity of orientation as a creative practitioner [Value]. I strive to exercise both a goal-orientation (product), and a process-orientation (process) as a creative practitioner [Goal]. Being contrast orientated, I believe there is a great opportunity as a creative practitioner. I believe my target-orientation allows me to effectively and efficiently realise goals, not wavering from the aim and objective focus of that practice. However, I believe I am in the moment as a creative practitioner, fully immersed in the process of my creative practice [Belief].

10b. Creative Practitioner: I value music practice with origins in, and for artistic expression, over music practice solely reliant on craft expression [Value]. I strive to practice music for artistic expression, over music practice solely for craft expression [Goal]. I believe I am now practicing music for artistic expression, rather that practicing music solely for craft expression [Belief].

10c. Creative Practitioner: I value a described music praxis – a framework that articulates the interdependent elements for consideration during the stages of one’s music practice [Value]. I strive to describe my music praxis – a framework that articulates the interdependent elements for consideration during the stages of one’s music practice [Goal]. I believe I have developed a considered music praxis – a framework that articulates the elements for consideration during the stages one’s music practice. These primary elements of my Music Practice Praxis v8i (see figure I below) are: listening, self, reflection/reflective practice, reflexive practice, motive, theme, song mood, decision to commence, music production approach, compositional approach, agreed reference track, music style, simple versus complex textures, technology, site, holistic work practice, micro workflow, aesthetic choices, time opportunity, and social network engagement [Belief].

DLP DCI Praxis v8i.20161231.P1

Figure I – Project 1 Research Study Developed Praxis v8i (Page 2016c)

10d. Creative Practitioner: I value independent self-reliant solo performers who aspired to create multi-timbral and multi-layered soundscapes in each and every performance, irrespective of motive, musical style or site [Value]. I strive to be an independent self-reliant solo performer who aspires to create multi-timbral and multi-layered soundscapes in each and every performance, irrespective of motive, musical style or site [Goal]. I believe I am an independent self-reliant solo performer who aspires to create multi-timbral and multi-layered soundscapes in each and every performance, irrespective of motive, musical style or site [Belief].

Significant Differences between my Project 1 end Year 1 Charter of Values and Beliefs v1, and my end Year 2 Charter of Values and Beliefs v2

In addition to the two areas I have already noted – 1b and 1c – I will now note some of the significant developments between my Project 1 end Year 1 Charter of Values and Beliefs v1, and my end Year 2 Charter of Values and Beliefs v2.

I added diversity of orientation. Whilst this quality could possibly be inferred from a number of items within my Year 1 Charter of Values and Beliefs, I believe I needed to make it more explicit given it was something that I observed had significant impact on my self and my practice. In pursuing my practice across Year 2, I noted on many occasions that I was both end product/goal-orientated, and process-orientated. These were quite often at odds with each other, and sometimes I considered them to be mutually exclusive. However, as Year 2 progressed, I realised that there were examples of my approach to practice where these two orientations sat very comfortably side by side in my orientation to practice. I believe this dual orientation affords me a great opportunity in life. My target-orientatation allows me to be effective and efficient in realising personal goals, not wavering from my focus. However within my practice, in the act of doing and being present within practice, I believe I am process-orientated in my expression and reflection. I believe I immerse my self in the process, and this orientation provides great benefit to both my self, and my practice. Given this positive impact on my self, my practitioner self, and my practice, I therefore added paragraphs 1d, 2c, 4a, 6a and 10a.

I also added nurturing as a human quality. Whilst this was present in my original Charter of Values and Beliefs as paragraph 6d, I observed this quality was missing in other aspects of my life and practice. I therefore added it into paragraphs 1j, 2i, 3d, 4e and 5e.

The five other additions to my Charter of Values and Beliefs v2 that were more practice-based focussed were:

2b. Self & Practice: a high standard of practice; 2c. Self & Practice: a high volume of post-training practice (10,000 hours); 2e. Self & Practice: a complex multi-dimensional approach to practice; and, 4d. Music Practice: the practice of music to assist people to gain an opportunity for learning and development – helping them to navigate their life – their dreams, desires, goals, directions, wants, wishes, in order to overcome their challenges, issues, hurts… – (what I refer to as “community music education”); 7c. Self & Creative practice: creating music and sonic narratives in the styles of narrative, prose or song lyrics.

Summary

As a person new to formal academic research studies, I have been surprised with the number of occasions that I have been confronted by a range of thoughts, feelings, observations, recollections – positives and learnings – and highlighted behavioural patterns over the course of my life, relative to my music practice. Over the past few months I realised that I did not have in fact, the clearest understanding of who I was as a creative practitioner at this moment in time. Therefore in order to try to anchor myself, I continue to develop my Charter of Values and Beliefs to maintain a valid contemporary values statement – a charter of values for both myself and my music practice at this time. In doing this, I am able to continue to gain new levels of understanding of my self and my practice, and start to apply them reflexively to my self and practice (see figure II below).

Figure II – Project 1 Research Study Developed Approach (Page 2016d)

Engaging in this research study has allowed me to continue to develop my self, increase my self confidence, develop clarity regarding my practice, and increase my confidence with this task at hand as a practitioner with my Research Study Project 1. In short, it has allowed me to become a more holistic and balanced practitioner – an expanded practitioner (see figure III below).

creative-practitioner-graphic_more-holistic-balanced-practitioner-20161231-p2

Figure III – Project 1 Research Study Developed Approach (Page 2016e)

Next Step

I realise that as my Research Study Project continues and I gain more insight and greater clarity about my self and my practice, this document will require even more development. It remains a dynamic document that will continue to evolve, in line with my reflections and insights of my self interests, and my practitioner self interests.

This blog series is planned to continue next month with Research Practitioner Part 15. It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

DLP 2016 image courtesy of David L Page. Accessed 27th November, 2016

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David 2016a QUT KKP622 Mid-Project 1 Research Study Progress Report submission draft Accessed April 24, 2016.

Page, David 2016b Research Practitioner Part 6 Accessed 27th November, 2016

Page, David 2016c Project 1 Research Study Developed Praxis v8i Created 27th November, 2016

Page, David 2016d Project 1 Research Study Developed Approach Created 27th November, 2016

Page, David 2016e Project 1 Research Study Developed Approach Created 27th November, 2016

Page, David 2015 QUT KKP603 Project Development in the Creative Industries submission DLP DCI Project Brief Accessed 22nd April, 2016.

Research 2016 image courtesy of: Research Accessed 28th January 2016

Self Reflection 2016 image courtesy of: Self-reflection-for-personal-growth Accessed 18th March, 2016.

– ©David L Page 27/11/2016

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

Memory – Introduction

Context

The series of memory blogs that follow this Introductory blog are part of David L Page’s creative process – reflecting on selected significant events in the early stages of his life, and associating sonic and musical textures that best represent his memory of those significant events. The collection of associative memories will then be formed into a composition – The Dark Years: A Boy Who Was Beaten – which David L Page will produce as a fifteen (15) minute soundtrack of the first stage of his life. This cultural artefact is to make up one part of his Doctoral Project 1 submission.

Doctoral Research Study Abstract

The aim of this Doctor of Creative Industries Research Project is to investigate both my DIY music practice and my self as a practitioner during the process of creating and producing a cultural artefact (EP). My research study is designed to be a mixed-method qualitative study: a practice-based, ethnographic study that is to include a first-person narrative of my personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of my music practice. As an auto-ethnographic study, I designed the project for me to be performing the dual primary roles of being both the practitioner as subject, and the researcher. Such a multi-tiered examination represents a significant departure from current discussion of music practice, developing praxis of contemporary music practice. In this Project 1 research study exegesis submission I narrate the process to date, highlighting observation around my practitioner self, and my music practice and the emergent distinctions integrated into my developing music praxis.

Blog Posts as part of the Reflective Practice journaling process

Welcome to David L Page’s recollection of his story.

These blogs are David’s attempt to share his recollection of the most significant events of the early stages of his life, as best as he can – events that David believes have shaped the development of his self, or the development of his musical self.

The deep reflective practice process David engaged in as part of his creative practice, saw him over some time, situating himself back in time, delving deeper and deeper into the place and the event. Of course, as much as he could possibly do decades after an event, when so much distance has occurred in terms of time and place – David’s aim was to recall as much of the kinaesthetic, the auditory, the visual, the olfactory, or even the gustatory sensations of the particular time and place – of that particular significant event. This is not entirely a new experience for David, merely describing the process he has always intuitively put himself through in his creative practice endeavours, particularly in his music practice – creation, performance, or production. The difference in this research study is however, David had to learn how to more consciously focus in on the selected suite of significant events – at a scheduled time – to more deliberately situate him self back in time, whilst recording the data of each of his in-situation experiences.

You will notice that the various blog posts – more often than not – David has included associated visuals or images, to accompany the written text, along with the attached associative sonic and musical event. David’s intention was to be able to share his in-situation experience with his audience as much as he could. David trust’s these blogs will appeal to either the kinaesthetic, the auditory, or the visual senses of the audience. With more advanced technology, or perhaps an alternative medium, David would like to – in the not too distant future – also share his in-situation olfactory and gustatory sensation experience with his audience.

David L Page’s Reflective Practice process

David requested for it to be noted: the output of each reflection of a significant event arrived as a result of a range of catalysts. David found his deep reflective re-expereinces occurred as a result of a range of catalysts used stimulate memory recall. These included: a calendar date; a visual image in a photo album for example, a book – quote, passage, or once just the cover – , a magazine – with handwritten notes in the borders, the internet – pictures or articles, or his vast stock of past writings – streams, prose in working, lyrics in working. On a few occasions the catalyst was something David saw in life that reminded him of a time or place; at other times a blurred visual image or colour that reminded him of a past time, place, or event; at other times, a sonic texture he heard in his head situated him back in time; or by a sound he heard as he conducted himself in his every day life. At other times, an old song or piece of music, a musical phrase or motif that triggered a memory – something in someone else’s composition, on occasion something he played on an instrument ; at other times, it was a smell – weather, forest, water, toilet freshener, food cooking; at other times, it was a taste – some deliberate, others by accident; and at other times, it was a feeling he had, and recalled a past time, place or event. On many occasions, it was while he was working in another form of practice, something was said or happened that triggered a memory. David noted these down on a phone message or in iNotes, to return to explore them to a greater depth when he had the time to reflect, and more deeply drill down into the particular event.

However, what ever the catalyst, it was unusual for David not to have reverted to the written word at some point in this deep reflective process. At the base of all of David’s practice, lies writing in some style, form, or medium. More often than not in practice, David engaged in streaming his consciousness onto the page – physical or virtual. This streaming could have been just ramblings from his mind, not quite sure yet of what he wanted to say, but trusting he had to get it out, and down onto the page for some greater future benefit. All writings after all, were to make up the wide range of data to be collected in this research study Project 1. Therefore, David made a special effort not to judge the merit or worth of that data at the time – in the moment of performance of his practice, at any particular time. He gathered it all. Often, emotions accompanied these streamings, deepening the in-situation experience. Sometimes these emotions were easily tapped; but most often David had to draw his self in over many hours, days, weeks or months, in order to arrive at what he could finally accept was the essence of that particular significant event. More often, possibly than David would like to admit, tears flowed as his in-stuation experience intensified, reassuring his self of the value and merit of this significant event and the particular in-situation experience, at that time. Sometimes a narrative flowed out of this streaming in the form of a tale; at other times, as prose; at other times, as song-type lyrics; and at other times, distinctions regarding his self, or any one of the forms of his practice – be it creative, research – reflective and reflective, or education and learning. [for more information about a multi-faceted/multi-dimensional approach to practice, see Research Practitioner Part 16 blog].

In terms of this Research Study Project – and most particularly – this series of deep reflective memory blogs – he observed that there was no particular order of the stimulations. On some occasions David commenced in the digital audio workstation (DAW), composing from whatever memories he held of the significant event at the time – associating sonic or musical textures that he felt best represented those occasions, and assisted to return him to the in-stutation experience. At other times, David began in an excel chart, reflecting on the significant event, and allowing thoughts, feelings, images and aural events to return him to the in-stutation experience. On other occasions, David used the writing process to return him to the in-stutation experience.

However, irrespective of what practice or what medium David commenced the deep reflective process, David recycled through most of these processes and mediums – usually multiple times – in no particular order. With each cycle, David deepened the level and intensity of experience, in order to arrive at a deep reflective in-stutation experience, to gather the range of data for this research study Project 1. You will therefore observe in the following sixteen (16) blogs, a variety of layouts, formats, writing styles, graphics or images; along with accompanying links to an equally wide variety of associative sonic and musical textured events.

David’s hopes, as you join him in his journey back to the first stage of his life, you will start to hear his voice emerge through the multi-modal narratives of these sixteen (16) significant events. He trusts you will get a sense of how David gains clarity of his self, as he gains a better understanding of his identity, musical identity, and how his musical self developed over the first twenty years of his life. This research study was always to be an immersive study; a a first-person narrative of David L Page’s personal journey, critical reflection and reflexive practice, highlighting the co-constituted nature of his music practice.

We welcome you to his journey…..

[NB: Included in each memory blog is a link/s to the associative sonic and musical textures that David feels best represent his in-situation memory of each of the particular significant events].

Message from David L Page

~DLP Pro Image Fun 5b small.20141020

Overview

In the early 1990’s I returned home to Australia following a very productive period in creative practice overseas “performing and writing, including recording and experimenting in production. It was a wonderful period for me – one that I hoped would never end” (Page 2014). I recall I arrived home with a new self-image in terms of my creative practice.

In an attempt to develop my practice for my next stage of life, I undertook a number of creative writing courses. The outcome of these programs were a number of pieces of prose, of key moments within my life while I was growing up [see for example, Boy]. A number of the instructors and peers at the time noted my ability to re-situate my self back into the moment of a past event, in some way re-experiencing that experience, in order to then write about it. It was a technique I had developed and practiced, already using this technique across some of the forms of creative writing I engaged in – streaming my consciousness and song lyrics. This technique applied to writing lyrics aligned with my desired confessional singer-songwriter role. A really positive outcome of these creative writing courses was not only the prose, but perhaps more so, my acceptance of this practice as a conscious, deliberate process that I could now apply to another form of my creative writing, prose.

In early 2014, as I was re-considering the focus of my Doctoral Research Study (I had already been accepted), I began brainstorming my journey as a music practitioner. I was very keen on reflecting on more eras, to recall:

how had I arrived at where I was at as a music practitioner?

what life experiences had influenced who I was, or wasn’t, as a music practitioner?

I wanted to articulate these key life experiences into a fluid narrative – my autobiography – of my journey to date. I did return to some of the prose written in the early 1990’s as well as other pieces of creative writing I had done at other times across my life. This reflective exploration took several months, resulting in the narrative overview, Music Practitioner Part 1 – Beginnings (MP Pt1 – Beginnings) blog. I would like it noted though: when I first started writing this autobiography, I had no thought or consideration about doing a soundtrack around my life’s significant events. I had considered at this stage that I would write in the style that I had always done – in an acoustic folk pop song musical style.

Fast forward to 2016 with me now engaged in my Project 1, some 25 months after I had written the MP Pt1 – Beginnings blog, In my search for a thematic idea for my compositions (songs), I started focussing in on more specific events across my life. This then led to another event, and then another, and then another. This process spanned approxiamtely four (4) to five (5) months, arriving as some thirty-five (35) significant events. I then considered how I was going to derive a musical project out of these significant events, arriving at the idea of focussing in on associative memories of each of the significant events. I would – through reflection – associate musical and sonic events for each of the significant event; and then craft the sum of these associative memory events into a soundtrack as the cultural production output for my research study. A musical and sonic collage of my life, if you like.

I knew a challenge for me was going to be to contain the length of the composition – short enough to maintain listener interest; and yet long enough to authentically represent the sum of these significant events. But with thirty-five (35) significant events, it was going to be too long a composition for one Project. I however noted that there was a natural division within the significant events of two time frames that I could possibly divide between my Research Study Project 1 and Project 2: up until twenty (20) years of age; and post-twenty (20) years of age. I decided that it would be logical to have Project 1 represent the associative memories of the first twenty (20) years of my life.

I started experimenting with some sonic events, directly inside the digital audio workstation (DAW). Whilst I gained confidence with my vision, I found that I easily lost focus within each event, and could create some musical or sonic events that were less authentic, less congruent to me of an associated memory. The blogs evolved as a way to more specifically focus in on a range of highlighted events, drawing my self into each of them to determine the actual particular significance of the event. I found by immersing my self into each event via a number of written forms (prose, lyrics, narrative), I could deepen the in-situation experience, and better recall a range of kinaesthetic, auditory, visual, olfactory, or even gustatory sensations of the particular significant event. After experimenting across a number of these significant events, I learnt to trust the physical and emotional responses of these in-situation re-experiences as they occurred. For me, the actual sixteen (16) significant events narrated are real. Whilst immersed in this creative practice, I noted experiences including an inability to breathe, shortness of breath, nausea, headaches and body pain. I relived experiences that brought up emotional responses such as joy, sorrow, fear, sadness, nervousness, loneliness, loss, and feelings of abandonment and shame whilst in-stuating my self within these significant events, and writing these blogs. My planned research study was always to have been a first-person narrative of my personal journey: an emergent study, revealing aspects of my life I had not previously considered fully, or perhaps fully understood. I expected this journey was potentially going to be revealing, and at times, confronting, True to my expectations, it has been.

I trust that you as the reader can in some way experience my re-experiences of significant events within my personal journey, that I now choose to share.

full-2

Re-experiencing the experience 1

Re-experiencing the experience 1 ©David L Page 2016

Just now,

I realise how much stress I am under

as I delve back into my past,

reflecting on,

and writing about

a particular significant event

in the earliest stage of my life…..

Whilst writing,

I can feel the tension within

my jaw is tense,

I can feel a pulsing down the side of my head

my forearms and fingers are cramping,

I note I am quite out of breath,

I can hear my heart pumping,

as though I have a stethoscope on

listening with so much intent

re-experiencing the experience,

of a particular significant event,

immersing my self back in time,

into a deeply reflective in-situation experience,

at the earliest point of my (life) time…..

All of my senses are heightened,

the visual,

the auditory,

the smell,

the taste

the emotion I feel within my body,

everything moving in slow mo (tion),

every thing around….

re-experiencing the experience,

of a particular significant event,

immersing my self back in time,

into a deeply reflective in-situation experience,

at the earliest point of my (life) time…..

whilst in the moment

– performing if you like –

deep in the in-situation experience,

deeply reflecting,

in many ways, re-living,

re-expereincing the feeling and emotion

of the particular time, place and event

“What is that strange taste?”, I thought

as I instinctively wiped my chin,

snapping back into the current moment,

I realised I had vomited,

mainly within my mouth,

but with evidence down my front

I stepped back

– out of my painting as such –

for a split second,

and considered how I possibly felt back then

in that particular significant event,

such a long time ago

re-experiencing the experience,

of a particular significant event,

immersing my self back in time,

into a deeply reflective in-situation experience,

at the earliest point of my (life) time…..

All of my senses are heightened,

the visual,

the auditory,

the smell,

the taste

the emotion I feel within my body,

everything moving in slow motion,

every thing around….

I had many similar in-situation experiences,

over the past six months time,

all whilst undertaking this research study,

into the significant events that made up my life,

from Age 2 to Age 20,

in the formative stage

of my growing

up…

I welcome you to my journey

re-experiencing the experience,

of sixteen (16) particular significant events..

immersing my self back in time,

into a deeply reflective in-situation experience,

in order for me to gain a better understanding of

my self,

my identity,

my musical identity,

and how my musical self has developed

over the first twenty years of my life…..

(Page 2016a).

In-situation re-experiences (aka deep reflective practice)

As you read…

I welcome you to feel…

But of all of the feelings that you can embrace,

please do not feel sorrow or pity …

it is not the point of this journey

that I am taking my self on…

The point of this journey – this process – is for me….

to work through significant events of my life,

to date

to reconcile what I have done in my life,

against what it is that I have wanted to realise,

but have not been able to succeed in,

yet…

It is perhaps not surprising

for those who know me,

you understand I am grateful for who I am,

where I have been,

where I have come from…

I am here,

as a result of all that has gone before me…

all that I have been through

I know my tales are not perhaps

what you’ve heard in other’s

worldly tales of their complicated lives,

some so horrific,

you wander how they lived to tell it at all…

I certainly do not want to minimise

those real life stories of

genuine pain, suffering and hardship

I have had the blessing of living a privileged life

though, living true to my self

in certain areas of life,

still evades me …

and so, I choose not to

let go of this investigation,

my self-imposed intervention process,

my auto-ethnographic research study

with me playing the subject,

and the observer

of the self

after all, what is a life for?

gain more understanding of who you are,

and perhaps learn better,

what you are here (on earth) for….

there is something in my journey,

that has caused me to be unsettled

for as long as I recall,

it is the point of this journey

that I am taking on

the study of my self…

The point of this journey – this process – is for me….

to work through significant events of my life,

to date

to reconcile what I have done in my life,

against what it is that I have wanted to realise,

but have not been able to realise,

yet…

Without endorsing any behaviours or acts,

that you may realise along my journey,

I know that I am stronger

as a result..

Through this process

I am trying to understand,

what brought me to where I stand today..

Nothing more, nothing less…

So I welcome you to proceed..

I welcome you to reflect on what I have lived,

and where I have been ..

If this helps you understand a little bit more of either,

me….

perhaps you (your self)….

or perhaps someone else…

in which you have crossed paths,

then all the better …..

I believe we are all in this thing called life together,

whatever one experiences…

Hopefully others can benefit from our stories,

with lessons to learn,

understandings to gain

for everyone …

So without taking more time out of your busy schedule

I welcome you to engage in…

into any number of episodes in the early stage of life

of me

(Page 2017).

onion-layers

The next blog in this Project 1 series is Memory – Age 2.

References

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David L. 2016b. Research Practitioner Part 16 Accessed 11th March, 2017

Page, David L. 2014. Music Practitioner Part 1 – Beginnings Accessed 11th March, 2017

Page, David L. 1991 Boy Accessed 11th March, 2017

Page, David L image courtesy of David L Page. Accessed 23rd October, 2016

Pulsating image courtesy of: Image Accessed 15th January, 2016

QUT Creative Industries image courtesy of: Queensland University of Technology Accessed 23rd October, 2016

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

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Reflecting on my Education & Learning Practice

Reflecting on 16T2 – the findings of this reflection, and what actions I have done as a result

Note: an abbreviated version of this blog is available as a powerpoint presentation.

It is currently the week following SAE Institute’s Trimester two (16T2) grading fortnight. I am clearing my desk and organising my electronic folders of the last fifteen weeks of teaching resources and administration, and saving required items to the post-Trimester folder. Whilst I am in this process, I find myself reflecting on the Trimester in terms of:

the results students within my modules had achieved;
my perception of their learning experience within those modules;
my interactions with those students throughout the Trimester – their behaviours, comments and any feedback I received;
the resources I had provided them, and;
my education and learning approach – what approach I had taken, what I felt went well, and what with hindsight I would change if I had another opportunity.

16T2 was a particularly challenging Trimester for a number of reasons, and my thoughts were now on my preparation for another Trimester – 16T3 – due to start next week. In 16T3 I will again teach on three of the same modules, two of which I also coordinate (administer and am fully responsible for) – a Trimester two (2) module Production I, and a Trimester five (5) module Final Project.

In 16T2 both of these modules were populated with February intake students: 15T1 and 16T1. The February intake at SAE Institute is largely made up of school leavers, having graduated their Australian high school in the proceeding November, made decisions regarding their immediate tertiary study choices, and been accepted into those respective undergraduate degree programs. Whilst there are usually a few other students within this cohort who have had some life experience since graduating school, I have observed that the February intake usually has considerably less mature age students than the other two (2) yearly intakes of May and September.

Professional Development Program

As a Senior Lecturer for the global Creative Media Institute, SAE Institute I am required to engage in their internal professional development program. A minimum requirement is to undertake three online programs per year. The topic selection is from a range of disciplines such as soft skills, education, supervision, management and compliance. These MaxKnowledge courses take approximately four (4) hours to complete, and are assessed progressively throughout the program, as well as upon its’ completion. Given I had not yet completed any courses, I decide to do these as part of my unwinding of one Trimester, and preparing for the next. Looking through the large list of course options, I highlighted a good number of potential topics. The two courses I finally decided upon were ED117 Teaching Gen Y Students; and EDN112 Influencing Student Motivation. The reason I chose these two particular topics of the many topics available were two-fold:

I often observe peer Lecturer’s getting frustrated with certain cohorts of students for demonstration of qualities and characteristics that I believe could in part be examples of generational gaps;
As a mature Senior Lecturer in a Creative Media Institute a large portion of the students I interact with either school leavers or recent school leavers. Born approximately two decades earlier, they are from Generation Y – the Millennials. Whilst I believe I have maintained currency with contemporary educational practice including learning theory [Educational Philosophy – Part 1], following my particularly difficult 16T2 Trimester with two groups of students with an approach to life, learning and engagement, that was at times at odds with my expectations of tertiary level study; I decided it could not hurt to hear another point of view regarding one of our Institute’s primary learner groups.

General Characteristics Generation X

As outlined in Educational Philosophy – Part 2, I was born into Generation X (Gen X), the son of two parents of the previous generation, Baby Boomers. In Australia at that time, the resources boom was at its height, providing great levels of economic growth, and surplus levels of disposable income. Many Baby Boomer parents took advantage of riding this wave of opportunity, especially as many of them had grown up as children in the previous veteran generation where they had experienced war or post-war economic hardship. The result of working long hours for economic gain, was that in general Baby Boomer parents had less time for their families and children’s lives.

Simultaneously, technology was developing rapidly including space travel, telecommunications, computer technology and media. Social and cultural norms started to change with people questioning their values and beliefs – particularly the youth – motivated by political decisions that affected everyday citizens. Ongoing participation in the Vietnam war was protested in most developed nations, with popular artists and musicians using their popularity to express their anti-establishment views, and alternative life philosophies – be it drug-culture or alternative Eastern religious views. Bob Dylan, Joan Baez, The Beatles, Jimi Hendrix used the popular cultural stage to express their art in influential ways to the global youth market. All of these events influenced Generation X (MaxKnowledge 2016).

Gen Xers grew up to become self-reliant, due to often having absent parents with either organisational or social commitments. Gen Xers therefore learnt that for something to be done, they had to do it for themselves. I recall many a times when my parents were away on business trips for a week, and my siblings were looked after by a live in carer, or as we got older, fended for ourselves. Because of this I became quite independent, in my choices of interests and thought processes. I also noted that I was shy to request assistance, a trait that according to MaxKnowledge is inherent with Gen Xers (MaxKnowledge 2016).

As a result of my upbringing, I have consciously sought balance of lifestyle and work in my adulthood. I like flexibility, and work well in non-traditional structures and times. Whilst I ensure I meet my responsibilities and accountabilities, where and when I actually do this work is less of a priority. Such work needs to be balanced around my family commitments. I have developed strong connections with my family – both my direct and my extended family. Whilst I have not been blessed with my own children, I have a god-daughter and nephew who I provide much attention and guidance to. It is also not coincidental that I have chosen careers across a range of industries which has allowed me to guide and mentor younger people in their education and learning. In many ways, this path has allowed me to address an aspect that I recognised was missing within my development – support, guidance and advice. I am comfortable with and quite technically proficient given my experience with the broad and rapid change of technology within my lifetime.

gen-y

General Characteristics Generation Y

In contrast to Generation Xers, Generation Ys (Gen Ys), have in general been raised by Gen Xers. Gene Xers have tried to correct history by providing total attention to their Gen Y kids, in many ways making up for the lack of parenting they received as children to their baby boomer parents. No question was too small or unworthy. Due to the attention provided by their Gen X parents, Gen Yers have grown up in a heavily structured life. Gen Y’s lives have been planned down to the hour in a very busy daily schedule of school, sports, clubs, family and friends’ activities. Gen Yers have been engaged by their Gen X parents in discussing all aspects of their lives – their views, thoughts, feelings including social, cultural and political events. Gen Yers have in general received very tangible guidance and direction. As a result, Gen Yers have become used to receiving instant feedback in regards to their many activities, thoughts and contemplations. Gen Yers have very high expectations of what they choose to focus on, and yet, do not cope well with outcomes less than their expectations. This is a trait that according to MaxKnowledge is inherent with Gen Yers (MaxKnowledge 2016).

Due to the attention and guidance Gen Yers have received over their lives, along with the social network opportunities for posting comments, photos and videos on line, it is not surprising that Gen Yers are a very ‘me-centric’ generation. They do however like to operate within social groups – family or friends – enabling them for more instant direct feedback from within their groups (MaxKnowledge 2016). Gen Yers have a high level of connectivity – connected at all times to all forms of social media and networks. Gen Yers are at the centre of the ‘like-generation’; following social media and liking people and their social media posts is a Gen Y activity. MaxKnowledge noted that Gen Yers – unlike other generations – did not distinguish between activities at school, home or work (MaxKnowledge 2016). This is very apparent in contemporary learning environments, when a student is usually seen with a mobile device – laptop, mobile phone – within their reach at any time during the class.

Reflection: what I observed in my 16T2 Production I module

This Trimester two (2) undergraduate Production I module is a group project-based learning module. My aim for the module is to provide an opportunity for the students to apply their developing knowledge from the first seven (7) modules into this particular module group production project. Learning by proposing, receiving feedback, negotiation, exploring, trialling, failing, reflecting, correcting, researching and experimentation. The module is conducted primarily in the learning spaces of both a forty (44) seat theatrette & a number of audio studios. The weekly module content is very specific to their production projects, guiding the learners in their project-based learning experience. I have observed over the course of five (5) Trimesters coordinating this module, students generally need assistance with their time-management. The 16T2 cohort was no different, with the clarification that they probably had more challenges with their time-management than any proceeding cohorts I have been involved with. I observed that students developed little of the required group production project documentation outside of class, leaving it to the last moment, or being less than the required standard, requiring redrafting post my formal feedback. In general, the standard of their audio session management was poor relative to previous cohorts, especially surprising given that much time was spent on this aspect within another module that I also taught. The final observation I had regarding this cohort in the module was that the students’ expectations of their Production Projects outcome (three songs recorded as a group, and mixed individually) were very high. However, given their (in general) lack of demonstrated competence regarding time management, their lack of development of the required documentation, and their poor attention to detail such as with their session file management, the students completed their production projects very late in the Trimester, leaving less than one (1) full week to attend to one of their largest learning opportunities in that module, their individual mixes. In contrast to some previous cohort who have spent up to four (4) weeks in the individual mixing stage of their productions, having spent less than one week meant that their Final Product were not only going to be less than my expectation; but perhaps more importantly, less than their expectation.

Reflective practice: could I have done anything differently in my 16T2 Production I module?

Considering my knowledge of a range of education and learning practice theories and approach options, could I have used alternative approaches and methods to that which I did use in the Trimester two (2) Production I module?

Given my understanding of the generational differences, was my approach that more aligned to a cohort of Gen Xers, rather than Gen Yers? Could my approach have been less of a holistic view and more hands-on? Perhaps I could have utilised a more focused education and learning theory and approach such as scaffolded learning? Perhaps I could have provided more opportunity within the learning sessions for the students to develop their project plans, rather than expecting them to develop these outside of class?Perhaps I could have provided more specific focus on having the learners develop their project schedules within the learning sessions with the Gant charts I had provided them as an out-of-class resource? Perhaps more of the learning session time could have been allocated to the development of their data and session management? In 16T2 I initiated weekly group debriefs in front of the group. I had thought it would allow a greater sharing of knowledge and experience amongst the whole cohort. Whilst this may have been useful, perhaps it may have been more useful to break into their production groups, and allowed for more group-based discussions over the class-based based debriefs I had organised? This may have allowed for more specific progress debriefing, reflection, discussion and forward planning. However, logistically this would have meant that I had less time per group, and less comments across all groups. But in terms of learning theory, this may have been more productive in the long run.

In terms of the large groups, perhaps I could have more consciously applied questioning techniques within the group discussions. As discussed in Layer 9: My approach in the learning experience perhaps I could have been more active in using a range of concept checking questions (CCQ), instruction checking questions (ICQ), and in general more focussed questions? In terms of the learners expectations of the level of their Final Product expectations, I am clear I needed to address this in more detail, with more specificity. As trimester two (2) aspiring audio engineer students, their expectations of the standard were unrealistic, and should have been more specifically addressed throughout the trimester. I am unsure as to how much difference this would have made given the particular learner’s personalities and attitudes, but I am confident it would have made some difference within at least several of the learners. I also acknowledge that I could have been more proactive in changing the learning space to other locations, to allow for more group-based discussion. A lecture theatrette does impede effective education and learning irrespective of the experience of the learning facilitator. I find it is too easy to slip back into a teacher-centred learning approach due to the learning environment and layout. As several of my learners have noted: the theatrette style chairs are very comfortable and very easy to lie back, disengage, and become passive.

I would also consider that by following the department’s request to include more signal flow testing, my approach to this was quite focussed, and this was perhaps not the best approach for this particular Gen Yer group. Having used this approach with other cohorts that included other generations such as Gen Xers has proved successful in the past; but with this particular generational group, in hindsight I think it was too much for me to expect that of them.

Reflective practice: how I have responded, and what I have implemented in 16T3.

This trimester I have ensured from the outset that I have been more thorough in my pre-assessing phase with the 16T3 trimester two (2) Production I learners. I hadn’t met any of them previously due to me not having contact with any of the trimester one (1) modules in 16T2. Therefore, I needed to get to know each one of them from week 1. Prior to week 1, as per Layer 8: My approach in preparing for learning practice sessions, I gathered their 16T2 trimester one (1) assessment tasks that had relevance to this particular module. I ensured I was extra thorough in perusing their student files (electronic), and talked with their 16T2 learner facilitators for their perspective of each of the learners. In the week 1 introductory learning session I was very deliberate in discussing generational gaps, reviewing the learning styles they had learnt in another trimester one (1) module, and introduce myself in terms of these, as well as my relevant discipline practice experience.

In terms of my approach to the learning session – preparation and delivery – I have adopted this trimester a:

Less holistic learning approach, and a more detailed focus on specific content
More focused approach using a scaffolded learning approach
More in-class work, developing project plans in class. I have provide more specific examples and links to instructional blogs than I have previously.
More focus on Gant charts and project schedules. I have provide more specific examples than I have previously.
More class tasks specific to data and session management. I have provide more specific examples than I have previously.
I have consciously focussed more on providing small production group-based discussions, over whole class-based discussion. That is not to say I have omitted class-based discussion, but more so balanced this with more group-based discussions as well. Whilst it may be too early to tell [as of this update, it is week five (5) of a thirteen (13) week trimester], following such an approach appears that it may have allowed for more specific progress debriefing, reflection, discussion and forward planning within each of the production project groups.
I have more consciously questioned all learners throughout their lecture format, small group discussions and their practical studio sessions, to ensure I am optimising the effective student learning experience of the particular learners during a learning practice session.
I have already introduced more open discussion as to the current learning cohort’s expectations of their Final Product expectations, and how to be more realistic with this.
I have negotiated with another Lecturer in another module to remove the formal Signal Flow component from my Production I module, but still reinforce the cohort’s development of signal flow within my module’s learning sessions as much as I can. This will leave the formal assessment of this function to another learning facilitator in another of their trimester two (2) modules.
I have consciously refocussed the way I use and interact with the learning spaces for this module. I have more consciously changed the learning space to another learning space when I require more discussion. i have done this as often as possible.

What I learnt as a result of undertaking the required professional development, and then from engaging in reflection of my practice experience.

Reflective practice: reflecting on my education & learning practice last trimester (16T2)?

In summary:

I had overlooked the thorough pre-assessment of the learners (Gen Y)
I mistakenly expected students to be self-reliant – even though as part of that self-reliance approach I had created and curated an enormous amount of resources for the learners to access outside of class)
I overlooked the need for scaffolded tasks for this learner group
I possibly reduced my focus on questioning with this group
- Concept checking questions
- Instruction checking questions
- Focused questioning
I was accepting of the provided learning space
I did not consciously engage reflective practice of my education and learning practice as much as I could have across the Trimester
I did not consciously proactively pursue research of my education and learning practice during that trimester. Perhaps due to my current pre-occupation with my Doctorate in Creative Industries, I did made time to maintain my research in education and learning in 16T2.

Reflexive practice – how have I changed my education & learning practice this trimester (16T3)?

I have consciously returned to reading education and learning approaches and practice. I have returned to Millwood’s learning theories chart to review a range of learning theories, approaches and methods; and I have spent time reviewing recommended higher education education and learning text books such as:
- Millwood, Richard. 2013. Learning Theory v6_Millwood.D2.2.1.20130430 Accessed September 14th, 2016
- Knowles, Malcolm S, Elwood F Holton III and Richard A Swanson. 2012. The adult learner: the definitive classic in adult education and human resource development. 7 ed. New York: Routledge.
- Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.
I have consciously returned to my roots to remind me of my practice. I have a large range of resources and past experience to draw upon, but I needed to re-familiarise my self with my philosophy and approach to education and learning. In order to develop my current understanding of education and learning practice, I have now planned more blog titles in my series, understanding this will assist in keeping engaged and proactive in terms of developing my self and my practice.
I have returned to conscious engagement of reflective practice of my teaching practice. Acknowledging Boud’s (2001) view of the use of journal in reflective practice, I am more consciously and routinely taking notes of my practice. This blog is an example of my formalising many hours of recorded data about my practice over the past six (6) weeks.
I no longer accept the limitations of the provided space. I have changed spaces numerous times this trimester to optimise learning opportunities.
I have included a more scaffolded learning approach in my learning experiences in 16T3.
I have facilitated more small group work opportunities, allowing more individual assessment and engagement
I have more consciously included a deliberate focus on questioning
- Concept checking questions
- Instruction checking questions
- Focused questioning

Where to from here, in terms of my education and learning practice, and my research practice?

As outlined in Educational Philosophy – Part 2, an analogy I have of my self and my practice is that of an onion. I as a practitioner, irrespective of my practice, have layers of knowledge, skills, values, beliefs and bias. One of my beliefs is that it is up to me as part of my professional practice to embark on a journey to reveal who I am – both in terms of my self, and my practice.

There are two focal points that I choose to inform my practice – the theory generated from the field and discipline, and the methodology of my research practice. The figure below shows the relationship of these two foci with in my music practice (see figure ii below).

my-research-study-project_3-points_no-self-p0

Figure I Page (2015f)

The breadth of contemporary education and learning practice

However, the field of education and learning practice is developing inline with the needs of social and cultural needs. As Light et al (2009) outlined, the landscape of higher education education and learning practice has developed greatly in the past ten (10) years. My role as an education and learning practitioner now includes the functions of:

research
teaching
administration, and
student service

As a professional education and learning practitioner, I am expected to perform diligently and competently across all four (4) areas as part of my professional practice. I am now expected to administer all aspects of learning programs within my responsibility and accountability effectively and efficiently, maintain a conscious eye over the progress and welfare of the learners under my responsibility, and deliver a learning experience in an engaging and verifiable manner (qualitatively and quantifiably). I have taken figure i (above), and overlain Light et al’s four functions (see figure ii below).

Figure II Page (2016)

Given my experience as a professional educator and learning practitioner over a number of decades, I do however need to consider Light et al’s (2009) use of the functional term student services. I believe that this term is very broad, and therefore could be misunderstood and misinterpreted. Student services essentially consists of all functions outside of academic functions. The term student services usually includes the functions of the higher education organisational processes of recruiting and enrolling a student, registering them within a program, missing them with a student number, an ID card, an email address, allocating them into a class in order to allocate a timetable, arranging and advertising on student activities, and possibly assisting the learner with arrangement of suitable housing for the duration of their studies. However, a key area of student services that is central to my role as a Senior Lecturer in a Higher Education Institute I am employed here in Brisbane Australia, is specifically that of, pastoral care.

Pastoral care is beyond the range of functions that I have described above, as the term student services implies. Pastoral care includes the oversight of the learners in terms of their general health and welfare. The concept of pastoral care acknowledges that learners need to have balance in their greater life, in order to perform well in education and learning: in their family life, their social life, and in their mental and physical health. I suppose I could summarise pastoral care as being the oversight of learners in their everyday life to ensure they are in a position to maximise their education and learning advancement. In contemporary higher education practice, with all institutes answerable to government for effective education outcomes – ie pass and/or completion rates – such oversight is ann important aspect of the contemporary education and learning practitioner. , it is a different function to both of these (see figure iii below).

DLP Contemporary Ed + Learning Practice diagram.v2.20180124.png

Figure III Page (2018)

Theories, approaches and methodologies of contemporary education and learning practice

As a professional education and learning practitioner, I know I need to read broadly and be clear on the theories, approaches and methodologies that I can draw on in my daily practice. Millwood’s Learning Theories ‘HoTEL’ (2013) chart (see figure ii above) is an excellent starting point for me to return to and re-familiarise my self in a range of education and learning theories, approaches and methods. It is holistically presented, and comprehensive in detail, easily enabling my further research into theories or approaches as a constantly developing education and learning facilitator.

Figure IV Millwood’s Learning Theories ‘HoTEL’ (2013)

By proactively researching and experimenting within my education and learning practice over time, I have been able to develop my content, information knowledge and skill gained across a wide range of experience in different learning theories and approaches. I accept that my practice is dynamic and in need of constantly revisiting, re-appriasing, and developing.

As outlined in Layer 7: My approach to educational practice I am fundamentally predisposed to a andragogical approach to education and learning practice. However, such an approach does not exclude instances where I consider a pedagogical approach to be more appropriate in order to optimise the effective student learning experience of a particular learner or learners at that time.

Figure V – Pedagogy vs Andragogy Chart (2015)

In figure v above both of these approaches are laid out in a transparent manner, allowing my self as an education and learning practitioner to consciously choose the most appropriate approach for the specific learning experience. As I have yet to find one theory or approach that that is optimal in every contemporary adult learning practice context, I draw on multiple theories, approaches and methods that I consider to be appropriate in the particular learning context.

Reflective and Reflexive practice

Following my completion of each of the respective professional development courses I had undertaken, I received the following automated email from MaxKnowledge (2016).

Dear David, Training is ineffective unless the desired behavior, knowledge and skills are transferred to the workplace. Applying what you’ve learned from your training will help you maximize your performance results. Please take a moment to reflect on what you’ve learned and how you intend to apply what you’ve learned in your workplace environment.Yours in learning, MaxKnowledge Support

This email reminded me as a practitioner, that there is little point in being proactive in professional development research or learning, unless we take the process one step further and reflect upon what we have learnt, considering the possible application to our particular context; and then step two, to then decide for change, and implement that change into our practice. The first step is referred to as reflective practice. The second step – that of implementation – is referred to as reflexive practice.

Figure VI – Reflective Practices Summary (Anderson et al 2015)

Reflective practice

Lawrence-Wilkes and Chapman (2015) notes the importance of reflective practice for practitioners in their development “by enabling insight and assisting learning for new understanding, knowledge and action” (see figure iv above). There is much written of the benefits of reflective practice, along with many models for practitioners to engage in Reflective Practice.

Gibb’s (1988) model is perhaps one of the best known, cited in numerous texts and websites globally (see above). It is a relatively straight forward model for aspiring reflective practitioners to guide themselves through the six (6) step process by asking six (6) questions:

Description – what happened?
Feelings – what were you thinking and feeling?
Evaluations – what was good and bad about the experience?
Analysis – what sense can you make of the the situation?
Conclusion – what else could you have done?
If it arose again, what would you do?

rp_brookfield-20160910

Figure VII – Reflective Practices Summary (Anderson et al 2015)

However, perhaps a more applicable model for education and learning practitioners is that of Brookfield (1995). Brookfield’s model asserts that as an education and learning practitioner and reflective practitioner, one needs to broadly and thoroughly gather data from a number of sources in order to gain a truly balanced perspective of the practice being studied. Brookfield outlines four (4) ways a practitioner can gain perspective regarding their practice (see figure v above) – through what he refers to as four (4) lenses:

a lens of their own eyes;
a lens of their learner’s eyes;
a lens of one of their peers – referred to as a critical friend – and;
a lens of their field or discipline – through literature

I will note that in my diverse education and learning practice, I have applied Brookfield’s approach over many years. I have found one of the most significant lenses to be that of number three (3), critical friend; interacting with peers who are engaged and proactive in their development of their education and learning practice. Irrespective of such interaction being informally in faculty staffrooms, and formally as an organised de-briefing session, I trust such engagement has provided me opportunities to enhance my “professional practice and my self-development by enabling insight and assisting learning for new understanding, knowledge and action” (Lawrence-Wilkes and Chapman 2015). I am grateful to those fellow practitioners and for those opportunities over the course of my professional life.

forensic-reflective-practice_haseman

Figure VIII – Reflective Practices Summary (Anderson et al 2015)

Reflexive practice

Lastly, and perhaps most importantly, Reflexive Practice. Reflexive Practice is the process of developing my practice based on my gathering of, and analysis of the data from my research into my practice (ie: from my reflective practice). Haseman (2015) proposes that for reflective practice to be of a robust and valid form, the reflective practice must necessarily include the two steps of reflective and reflexive practice. Forensic Reflective Practice demands that the practice is (see figure vi above):

Reflexive , as well as Reflective Practice;
Include all three dimensions of practice in the research: the field, the site of the practice, and the actual practitioner them self (inclusive of their experience, background, paradigms, values, beliefs and bias), and;
that the practice of reflection and reflexive practice is not by accident. It is a deliberate practice that is scheduled regularly and routinely into one’s practice.

Given my approach to practice [see Layer 5: My approach to all forms of practice], I am of the belief that there is little point in being proactive in professional practice, without engaging in professional development research or learning. Further, having engaged in professional development research or learning, I need to take the process one step further and reflect upon what I have learnt, consider the possible application to the particular context I am engaged in; and to then decide for change, and to implement that change into my practice. Yes, being proactive in professional practice, means engaging in professional development research – that of reflective and reflexive practice.

I trust this blog has outlined an example of my engaging in professional development research practice with regard to my education and learning practice. I hope to have illuminated my experience as both a education and learning practitioner, and a research practitioner over the past six (6) weeks. As a result of this exercise, I am reminded of the value of professional practice, and the need to maintain currency of that practice, irrespective of how much experience one has. I am reminded that to be able to conduct one self at a professional level, there are certain disciplines that I need to maintain. Ongoing development of my education and learning practice is one; and ongoing research practice is another. Life is dynamic, and therefore I accept that as a professional practitioner I also need to be dynamic – proactive and engaged in the development of all forms of my practice. Listed below are some of the resources that I have embraced over the course of this experience. Perhaps others may similarly find these to be useful in their journeys of ongoing development of their education and learning practice; and their ongoing research practice. Irrespective of the field or discipline they may practice within, I wish fellow practitioners well in their journeys.

Generational Understanding

Understanding Millennials

Education and Learning Practice

Educational Philosophy Part 3a

Educational Philosophy Part 3b

Educational Philosophy Part 3c

Reflective and Reflexive Practice

Music Practitioner Part 3 Reflective Practice

References

Anderson, C, Carolyn Carattini, Heather Clarke, Gail Hewton, David Page 2015 QUT KKP623 Reflective Practice in Action Group Presentation submission Accessed September 14th, 2016

Boud, David. 2001. “Using journal writing to enhance reflective practice.” New Directions for Adult and Continuing Education 2001 (90): 9-18. doi: 10.1002/ace.16.

Brookfield, Stephen D. 1995. Becoming a critically reflective teacher. San Francisco: Jossey Bass

Fisher, Douglas and Nancy Frey. 2007. Checking for understanding: formative assessment techniques for your classroom. New York: ASCD.

Future Past image courtesy of: Future Past Lanes Accessed 14th September, 2016

Generation X image courtesy of: Generation X Accessed 14th September, 2016

Generation Y image courtesy of: Generation Y Accessed 14th September, 2016

Gibbs, Graham. 1988. Learning by doing: A guide to teaching and learning methods. New York: FEU.

Gibbs’ Reflective cycle image courtesy of: https://www.pinterest.com/pin/543739354987865666 Accessed 5th June, 2015

Haseman, B. 2015. Forensic reflective practice: effecting personal and systemic change. Accessed 14th September, 2016. https://blackboard.qut.edu.au/webapps/blackboard/content/listContent.jsp?course_id=_118711_1&content_id=_5744651_1.

Lawrence-Wilkes, L. & Chapman, A. 2015. Reflective Practice. Accessed 14th September, 2016 http://www.businessballs.com/reflective-practice.htm

Light, Greg, Susanna Calkins and Roy Cox. 2009. Learning and teaching in higher education: the reflective professional. London: Sage.

Man Bending Back Over Himself image courtesy of: Bending Back Over Accessed 14th September, 2016

MaxKnowledge. 2016. ED117 Teaching Gen Y Students Course. http://www.careercollegelounge.com Accessed 14th September, 2016 2016

Millwood, Richard. 2013. Learning Theory v6_Millwood.D2.2.1.20130430 Accessed 14th September, 2016

Onion image courtesy of: Onion Layers Accessed 14th September, 2016

Page, David L. 2018. Figure III image courtesy of: David L Page, adapting Light and Cox 2009 (see above) Accessed 24th January, 2018

Page, David L. 2016 Figure II image courtesy of: David L Page Accessed 24th January, 2018

Page, David L. 2015a. Educational Philosophy Part 2 Accessed 14th September, 2016

Page, David L. 2015b. Educational Philosophy Part 3a Accessed 14th September, 2016

Page, David L. 2015c. Educational Philosophy Part 3b Accessed 14th September, 2016

Page, David L. 2015d. Educational Philosophy Part 3c Accessed 14th September, 2016

Page, David L. 2015e. Music Practitioner Part 3 Reflective Practice Accessed September 14th, 2016

Page, David L 2015f. Figure I image courtesy of Research Practitioner Part 2 Accessed 14th September, 2016

Page, David L. 2004. Educational Philosophy Part 1 Accessed September 14th, 2016

Pedagogy versus Andragogy chart courtesy of: Pedagogy vs Andragogy chart Accessed 14th September, 2016

Reflection image courtesy of: Reflection Accessed 14th September, 2016

SAE Qantm image courtesy of: SAE Institute Accessed 14th September, 2016

Self reflection image courtesy of: Self-reflection-for-personal-growth Accessed 14th September, 2016

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

David L Page

Educator, Mentor, Songwriter,Musician, Engineer….

Research Study

Abstract

(Page 2015a)

Preamble

Continuing on from my previous blogs (Page 2015b) in this series….

In the beginning……

My doctoral research study……

Research Study – 1st Observation:

I acknowledged that I approached my music and sound-making practice in terms of the outcome – the finished product. I was not considering the process in which I was music and sound-making, any more than with a cursory glance. My music and sound-making practice was product-driven.

(Page 2017a)

I recognised that I approached my music-making with physical instruments in a different manner to my approach to music and sound-making using virtual technologies (using my laptop to make music and sound for example). In drilling down I determined that much of this was how I viewed both devices.

Research Study – 2nd Observation:

My eyes were starting to open.

(Page 2017b)

Project 1 Pilot Study – 3rd Observation:

(Page 2017c)

My music praxis (v4) had six (6) elements listed: self, motive, music style, location, technology and workflow.

(Page 2015b)

Project 1 Pilot Study – 6th Observation:

(Page 2017d)

(Page 2016a)

(Page 2016b)

I realised my music praxis was in fact very circular, with reflective and reflexive practice occurring constantly at any point in time. ­

(Page 2017e)

(Page 2017f)

This blog series is planned to continue next month with Research Practitioner Part 25 (Page 2017g). It is intended for this blog series to continue on a regular basis as I progress through my doctoral research project.

References

Onion image courtesy of: Onion Layers Accessed 28th March, 2015

Page, David L. 2017g. Doctoral Pilot Study – Part 25 Accessed 3rd January, 2018

Page, David L. 2017f .17th Observation image courtesy of David L Page DCI Project 1 Research Study Holistic Model of an Authentic Practitioner. Created 9th June, 2017

Page, David L. 2017e. Praxis v9k image courtesy of David L Page. Created 20th May, 2017

Page, David L. 2017d. 6th Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017c. 3rd Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017b. 2nd Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2017a. 1st Observation image courtesy of David L Page. Created 17th May, 2017

Page, David L. 2016b. Praxis v8i image courtesy of David L Page. Created 29th, November, 2016

Page, David L. 2016a. Praxis v5b image courtesy of David L Page. Created 15th April, 2016

Page, David L. 2015c. Praxis 4 image courtesy of David L Page. Created 1st December, 2015

Page, David L. 2015b. Doctoral Research Study – Part 3 Accessed 1st December, 2015

Page, David L.2015a. image courtesy of David L Page. Created 14th September, 2015

Wiley, Norbert. 2010. “Inner speech and agency.” In Conversations about reflexivity, edited by Margaret S. Archer, 17-38. New York: Routledge

– @David L Page 27/12/2017

– updated @David L Page 03/01/2018

Copyright: No aspect of the content of this blog or blog site is to be reprinted or used within any practice without strict permission directly from David L Page.

(Page 2017a)

Me, myself, I – the multi-facetted/multi-dimensional practitioner

“All of my practice informs my self; and my self informs my practice – irrespective of the industry, the field, the discipline, or the site”(Page 2017c).

(Page 2017g)

A broad definition of me, myself, I – the creative practitioner

Engagement with particular creative media platforms for particular purposes

(Page 2017d)

(Page 2017e)

(Page 2017f)

Engagement with particular creative media mediums dictates what cultural productions I engage in

(AE 2015a)

1. 4 different listening behaviours I exhibit:

(Pink Floyd 1973)

(Buckley 1972)

(Olsen 2017)

2. 4 different visual arts and design viewing behaviours I exhibit:

eg 1: traditional art – physical paintings, etc – I do like to see in an art gallery, particularly a curated art gallery with a theme, or an artist’s works.. I like taking time to wander around in a relaxed stated;

eg 2: In saying that, I usually also like to have copies of my favourite works electronically (desktop pictures, pinterest, etc) to see and remind myself of that experience in the art gallery;

eg 5: virtual creative, artistic design is ok on most modern mediums (laptop, desktop, etc). However in saying this, I tend not to view on smaller virtual devices such as iphones, as images gets lost/loses visual impact for me being so small, etc.

3.4 different film viewing behaviours I exhibit:

(Entertainment, Castle Rock. 1994)

eg 2: Certain movies eg (original) “Point Break”, “Star Wars” are a cinematic experience, and lose a great detail of impact for me when not watched in cinema, but on my home TV system;

eg 3: Where I want to view a trailer to see if I am interested in watching it in full, I am happy to watch them on alternate mediums such as a laptop or desktop

eg 4: Certain movies eg “Blair Witch Project” I believe benefit from being watched on alternate mediums such as a laptop or desktop as this smaller – more intimate? individual? secretive? -medium lends itself more to the intent of the narrative in my opinion.

4. 3 different animation viewing behaviours I exhibit:

(Disney 1994)

eg 3: Where there are short animations (3 minute Pixar), I am happy to watch them on alternate mediums such as a laptop or desktop, just to entertain myself for a short moment to lift my mood, distract me, etc.

5. x different games viewing behaviours I exhibit:

eg 1: No contribution possible. mes not a gameboy!!!

Conclusion

The mediums one chooses to access media through, could therefore dictate what media you actually engage in.

How do you access creative media?

How does this inform what cultural production – what cultural artifact – you choose to engage in at any point in time?

References

I realised my music praxis was in fact very circular, with reflective and reflexive practice occurring constantly at any point in time.