Posts Tagged ‘exegesis’

Time to work on the exegesis

In Honours blog on August 13, 2009 at 6:39 am

It is time to begin working on the exegesis I think. I don’t want to get to the end and get stressed out because of micr0-management so here we go:

Here’s some advice for students doing a Master of Arts.

The exegesis

The exegesis will be based on the same body of research that informs the creative work. It will explore a topic implicitly or explicitly related to the creative work, or the literary and/or cultural fields relevant to the creative work.

The connection between the exegesis and the creative work should be obvious to examiners. They must be clearly related.

The exegesis will conform with the conventions and style appropriate to contemporary academic prose and be written in a style appropriate to its target readership and genre. It must demonstrate mastery of the more traditional conceptual and scholarly skills expected of a MA candidate—for example:

  • wide reading; being informed about the field; referencing other primary and secondary works/sources
  • being rigorous and ethical
  • making substantial contribution to knowledge
  • writing with aesthetic merit and impact; using the language of the discourse/discipline
  • arguing, including pre-emptive argument, and providing evidence for positions
  • positioning the voice of the researcher

The exegesis will ordinarily represent a writing discipline different from that of the creative work. Exceptions are possible with approval of supervisors.

Word length

The exegesis will normally be 5-10,000 words in length: it should have a narrow enough field to be adequately dealt with in 5-10,000 words.


The exegesis does not usually precede the creative work, although this is not unheard of. And while not necessarily written synchronously with the creative work, you should commence from the beginning of your research and candidature to read, keep accurate records of references, and take notes.


Class feedback

In Honours blog on August 5, 2009 at 9:14 am

I though it would be a good idea to put some of the class feedback on here. So here’s some advice, and suggestions from last Thursdays class.

  • scale it down to possible quality work- 6 good podcasts with a well documented blog is great stuff I reckon
  • photo slide over it? look up the Chanel podcasts, interviews with photos over it
  • an amateur or casual aesthetic may distinguish the podcast from other forms of media
  • a personal unaffected style may be more successful than one based on a theory or formal style
  • Is a podcast from a news publication inherently an old-media approach?
  • It is important to justify the medium and how they are used by the target audience
  • Bring form and content together, it seems like it is the way to demonstrate your research
  • It’s good that you’re sort of doing a ‘how to?’ concept of a project

And from the discussion afterwards:

  • Who’s the audience?
  • A house style
  • Trend towards more informal news
  • Could be like a weekend magazine add on on their website
  • Do you lose traditional news values in the podcast medium? The blog fills in the gaps
  • Audio slide show perhaps with talking over the photos.

Article summary: Enrico Menduni

In Honours blog on August 5, 2009 at 8:30 am

Menduni, Enrico. “Four steps in innovative radio broadcasting: From QuickTime to podcasting”. The Radio Journal Vol. 5, 2007

Menduni explains what contributed to our current online music situation. From gramophones to live streaming, to the iPod. He says that podcasting is not a more democratic medium than radio, it operates in a very similar way, just with more producers. He makes an interesting connection with the flaneur, or city0walker. Could be very useful in my exegesis. He also suggests that it could be the mobile phone that is the next step forward in radio consumption. But it kind of is already, with the iPhone, etc.

“The diffusion of sound through the net would dramatically change the distrib-
ution, economy and culture of music, not to mention all related social
systems, including radio and the recording industry. Among the various
consequences, we can distinguish two important categories:
1. Almost everybody could broadcast. The former enormous social and
economic distance between broadcaster and listener could evolve
towards an almost peer-to-peer (P2P) relationship, at least potentially.
10 Enrico Menduni

2. Almost every existing radio station could ‘webcast’ (broadcast on the
net), breaking space and time boundaries and many (if not all) forms of
social control and censorship.” (pp. 10-11)

“Streaming software allowed one to access a digital sound (or, later, video)
file before it had been completely downloaded. Before the introduction of
streaming, downloading time could be so long – due to the dimensions of
the file – that it would discourage potential listeners,” (pg. 11)

“The iPod allowed its user to hold a personal encyclopaedia in which all his or her history in
music, video and photos is stored: in other words, a complete set of tastes
and preferences.” (pg. 14)

“At the moment, podcasting does not operate as a more democ-
ratic medium. Just as it is valued and exploited by the recording industry,
radio stations and even political or cultural organisations have adopted it
in order to promote closer bonds with their listeners and clients, i.e., as
with any form of subscription.” (pg. 15)

But despite the fact that the commercial side of broadcasting has jumped on the bandwagon it does still have independant roots:

“Podcasting, as a social practice, seems to be
considered by the young as more individualised than radio listening and
music compilation-making, involving a relationship with several
providers, the podcasters, seen not as institutions but as peers.” (pg. 16)

“All these hints, however provisional, suggest a role for podcasting as a
niche prosumer activity, not as random listening or a passive feed from the
podcaster. While Internet radio is highly static, rooted in the household,
podcasting could be the true heir of the urban explorations of the
Walkman, both having as their ancestor the flâneur (city-walker) of
Baudelaire: the person who ‘marries the crowd’, who likes most ‘to be out
of home, and nevertheless to feel at home everywhere, to watch the world,
to be in its centre and to be in hiding’ (Baudelaire 1885: 64–65). Indeed,
even more than the Walkman, podcasting implies a component of manual
manipulation on the computer keyboard, accessible to a niche of passion-
ate lovers of music and radio. It seems to indicate the future of radio but,
nevertheless, it is difficult to think of mass podcasting given that it requires
a component of specialised computer work.” (pg. 16)

But it may not be the future, there is perhaps more evolution of radio yet to come…

“As an interesting and effective social technology, podcasting would appear to retain the mobile and
interactive aspects of radio, its valued attributes as a medium. Yet podcasting may still not offer the definitive mode of radio consumption.” (pg. 16)

He suggests that it is the mobile phone that could be the future way we consume broadcasting, and everything else:

“It may well be that the mobile phone will
create its own political economy as a technological and social platform to
carry other media, like a radio set or a camera, a recorder or an MP3
player, and a popular billing system. Indeed it may be that radio in the
digital era may profit more by establishing some form of alliance with
mobile phones, including an evolution of podcasting, as suggested by the
presentation in December 2006 by Apple of an iPhone. Technology in the
UMTS generation of mobile phones could be ready for this but, once again,
it will be the social uses of technology rather than the technology itself
that will finally decide.” (pg. 17)