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The School of Culinary Arts and Food Technology, TU Dublin, Autumn Newsletter captured the many events, research, awards, significant contributions and special civic and community activities which the students and staff members of the school across our (3) three campuses have successfully completed up to the Autumn period of 2022. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters.

The School of Culinary Arts and Food Technology, TU Dublin, Summer Newsletter captured the many events, research, awards, significant contributions and special civic and community activities which the students and staff members of the school (across our three campuses in Grangegorman, Tallaght and Blanchardstown) have successfully completed up to the Summer period of 2022. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters.

This thesis will enable a retrospective critical examination of aspects of my practice as an artist from 2005 - 2020. The research question addresses the implication of multiple forms of inter-reliance enabled in the practice. This will be enabled by opening a discursive space that retrospectively, integrates and critically examines the role and function of inter-reliance as a structural methodology and how this is implicated in the practice over this period. This thesis will use term inter-reliance to define a play of relations where individual art works when viewed in isolation exist only in partial illumination as a form of penumbra. The art works are inchoate as separate entities only becoming activated or fully realised when engaged with collectively and interdiscursively, as a set of enabled relationships. In each of the chapters inter-reliance is manifested as a set of specific enabled reciprocal relationships between artistic mechanisms and physical, perceptual, associative, sonic, contextual and cinematic space. Rather than make art for art’s sake or art that specifically engages with trends or tendencies within the art world, it will elucidate how the practice is relational and empathetic, facilitating an inter-reliance between artist and viewer and artist and society, the practice engages with and reflects upon broader society where articulations of ideological positions are subtly embedded.

This research questions how interactive music technology might enable creativity in performers. The format is a semi-autoethnographic narrative that follows the performer’s artistic process of preparing nine compositions for performance; these works are for bass clarinet or clarinet and live processing (created with Ableton Live, Max for Live, and the SABRe multi-sensor and remote). In order to conduct this research, I remixed two existing bass clarinet works, collaborated with two composers on six new works, and composed my own piece. I maintained a reflective journal for four and a half years that documented the process of preparing these compositions for performance. Excerpts from this journal are interwoven throughout the main text of this thesis and provide insight into the activities of music practice and performance, programming, collaboration, improvisation, remixing, and composition. The findings from this research highlight the human aspect of using technology in performance and demonstrate that technology can expand the practice of performers. As both the programmer and performer, I found that my performance practice informed how I programmed the sensors, and programming in turn affected how I practiced. The sensors required me to make decisions on how physical movements would affect the live electronics, thus causing me to reconsider the connection between my mind and body in performance. Additionally, the process of deciding how to integrate the sensors in performance compelled me to look inward at my own practice and question preconceived ideas of creativity. Ultimately, this research provides an in-depth look into contemporary performance practice, while also offering several new approaches to using interactive music technology in performance.

The School of Culinary Arts and Food Technology, TU Dublin, Winter Newsletter captured the many events, research, awards, significant contributions, special civic, community and sustainability activities which the students and staff members of the school have successfully completed up to the Winter period of 2021. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters. We thank you all, consider getting involved in our New Campus (Central Quad, Grangegorman, Dublin 7). Take care and stay safe !!

The School of Culinary Arts and Food Technology, TU Dublin, Autumn Newsletter captured the many events, research, awards, significant contributions, special civic, community and sustainability activities which the students and staff members of the school have successfully completed up to the Autumn period of 2021. The successful completion of these activities would not be possible without the active and on-going support of the 'INSPIRED' friends of Culinary Arts (school supporters) and our school's industry association supporters. We thank you all, consider getting involved in our New Campus here at Central Quad, Grangegorman, Dublin 7). email: scaft@tudublin.ie for further details and our school programmes.

This arts practice-based research [APBR] addresses a political and ethical problem, namely how a creative practice can operate contrary to the destructive, predatory forces of extractive capitalism. The research took the systemic, socio-spatial violence of enclosure and economisation as a starting point, anchored in the concrete conditions of Limerick city, to test the critical, political possibilities of collaborative, cultural work. From an examination of the ways in which lived space is subsumed under the abstractive logic of ‘the Economy’, two processes of abstraction and enclosure are isolated and examined: i) a hollowing out of publicness, captured by the lexigraph public (strikethrough), and ii) a process described as the economisation of space, a hegemonic framing of urban space in purely economic terms, which draws local inhabitants into a performative idea of what the city means, and who it is for. Working through a socially engaged process, a critical and cognitive mapping methodology was conjoined with the emergent phenomena of aesthetic events, to generate ways of knowing, producing and acting in common, contrary to processes of enclosure and economisation. Through an extended analysis of selected aesthetic actions – Free*Space; Critical Cartographies; Contested Sites; and The Laboratory of Common Interest (2015 – 2019) – the thesis argues i) that the social order of extractive capitalism is underpinned by an aesthetic order, which acts upon the embodied dispositions of populations; and ii) that the aesthetic order is susceptible to modification through a practice identified as aesthetic work, which is unpacked and explicated in detail. The thesis includes a fully diagrammatic chapter that deliberately interrupts the research narrative, complicating the question of how knowledge is understood, produced and validated, and by whom.

Congregational hymn-singing has played a central role in the worship of the Church of Ireland for centuries. This dissertation takes into account the first three editions of the Church Hymnal, published between 1864 and 1919, and discusses the reasons behind their publication before analysing their content with regard to main themes, sources, and contributors. The information acquired through this analysis is then looked at within the wider context of the times in which they were published. This contextualisation unlocks broader themes within the hymnals relating to the Church of Ireland, not just as a religious denomination, but as a section of Irish and British society. This allows for these collections to create a snapshot of the Church of Ireland and its people during this period.