The ‘performance lecture’ (cf Cage, 1961) suggests itself as a method for the articulation of practice research, combining performance and/or creative practices with the potential discussion and exploration of the themes, ideas and knowledge that emerge from them. This may be particularly effective when the work itself can be considered a ‘creative textual practice’ (Kristeva, 1984; Barrett, 2011); a practice that offers the potential to rethink the ways that written and spoken texts can be performed. In this portfolio, I demonstrate that ways the performance lecture does not only offer an intuitive method for the exploration and articulation of knowledge in practice research, but is itself a further site of enquiry into the nature of creative practice as a process of transformative action. I do this through the presentation of three performance lectures: ‘creative textual practices as critical rewritings’ (2022), thinking through knowing through doing (2024); and what are notes anyway? (2024). These works are developed via creative textual practice, sound performance, and improvisation—as a solo performer and as a collaborator—and that combine these practices with their critical evaluation. Through written evaluation in a book chapter and conference proceedings I consider my experiences of delivering these performance lectures and further explain how such practices can be structured as a methodology for practice research, including additional methods such as auto/ethnographic reflection, and field recordings alongside performance. I then extend this to show how a written reflection can function as a further iteration of the performance lecture itself as a contribution to a conference proceedings. This combination of performed practice and written practice allows me to place the ‘evaluative’ and ‘creative’ aspects of my work in dialogue with each other and to reflexively examine the process of creation, considering performance lectures as an experimental means of investigation.

• Redhead, L. 2022. Creative Textual Practices as Critical Re-writings. In: "NoiseFloor 2022", Staffordshire University, United Kingdom, 12 May 2022. [Performance]
• Redhead, L. 2024. thinking through knowing through doing. [Audio]
• Redhead, L. 2024. Sound as a Method: Creative Textual Practices as Critical Re-writings. In: Marc Estibeiro; Dave Payling and David Cotter, eds. Collaboration, Engagement, and Tradition in Contemporary and Electronic Music: NoiseFloor Perspectives. Abingdon: Routledge, pp. 173-188. ISBN 9781032553740 [Book Section]
• Redhead, L; Kirby, Jenn and Zaldua, Alistair. 2024. what are notes anyway?. In: "Noise Floor", Escola Superior de Música de Lisboa, Portugal, 27-29 May 2024. [Performance]

https://research.gold.ac.uk/id/eprint/39161