2019 ACUADS CONFERENCE: ENGAGEMENT 31st October – 1st November, Melbourne

co-hosted by the School of Art and School of Design, RMIT University, and the Victorian College of the Arts, University of Melbourne

1 2019 ACUADS CONFERENCE: ENGAGEMENT

The 2019 ACUADS Conference focuses research in order to achieve impact but on the meaning of engagement for also to explore the unknown? How do we contemporary art and design schools: educate to achieve innovation but remain across disciplines, nationalities and connected to history? How do we sustain cultures; but also with industries, a critical commentary on society whilst communities and the world at large. receiving the rewards and resourcing? What can we learn from indigenous Our guiding principle was that perspectives on engagement? In the design is neither an intellectual year when the Excellence in Research nor a material affair, but simply for Australia framework articulated the an integral part of the stuff of life, first sector-wide measures of impact and necessary for everyone in a civilized engagement, we ask: does engagement society. allow new futures for the creative arts, or — Walter Gropius has engagement become a dirty word?

2019 marks the centenary of the founding Finally, it has been a delight to of the Weimar State Bauhaus by Walter co-host the conference as a collaboration Gropius. Revolutionising models of art, between the School of Art and the School design and architecture education at the of Design, RMIT University, and the time, the school drew on interdisciplinary Victorian College of the Arts, University ideals, international parameters and a of Melbourne. My personal thanks to the deeply held social conscience. Gropius steering committee, and, the inestimable established the archetypal Modernist Dr Amy Spiers. school by engaging across media, disciplines, cultures, classes and genders, Thank you for joining us in Melbourne with a deep commitment to the material, and we look forward to sharing ideas the applied and the experimental. These around engagement past, present aspirations still ring true one hundred and future. years later, although the models and context have changed. Professor Kit Wise Dean School of Art As we look to the start of a new RMIT University decade in 2020 and beyond, how do we demonstrate value without instrumentalising creativity? How do we

2 3 CONFERENCE STEERING COMMITTEE ABOUT

Professor Kit Wise, Dean, School of Art, The Australian Council of University Art The aims of the Australian Council RMIT University (co-convenor) and Design Schools (ACUADS) is the peak of University Art and Design Schools discipline body of university visual arts, (ACUADS) are: Associate Professor Kate Daw, Head, crafts and design. VCA Art, Victorian College of the Arts, • to provide leadership to professional Faculty of Fine Art and Music, ACUADS was established in 1981 (initially education, research and community The University of Melbourne (co-convenor) as the National Conference of Heads of service in art, craft and design in the Arts and Design Schools – NCHADS) as higher education sector Dr David Sequeira, Director, an association of heads of departments, Margaret Lawrence Gallery, Victorian schools and colleges of art and design. • to promote quality College of the Arts, Faculty of Fine Arts NCHADS served as an informal link professional education of and Music, University of Melbourne between executive officers providing artists, crafts practitioners support and direction to the development and designers Dr Danny Butt, Associate Director of art and design education in Australia (Research), Victorian College of the Arts, for more than ten years. The change of • to identify, develop and foster Faculty of Fine Arts and Music, name in 1994 to ACUADS was intended research in art, craft and design The University of Melbourne to reflect the location of art and design education on a national schools in the National Unified System international basis Associate Professor Shane Hulbert, of Australian Universities. In 2003, Associate Dean Photography, membership was extended to include • to develop policy and advocate School of Art, RMIT University other major TAFE institutions offering on behalf of art, craft and design degree courses. teaching and research. Associate Professor Richard Roberts, Performance Design, Victorian College ACUADS represents over thirty Australian of the Arts, Faculty of Fine Arts and Music, university art and design faculties, schools The University of Melbourne and departments and other academic units offering university degrees at Dr Neal Haslem, Associate Dean, undergraduate and postgraduate levels, Communication Design, School of Design, including bachelor, master, and doctorate RMIT University in art, craft and design.

Dr Amy Spiers, 2019 ACUADS Conference ACUADS plays an active role in Producer, School of Art, RMIT University shaping quality education for artists, crafts practitioners and designers. The organisation addresses issues affecting the sector, and is concerned with the status of the visual arts and design industries in the wider economic, social and cultural development of Australia.

4 5 ESSENTIAL INFORMATION

Registration Medical Assistance Staying on time Program Registration is located in the Kenneth Please see below, a list of the closest Sessions are 90 minutes. The organisers have made every effort to Myer Auditorium Foyer, Ian Potter medical facilities to the conference. If you are presenting please ensure you ensure the information contained in this Southbank Centre on Day 1 of the keep to your allotted time. We ask all program is correct. We sincerely apologise Conference and at the Capitol Theatre Closest Hospital: presenters and session chairs to please be for any errors or omissions that might have until 11am on Day 2, and Kaleide Theatre The Royal Melbourne Hospital at your room 30–15 minutes prior to the slipped through. Foyer for the rest of the day. Registration 300 Grattan St, Parkville VIC 3050 session to set up. Volunteers or chairs will is open from 8.30am on both days. (03) 9342 7000 be on hand to assist. We ask session chairs Please be aware that the period between to be strict with time keeping, to ensure 8.30–9am on Thursday 31st October will Closest Pharmacy near venues Day 1: delegates have enough time to take a be our busiest registration period. Please Chemist Warehouse Southbank break and collect refreshments before the arrive early to ensure you can obtain your 153/159 Sturt St, Southbank VIC 3006 next sessions begin. printed schedule, lanyard with your name (03) 9682 2278 tag before the first scheduled event. Conference breaks Closest GP near venues Day 1: A light morning and afternoon tea, as Wayfinding Southgate Medical Centre well as a more substantial lunch, will be Please consult the conference map and 3 Southgate Ave, Southbank VIC 3006 provided by STREAT, a social enterprise schedule to find the key venues of the (03) 9690 1433 catering service. Coffee and tea will conference which are The Ian Potter also be available. We have located Southbank Centre, Building 880 for Day Closest Pharmacy near venues Day 2: conference breaks at the Kenneth Myer 1 and Building 80, Building 24, Kaleide Terry White Chemmart Auditorium Foyer on Day 1 and inside the Theatre and the Capitol Theatre for Day 2. Melbourne Central, Shop 152C, Kaleide Theatre Foyer on Day 2. After Conference volunteers and staff with red 211 La Trobe St, Melbourne, Victoria, 3000 you have collected your refreshments, we lanyards, as well as conference signage, (03) 9650 8850 encourage you to have your break at the will be placed around the conference to peaceful outdoor public spaces available help you find your way around. Please Closest GP near venues Day 2: around both venues. The volunteers would note that RMIT rooms are coded in the La Trobe St Medical be around to direct you to these places. following way: Building number. Level (entry via Terry White Chemmart on number. Room number (e.g. 80.11.09 is Level 1 of Melbourne Central) Reducing waste Building 80, Level 11, Room 9). Please be We aim to limit the ecological footprint of aware there may be other conferences the event by avoiding single-use plastic across RMIT campus during the ACUADS wherever possible. Please bring a reusable Conference, and don’t hesitate to ask our coffee cup and water bottle if possible. volunteers for help if you find yourself lost.

6 7 KULIN MELBOURNE: KULIN MELBOURNE: 2019 ACUADS CONFERENCE MAP SITES OF INDIGENOUS SIGNIFICANCE

Based on the 2017 Open House We acknowledge the Traditional Melbourne map initiated by Koorie Custodians of the land that this Heritage Trust and Jefa Greenaway map represents, the peoples of the to showcase the Indigenous presence Kulin Nation, and pay our respects to in Melbourne, connect with the their Elders, past, present and future. importance of the Trust as anchoring This land was never ceded. This map these contemporary connections, of Kulin Melbourne demonstrates designed by Letoya Muraru, 2019. The the ongoing connection of our initial map was developed to show the Indigenous communities to land chosen sites and foreground Indigenous and place that existed before agency, cultural expression and to flip our invasion and continues today. understanding of Country. The map is intended as a starting point to recognise just some of the many sites of Indigenous significance found across Kulin Melbourne, and is by no means a complete list. The highlighted locations include sites of intangible cultural heritage, contemporary Indigenous architecture and design, commemorative markers, local Aboriginal organisations and important historic and political sites. It represents the past, present and future of Kulin Melbourne.

The map has been developed in a continuing partnership between Open House Melbourne, the Koorie Heritage Trust, and Indigenous Architecture and Design Victoria. The sites have been selected by Jefa Greenaway, and the map designed by Letoya Muraru. — Open House Melbourne 2017

8 9 10 11 Pre-Conference Events Conference Day One Confrence Day Two Wednesday 30 October Thursday 31 October Friday 1 November Location: The Ian Potter Southbank Centre, Building 880, 43 Sturt Street, Southbank Locations: Capitol Theatre, 113 Swanston Street, Melbourne RMIT Building 80, 445 Swanston Street, Melbourne 8:30am Conference registration opens Kenneth Myer Auditorium Foyer, Ian Potter Southbank Centre RMIT Building 8, 360 Swanston Street, Melbourne RMIT Building 24, 124 La Trobe Street, Melbourne 9 – 11am Parbin’ata Carolyn Briggs Welcome to Country Contemporary Australian 8:30am Conference registration opens Capitol Theatre Foyer Art and Social Council of VCA Welcome with a performance by Sherry Lee Transformation Deans and 9am Acknowledgment of Country and RMIT / ACUADS Executive Welcome Capitol Theatre Tiriki Onus Engagement and Place (CAST) and Directors Practice as of Creative Jon Cattapan and Paul Gough Art, Conflict and Peace: a conversation about collaborative 9:30 – Esther Anatolitis Keynote: Engagement as an ethic and a practice — Capitol Theatre Research Arts DDCA research ventures Kenneth Myer Auditorium, Ian Potter Southbank Centre, Room 880–G12 11am Network Leadership 11am — ARC Forum: Morning Break Ian Potter Southbank Centre, Building 880, Level 7 Foyer 11am Morning Break Kaleide Theatre Foyer, RMIT Building 8 Masterclasses, Tertiary 11:30am – National Series arts leaders Session 1A Session 1B Session 1C 11:30am – Session 4A Session 4B Session 4C Session 4D 1pm at RMIT roundtable 880–709 880–711 880–721 1pm RMIT Building 80, Level 11, Room 9 RMIT Building 80, Level 11, Room 7 RMIT Building 80, Level 11, Room 6 RMIT Building 24, Level 1, Room 1 at VCA Lisa Radford Estelle Barrett Lyndall Adams, Harrison See Grant Ellmers, Neal Haslem Kate Tregloan and Pippa Soccio Keely Macarow Scott Brook and Nicholas Selenitsch Relationality and the Ethics and Fiona Bell and Marius Foley Navigating Connection: A creative proposition for health Creative graduate employment David and Margaret do the of Engagement in Indigenous Public Arts: the academy Roundtable: Communication coursework and ethics in and wellbeing outcomes at 3 years Bauhaus Research engaging with Main Roads WA, design education and engaged design pedagogy industry and community knowledge transfer: scaffolding Dusan Bojic Martine Corompt and Rachel Haynes Peter West critical and creative thinking Geoff Hinchcliffe, Beck Davis Spiroartis: Using an art-based Arie Rain Glorie Artist-Run Initiatives as Unsettling Western design David Cross and Mitchell Whitelaw exergaming spirometry platform Testing Grounds — beyond Collaborative Models for Studio epistemes through Indigenous and Cameron Bishop Engaged and undisciplined to address self-esteem and the studio Teaching sovereignty and the racialized Venetian Blind: A New Model for anxiety issues in adolescent logics of whiteness HDR Research Projects Soumitri Varadarajan, asthma and cystic fibrosis Julian Goddard and Danny Butt Jessica Bird, Michael Trudgeon, patients S. Chandrasekaran Staging Post-Development: Meghan Kelly Emma Gerard, Chris Ryan Engaging Asia: The role of Critical Regionalism in Artistic and Russell Kennedy and Helen McLean Jo Li Tay Australian Art and Design Schools Research Indigenous Design Thinking The Upcycling Studio: When Engaging with industry through in the Asian region Conversations: Engaging with sustainability researchers Design Thinking: Reflections of cultural design protocols collaborate to teach the a WIL educator first-year students of design

1 – 2pm Lunch Break Ian Potter Southbank Centre, Building 880, Level 7 Foyer 1 – 2pm ACUADS AGM Lunch Break Kaleide Theatre Foyer, RMIT Building 8 2 – Session 2A Session 2B Session 2C Kaleide Theatre 3:30pm 880–709 880–711 880–721 2 – Session 5A Session 5B Session 5C Session 5D Anita Gowers Kelly Gellatly Bronwyn Bailey-Charteris 3:30pm RMIT Building 80, Level 11, Room 9 RMIT Building 80, Level 11, Room 7 RMIT Building 80, Level 11, Room 6 RMIT Building 24, Level 1, Room 1 Impact and Engagement: Creating a university art museum Precipitational Learning A Practice Led Research for all: Engaging audiences from Practices: Watery thinking Mark Edgoose Rohit Ashok Khot Myra Thiessen, Veronika Kelly Esther Anatolitis, Amal Awad and Perspective within and outside the university towards cultivating response- What Craft Brings (to the and Angelina Russo and Communication Design Frank Panucci with chairs Grace ability between art and the Institution) “The Social Turn in Design”: Educators Network (CDEN) McQuilten and Scott Brook Jane Gavan Yusuf Hayat climate crisis exploring Socio-technological Roundtable: Is design Creative Graduates and Public Manifesting the mutual value Enduring settler-colonial Kevin Murray approaches to design education broken? Value (Industry Panel) of creativity across innovation narratives: interdisciplinary Nicola Kaye and Clive Barstow Towards a Craft Academy investigations ecosystems approaches to cultural curation Interlace: Inter-Institutional Engagement Varuni Kanagasundaram Ross McLeod, Shanti Sumartojo Simon Biggs Lawrence Harvey, Lisa Rae Culture and the Liminal Space and Charles Anderson Can we measure the intrinsic Bartolomei, Jon Buckingham, Nancy Mauro-Flude THE EXCHANGE AT KNOWLEDGE value of the creative arts? Gillian Lever and Josh Peters and Tom Penney MARKET: Design research Voicing the Sonic: a case study Activating the textures of Post- and community engagement of the RMIT Sonic Arts Collection Digital Aesthetics methodologies and the speaker orchestra Georgia McCorkill Visual Stocktake, Piece to Make: 3:30pm Afternoon Break Ian Potter Southbank Centre, Building 880, Level 7 Foyer Material engagement in making from waste fashion practice 4 – Session 3A Session 3B Session 3C and pedagogy 5:30pm 880–709 880–711 880–721 3:30pm Journal of Public Space launch Lorraine Marshalsey, Seth Ellis, Megan McPherson Troy Innocent Afternoon Break Kaleide Theatre Foyer, RMIT Building 8 Natalya Hughes, Rae Cooper, Paper: What can the press do? Engaging civic conversation Kaleide Theatre Petra Perolini and Engaging in the in-between in playable cities Elizabeth Shaw of the learning experiences in 4 – Session 6A Session 6B Session 6C Session 6D The Sticky Studio: Proposing a the studio Olivia Vanessa Hamilton 5:30pm RMIT Building 80, Level 11, Room 9 RMIT Building 80, Level 11, Room 7 RMIT Building 80, Level 11, Room 6 RMIT Building 24, Level 1, Room 1 studio model to reconcile the Making Creative Work In gap between broader university Nadège Desgenétez The Minor Shane Hulbert, Alison Bennett Cate Consandine, Kyla Louise R Mayhew Marnie Badham, Kit Wise, learning structures and specialist The impact of embodied and Bronek Koska McFarlane and Mark Shorter The Activist Essay: Art, Feminism Gretchen Coombs, Felicity Fenner design education learning: how can working Engaging and re-engaging Tensile Frontiers: Engagement and Wikipedia in the Classroom Bronwyn Coate, with glass today help shape City Dialogue: Public Art and traditional and emergent (Panel Discussion) Anna Hickey-Moody, Caelli Jo Brooker, Michelle responsible communities? the Biennale of Sydney photographic industries Clare McCracken, Angela Clarke Leanne Morrison, Tara Daniel, Catanzaro, Bettina Hodgson, and Grace McQuilten Tristan Meecham and Raji Uppal Ralph Kenke, Carl Morgan and Nikos Pantazopoulos In Transit: engaging creative RMIT’s Cultural Value Impact Kat Sandbach A pedagogical model to making vitality in Melbourne’s outer Network Launch Not just for show: identity, in the photographers studio suburbs engagement, and work Laura Mitchell Mikala Dwyer, Ceri Hann integrated learning through Mashup Painting and Liquid and E. Scarlett. Snowden design graduation exhibitions Modern Consumerism: Co Operative Design and Emily Ballantyne-Brodie Engagement through the Street, Collective Imagining Designing Community Impact through the Storefront Engagement 6 – Jennifer Higgie Keynote: Let’s Party Like it’s 1919 — Capitol Theatre 7:30pm Some Questions to Ask Art and Engagement (or Don’t Tell Art What to Do as It’s Doing it Anyway) followed by a discussion with Daniel Palmer 5:30pm ACUADS award announcements Margaret Lawrence Gallery, 40 Dodds Street, Southbank 7:30 – 7 – 10pm Conference dinner Supernormal, 180 Flinders Lane, Melbourne Conference closing drinks Capitol Function Room 9pm

8 – Student film screening RCA/RMIT Exchange Capitol Theatre 12 8:45pm 13 PLENARY SESSION ABSTRACTS JON CATTAPAN AND PAUL GOUGH: ART, CONFLICT AND PEACE: A CONVERSATION ABOUT COLLABORATIVE RESEARCH VENTURES

Public understandings of war have been significantly shaped by war art, which has an almost unique public impact, but new redefinitions of war art are emerging. With this in mind, our project turns a timeline of conflict from the ANZACs to the present into art and, separately, creates a narrative of 21st c war art in a series of research outputs. Through this project we will enable a better understanding of Australia’s heritage by placing Australia’s war art within its wider international context. Through collaborative, practice-led research and scholarly investigation, this project aims to discover new perspectives on our national narrative within which Gallipoli looms so large. We aim to draw out perspectives and experiences through art to examine ’conflict’, both historical and contemporary, and in turn to take the importance of that to global Contemporary art

14 15 KEYNOTE SPEAKER: ESTHER ANATOLITIS KEYNOTE SPEAKER: JENNIFER HIGGIE EXECUTIVE DIRECTOR OF NAVA EDITOR-AT-LARGE OF FRIEZE MAGAZINE

Engagement as an ethic and a practice and politicians distrusted. Rather than Let’s Party Like it’s 1919: How can engagement be precisely foster a nation of critical thinkers and Some Questions to Ask of Art measured and what criteria should Two decades ago, Esther Anatolitis active citizenship, our Prime Minister and Engagement we employ to judge the quality of the spent a formative year at the Bauhaus, prefers a nation of “Quiet Australians” (or Don’t Tell Art What to Do art involved? By the number of people collaborating with a global team of who aren’t “complaining about their as It’s Doing it Anyway) who have seen / read / looked at it? By architects, academics and artists in the rights”. How must education and creative the income it generates, the dreams it interdisciplinary mode that had long since practice engage beyond our immediate Art, being art, is never straightforward: to infests, the ideas or objects it’s inspired? shaped the school. This work grounded communities? And what’s at stake if we expect or to demand precise things from By the amount of downloads, clicks, likes Esther’s approach to strategic leadership, fail? In this keynote, Esther will outline it is, perhaps, a fool’s dream. or responses? By how long the dancing inspiring a practice focused on the an ethic and a practice of engagement lasted or the intensity of the hangover? creative, spatial and political conditions — and what the artists, designers and Most funding bodies the world over ask By the long-term influence it exerts? from which new thinking could emerge. citizens of the future need from all of us artists to demonstrate how their work will Esther went on to lead many key arts right now. engage with the public: the more they All of this begs the question: What do we organisations, maintaining a critical can prove, the more likely it is their work want art to do? And who is the ‘we’ we’re relationship with architecture and a deep will be funded. On many levels, this is talking about it? commitment to civic engagement. Today, laudable; on many others, however, as Executive Director of NAVA, Esther artists feel pressured to discuss their leads policy, advocacy and action for a work in a way that can be restrictive and contemporary arts sector that’s ambitious counter-intuitive. and fair, ensuring that the arts perspective is heard on matters of national interest. No-one would argue with the idea that Meanwhile, Australians’ confidence in art should engage with the community public institutions is in decline, arts and it’s part of and that it should be made culture are neglected, public education is accessible to an audience who hail from threatened, scientific facts are questioned diverse backgrounds and experiences. My concern lies in the implication that a way of thinking or making art that doesn’t obviously trumpet engagement as a core principle is somehow considered less valid than work that more blatantly engages with it.

16 17 KIT WISE & FIONA HILLARY: KILLING TIME, EXCHANGING JOURNAL OF PUBLIC SPACE UTOPIA AND THE PLEASURE PRINCIPLE: EDITION LAUNCH A PROVOCATION SCHOOL OF ART SCHOOL OF ART RMIT UNIVERSITY RMIT UNIVERSITY

RMIT celebrates its institutional As a proper public space, The Journal Killing Time, Exchanging Utopia and partnership with City Space Architecture of Public Space is free, accessible and The Pleasure Principle: A Provocation launching the second issue of The Journal inclusive, providing a platform for (KTEUTPP) is a collaborative curated of Public Space on “Art and Activism in emerging and consolidated researchers; screening program between the Royal Public Space”. This edition is curated by it is intended to foster research, showcase College of the Art, London and School of City Space Architecture in collaboration best practices and inform discussion Art RMIT University, Melbourne. Students of RMIT University with guest editorial about the more and more important from both cities have responded to the by Professor Kit Wise, Dean of Art. “Art issues related to public spaces in our title theme creating a short Video artwork and Activism in Public Space” features changing and evolving societies. under 7 minutes. contemporary artists activating public space, this edition includes five alumni of Simultaneously opening and closing, RMIT University’s School of Art. pulling and pushing, imploding and exploding, we exist in a world continuously The Journal of Public Space evolving in a tumult of confusion, anxiety (ISSN 2206–9658) is a research project and paradox. An era of urgency. Killing developed by City Space Architecture, a Time, Exchanging Utopia and The non-profit organization based in Italy, in Pleasure Principle, presents works that partnership with UN-Habitat, the United address this urgency: works that ask Nations Human Settlements Programme, questions, works that demand answers, based in Kenya. works that temporarily distract us, indulge us or fill us with joy, works that protest, The Journal of Public Space is the works that refute, and works that argue. first, international, interdisciplinary, You will see works that celebrate and academic, open access journal entirely works that commiserate. dedicated to public space. It speaks different languages and is open to embrace diversity, inconvenient dialogues and untold stories, from multidisciplinary fields and all countries, especially from those that usually do not have voice, overcoming the Western-oriented approach that is leading the current discourse.

18 19 PARALLEL SESSION ABSTRACTS Session 1A

David and Margaret do the Bauhaus Artist-Run Initiatives as Collaborative Staging Post-Development: Critical Lisa Radford and Nicholas Selenitsch Models for Studio Teaching Regionalism in Artistic Research Victorian College of the Arts, Rachael Haynes Danny Butt University of Melbourne Queensland University of Technology Victorian College of the Arts, University of Melbourne This paper builds on a conversation One of the key issues facing arts between Nicholas Selenitsch and Lisa educators is graduate preparedness Over a half century on from the Asian Radford conducted for the Winter 2019 for successfully engaging with the African conference in Bandung in 1955, issue of Art Monthly Australasia. In the professional and creative complexities discussions of Non-Alignment with article, the artists and lecturers discuss the of the art industry. Independent visual dominant global forces have made relationship of the Bauhaus to their art artists are faced with a challenging and a return — most recently at the Tate’s practices and teaching methodologies. transforming landscape. How do we Axis of Solidarity conference in 2019. Selenitsch focuses on the relationship of empower and enable emerging artists The Bandung conference’s “accent play to his practice and the Bauhaus, to build strong and resilient, professional on modernisation” noted by Dipesh and Lisa refers to a dialogical method. contemporary art practices? This paper Chakrabarty was part of a mindset In reference to Bauhausian techniques, addresses exhibition practice as a that made “the engineer one of the both practitioners reveal their advocacy significant aspect of professional training eroticized figures of the postcolonial for practice-based learning and an in tertiary arts education. It draws models developmentalist imagination.” Perhaps experimental material relationship of praxis from ‘artist-run’ activity in the this accent finds its echo in the way to the world. It is argued that it is via visual arts industry in order to consider the artistic research remains dominated these experientially-based relationships role of collaboration and peer learning in by European-led modernist discourses art-making and art-teaching can exist student-led group exhibitions. A reflective of knowledge and development inside outside of the narrow artistically ill-fitting methodology is employed to analyse STEM-oriented institutions? In this paper, structures of a linguistically/instrumentally the productive intersections of teaching, I attempt to think this legacy through based system. Drawing from their creative and professional practice, from the post-Bandung ideals of statecraft experience as artists and lecturers, Nick the perspective of an artist-curator described by Priya Gupta, who proposes and Lisa will attempt to demonstrate involved in artist-run activity for over a transition in 20th century imperial how in working to find spaces beyond 15 years. This paper proposes two key power from “Statesmen to Technocrats to written language we can continue to aspects of artist-run activity to inform Financiers”. How might artistic construct avenues for engaging with and the teaching and learning of exhibition research link throughout the Asia Pacific maintaining a connection to that which practice: first the role of self-determination region today to provide a critical voice we don’t yet understand. and self-management; and secondly the for artistic inquiry in a neoliberal importance of modelling collaboration educational economy? and collectivity. It offers artist-run initiatives as models for engagement through facilitating artist networks and communities of practice.

20 21 Session 1B Session 1C

Relationality and the Ethics of Unsettling Western design epistemes Indigenous Design Thinking Public Arts: the academy engaging with Engagement in Indigenous Research through Indigenous sovereignty and the Conversations: Engaging with cultural Main Roads WA, industry and community Estelle Barrett racialized logics of whiteness. design protocols Lyndall Adams, Harrison See University of Melbourne Peter West Meghan Kelly and Russell Kennedy and Fiona Bell RMIT University Deakin University Edith Cowan University In this paper I consider whether guidelines and principals such as those found in Design disciplines are being challenged This article will reflect on working with This paper examines two public art AIATSIS Guidelines for Ethical Research through a particular critical examination Indigenous knowledges and engaging works conducted by researchers, Lyndall in Indigenous Studies (2012), are in as prominent theorists such as Escobar, with Indigenous communities in Adams and Harrison See from the School themselves enough to achieve these Fry and Tonkinwise focus on the social professional design practice. This analysis of Arts & Humanities at Edith Cowan aims if the fundamental premises of and environmental impacts of designs will draw on the presentation of industry University in collaboration with Main western research related to engagement production based, business as usual representatives during Melbourne Roads WA (MRWA), CPB Contractors in Indigenous contexts remain the approach. The Western, Eurocentric Knowledge Week, May 2019 at the (CPB), the community reference groups, same. Central to the discussion in this nature of the design epistemes are Indigenous Design Thinking Conversations and school children from (St Stephen’s paper are the ethical challenges and further interrogated by the Decolonizing evening. These presentations provided School, Carramar and Kinross College, dilemmas confronting “outsider” and Design discourse seen in works from insight into the impact of the International Kinross). The public artworks are site non-Indigenous researchers working in both local and International Indigenous Indigenous Design Charter, a first-of- specific: designed specifically for, and the field of Indigenous research and the researchers and doctoral students. This its-kind guide for practitioners to follow responsive to the particular site through question of whether non-Indigenous paper responds to these scholarly works when representing Indigenous culture in scale, material, form, concept and researchers are able to occupy the by drawing upon the experiences of commercial design outcomes. Speakers community consultation. The materials space of Indigenous studies. I attempt facilitating a series of pilot workshops clearly articulated some of the challenges and methods will be discussed in terms to demonstrate how Indigenous within RMIT University’s School of working with the Charter and discussed of engagement between the academy, notions of relationality and relatedness Design, Media and Urban Planning, in the difficulty of ensuring ethical and industry, and community. fundamental to protocols of engagement which Indigenous sovereignty and by appropriate engagement throughout the with Indigenous communities in research extension Indigenous knowledge systems design processes. However, each presenter The paper will focus in part, on the might enhance ethical know-how and are posed as a challenge to Western resolved the document’s guiding principles research end-user’s evaluation and impact of cross cultural research, involving design epistemes. The objective of were essential to change current practices expectations of both projects. While the human participants across the general these workshops was to challenge the and enhance engagement methods, recent Australian Research Council’s, field of research in more profound and foundation of the disciplines as the site concluding this rich discussion will only Engagement and Impact Assessment practical ways. Drawing on Indigenous of what has sought to invalidate and improve professional practices in the 2018–2019 National Report measures scholarship, I examine issues such as exclude Indigenous knowledges. The coming decades. ‘units of assessment’ by effective positioning, privilege, appropriation paper proposes the need for frameworks interactions between researchers and and homogenization as they pertain to which support non-Indigenous scholars research end-users outside of academia engagement within research contexts into moving beyond objectives of for the mutually beneficial transfer of and consider how this might refigure the ‘Indigenizing curriculum’ which risk knowledge, technologies, methods role of “outsider” researchers in ways that consuming Indigenous knowledges and and resources, the bureaucratic foibles may help to imbed, more self-reflexive shift into a critical awareness of their own inherent inside the academy can and more culturally appropriate modes of knowledge systems as a practice of itself. add another level of administrative engagement in cross-cultural research. Issues such as cultural appropriation, headache to the artist researcher’s and the colonial systems of power and workload. Industry partners are not free privilege are discussed as part of the of frustrations given communities and necessary ‘unsettling’ of the Western community organisations use of social design epistemes. This paper does not media as a democratising voice. However, propose solutions to these complex issues as Senior Stakeholder and Community but instead discusses the particular ‘gaps’ Relations Advisor at CPB Contractors, exposed in Western design practices, Fiona bell knows only-to-well, Public art particularly when situated in relation to can express collective community values; Indigenous sovereign knowledges. reflecting how we see the world, enhance the built environment, transform the landscape, or question our assumptions.

22 23 Session 2A

Testing Grounds – beyond the studio Venetian Blind: A New Model for HDR Impact and Engagement: A Practice Led Manifesting the mutual value of creativity Martine Corompt and Arie Rain Glorie Research Projects Research perspective across innovation ecosystems RMIT University; Testing Grounds David Cross and Cameron Bishop Anita Gowers Dr. Jane Gavan Deakin University Australian National University Faculty of Arts and Social Sciences, Arie Rain Glorie: Sydney College of the Arts, University This presentation will demonstrate The role of the university in building In 2015, Senator George Brandis removed of Sydney examples of student experiences professional development opportunities $104 million from Australia Council which engage with collaboration and for creative arts HDR candidates has funding, reallocating funds to a new What would happen if we moved beyond public spaces as an alternative to the changed in recent times. Where the National Program for Excellence in the the ‘art is good for business’ argument gallery and individual studio practice. notion of academic research in our Arts. After considerable protest from the towards understanding the shared values How locations such as Testing Grounds discipline has largely seen the annexing Arts community, the new program was between these communities? in Southbank, have provided rich of a thesis from the idea of industry axed, leaving the Australia Council Could this activate new fields experiences that were both challenging application, universities are being $70 million out of pocket. of collaboration? and engaging as an alternative site for increasingly encouraged to link research Making the most of available research making and exhibiting beyond the studio. with ‘career’ opportunity. This paper With arbitrary ministerial decisions to talent is a key imperative for Australian While undergraduate education values will examine as a case study, a recent reduce funding to the humanities (don’t Governments. Many acknowledge more and cultivates individual studio practice it research project developed by Deakin’s mention the Federal Education Minister needs to be done to improve rates of also must respond to the changing reality Public Art Commission that sought to Simon Birmingham’s cull of $4.2 million collaboration and commercialisation of contemporary practice where young connect researchers and HDR candidates from eleven Australia Research Council in industry. One imperative is the need artists must be resourceful in how they in the making of a large-scale project grants in 2017-2018 all in the humanities) to focus on policy that broadens and make their work and where they exhibit it. in conjunction with the Venice Biennale. the Australian research funding diversifies innovation ecosystems Titled ‘Venetian Blind’, this exhibition/ environment is competitive and complex. across mediums. Key points: public art work featured 16 researchers There has been little to no growth in The evolving role of Fine Art and 7 HDR candidates who were research funds from granting bodies and There is a call to increase University education. each invited to make a site-based, reduction in Government research funds commercialisation capability in research Post studio practice — site of production, or performative intervention, into the has added pressures on limited research organisations. The disciplines of HASS, site of display site of community city of Venice responding to a bespoke funding resources. In this environment, and in particular those with creative and gathering provocation developed by the curators. practice led research faces even greater capacities, have been identified The role of Creative spaces such as Testing challenges than traditional research. by researchers and the Australian Grounds in fostering arts education Working in small teams that included government as key to future worker both academics and PhD candidates, How can practice led researchers adopt effectiveness, However, the important the project (which is still in train) is taking and adapt the new Australian Research detail on the nature of this contribution, place over six months (one per month). Council’s Impact and Engagement in particular, its value and relevance in The artists encounter the provocations Assessment frameworks to support their this context, is poorly understood by some ‘blind’ so to speak, with no prior warning research? Drawing on direct experience institutions and collaborators. of what they are being asked to to. The of building interdisciplinary research curatorial frame prefaces in situ site teams and practice led research projects This paper explores shifts in the analysis and research while highlighting the paper will address how to use the new capacities of creative practitioner art the possibilities of both HDR and Impact and Engagement framework to and design school alumni. Research is academic researchers working collectively demonstrate the value of practice suggesting that creative practice and to develop new understandings of Venice, led research. industry are increasingly aligned to its features and history. ecological and social realities. Evidence from creative industry collaborations such as Manufacturing Creativity show that creative practitioners are potentially useful exemplars in organisation communities. Yet, creative practitioners capacities are challenging to articulate to partners. Correspondingly, organisations may present new opportunities for practice, yet emerging creative practitioners are potentially held back by some professional

24 25 Session 2B education institutions, reticent to translate Can we measure the intrinsic value of the Creating a university art museum for all: Enduring settler-colonial narratives: their relevant and mutually valuable creative arts? Engaging audiences from within and interdisciplinary approaches to capacities in meaningful ways, for fear of Simon Biggs outside the university cultural curation loss of autonomy or instrumentalisation University of South Australia Kelly Gellatly Yusuf Hayat of practices. This complex multi-sector University of Melbourne University of South Australia problem requires the development of an How do the current criteria we use to integrative understanding of the evaluate the quality, engagement and While university art museums were The politics and poetics of race and value of creative practice across impact of research relate to the priorities primarily created to serve and connect identity in the canon of Australian colonial innovation ecosystems. of creative arts research? What do these with academics and students within the art remains contentious. This paper criteria capture and what do they miss? entities that created them, they are also examines the role of cultural curation in This paper outlines the Manifesting In organisational and governmental public facing institutions that convey the the construction of the national narrative Mutual Value project, which explores debates about the primary value of academic mission of the university, and its and raises questions in relation to the how creative practitioners are the often the creative arts, instrumental and possibilities, to a wider public. appetite and capacity of public art absent effective catalysts for a durable extrinsic criteria, including economic, galleries for de-colonising the archive. interdisciplinary ecosystem for innovation. social and industrial factors, are routinely However, these two overlapping and Institutional curatorial authorship MMV seeks to visualise creative value employed. Julian Meyrick has observed intersecting audiences often have can naturalise the settler narrative by through a systematic approach, from that “Australian governments have competing demands and expectations encouraging audiences towards particular multiple disciplinary perspectives. conflated the nation’s cultural creativity and reconciling them can create understandings. Displays that include Visualising the creative practitioner’s with its economic prosperity”. However, challenges for the staff within them, and negative stereotypical depictions of contribution in society could potentially it is necessarily the case that the most a conflicting sense within the ‘parent Aboriginal peoples transmit colonial allow for exponential opportunities for important value inherent in creative body’ of what the university art museum notions of race in which the colonised are the creative sector and transform life-long arts research is something intrinsic to is and for. framed as unequal, needy and under- learning, secondary and tertiary that practice: that the value of creative civilised. Stereotypes are reductive and creative curricula. practice research is that it is a This paper discusses the journey that the often deeply embedded in historical (mis) creative practice. Ian Potter Museum of Art, the University of representation masquerading as cultural Melbourne’s art museum has undertaken knowledge. Without counterpoint, such What criteria might capture the intrinsic in the past few years in terms of honing presentations suggest an entrenched value of the creative disciplines? Can we its vision and mission and determining institutional conservatism built on a white- measure whether an example of creative how it can actively and generously convey self-representative-colonial substructure. arts research meets the standards of its unique contribution as a university At their extremes, stereotypes can performance for such criteria? If the point art museum to all of its audiences. This bolster psychological barriers to of creative arts research is to be creative has involved developing strategies that reconciliation. This paper argues the — to paraphrase Stephen Scrivener, who seek to build academic engagement need for institutional approaches that suggested “the proper goal of visual arts in its exhibitions, programs and engage academic research across research is visual art” — then we need planning; increased student curriculum disciplines, beyond art history. Aspects to determine what is of value in that engagement through its academic of the recent re-hang of the Australian creativity and, subsequently, how to programs, as well as building its profile art collection at the Art Gallery of measure it. and connecting with growing audiences South Australia (AGSA) are examined to from within and outside of the university. identify trends in contemporary museum curatorial practice. With over one million What engagement does and can look annual visitors AGSA is significant to the like needs to be constantly challenged cultural ecology of the state. This paper and reassessed. Now in a period of considers the (lost) potential impact of closure to exhibitions during a building inter-disciplinary academic research on redevelopment program, the Potter has institutional cultural curation. It reflects recently had to recraft its engagement on how the archive might be activated strategies to ensure it remains in the to enable complex narratives that hearts and minds of all of its audiences destabilise colonial structures; negotiate during a period of significant change. the dialectic of (un)belonging; and, unsettle ideas of otherness.

26 27 Session 2C

Voicing the Sonic: a case study of the describe different types of engagement Precipitational Learning Practices: Watery Interlace: Inter-Institutional Engagement RMIT Sonic Arts Collection and the with undergraduates, post-graduates, thinking towards cultivating response- Dr Nicola Kaye and speaker orchestra industry partners, exhibitions, national and ability between art and the climate crisis Professor Clive Barstow Lawrence Harvey; Lisa Rae Bartolomei; international performances. The Sonic Bronwyn Bailey-Charteris Edith Cowan University Jon Buckingham; Gillian Lever; Arts Collection is made ‘present’ in the life University of New South Wales Josh Peters of the university through events on the This paper discusses the processes in RMIT University speaker orchestra, as teaching materials, Renowned scholar Donna Haraway setting up an artist in residence between opportunities for HDRs to work on pieces suggests that ‘Response-ability is that the State Parliament of Western Australia What are distinctive cultural experiences and for unique listening experiences in cultivation through which we render each and the School of Arts and Humanities produced by university creative three dedicated spatial sound spaces other capable, that cultivation of the at Edith Cowan University, providing the practitioners for audiences? around the University. capacity to respond.’ As the planetary artist access to all areas of the Parliament. For the collection, production and climate crisis rapidly escalates, artists All artists have been chosen for their presentation of sonic arts, universities hold unique knowledges, tools and political and socially charged work. This contain unique resources beyond methodologies for cultivating ‘response- paper discusses the inaugural artist companies in the small to medium arts ability’ to the crisis. One way into this residency and installation Interlace by or even major organisation sectors. They cultivation of ‘response-ability’ is through long-term collaborators Nicola Kaye and house experts in all aspects of curatorial thinking about water. Stephen Terry. practice, creative practitioners and performers in sound. They provide high- This paper presents one aspect of my Interlace focused on power relations end facilities and equipment available research into the role of water as a embedded within parliamentary for research, teaching, creation and metaphor and material matter in the protocols. This was significant for presentation, and venues for performance. field of contemporary art, pedagogy the artists, as they had to adhere to They have at their disposal a well- and the climate crisis. It draws on the the strictures of this political space established collaborative network of thinking of Donna Haraway, Dr Astrida in an ethical manner, concomitantly multi-disciplinary practitioners and Neimanis, Luce Irigaray, Cecilia Chen, building trust in a highly charged researchers, to contribute to and oversee Janine MacLeod, Anna Tsing and Kamau environment. Their residency researched projects. By aligning these elements, Braithwaite among other theorists, artists the field of digital and interactive art universities can extend beyond teaching and writers. and the performative body where and research into centres of cultural parliamentarians and general staff were production. That is, engagement beyond Over the past three years I have been invited to become ‘actors’ within their the academy. working with teenagers in Sweden, artwork. This process sought to extend a to develop methods to work with form of engagement with parliamentary Most Australian universities maintain contemporary arts practice and the staff that was symbolic, dynamic and cultural collections, which offer specialised climate crisis. I will reflect on some aspects inclusive, regardless of position. Interlace forms of engagement to support of how water can help to expand and was site-specific within the Parliament teaching, learning and research. Despite complicate the modes of engagement building, where films were projected the changing nature of teaching in higher between artistic practice, research and within a working Parliament whilst education, these engagement strategies teenagers. This paper will share one of the House was in session; offering an have significant currency, especially as the specific methods I have developed alternative experience for the Parliament a means for piloting cross-disciplinary working with Swedish teenagers, entitled staff of their ‘closed space’. The work was projects. The integration of cultural Leaky Vessel, in the context of an adapted and shown within the University collections into pedagogical models expanded pedagogical program I have gallery to a different audience, revealing has proved successful in disseminating been curating in Stockholm for the past interior spaces not afforded to the specific and interdisciplinary knowledge, three years. The method attempts to use general public. encouraging peer discourse, and ‘waters’ as a metaphorical and material facilitating the acquisition of entry point into collective thinking with the This paper illuminates the importance practical skills. climate crisis. of creative engagement within diverse institutions in meaning-making, inclusivity This paper reports on the development, and representation, and how creative components and projects undertaken research impact can build agency with the RMIT Sonic Arts Collection and through a site-specific context outside of SIAL Sound Studios since 2012. We the traditional gallery environment.

28 29 Session 3A

Activating the textures of The Sticky Studio: Proposing a studio Not just for show: identity, engagement, for industry, institutions, sponsors, Post-Digital Aesthetics model to reconcile the gap between and work integrated learning through communities, colleagues, families, and Dr Nancy Mauro-Flude, Dr Tom Penney broader university learning structures and design graduation exhibitions most importantly — students. School of Design, RMIT University specialist design education. Caelli jo Brooker, Michelle Catanzaro, Dr Lorraine Marshalsey, Seth Ellis, Bettina Hodgson, Ralph Kenke, Practitioners of Post-Digital Aesthetics Dr Natalya Hughes, Rae Cooper, Carl Morgan, Kat Sandbach are concerned with processes in art- Petra Perolini, Dr Elizabeth Shaw University of Newcastle; making and conceptual frameworks Queensland College of Art, Western Sydney University that assume digitality rather than treat Griffith University it as an exception. We ask: How can The end of year Grad Show is a significant Australian art and design continue to This paper addresses the pedagogical milestone in Visual Communication contribute and make an impact in this gap that exists between broader Degrees in Australia. Graduate exhibitions conversation that is continued mainly university learning structures and spaces, are a celebration of the university in the Northern Hemisphere? (Bishop and the requirements of specialist art experience, an important landmark on 2018). How do Australian artists counter and design education. Conventional the student journey, and represent the or propagate existing structures of power studio environments are at the heart of culmination of a creative degree. As an and materiality through engagement practice-based learning and this study outcome, Grad Shows enable students with 21C artforms? The analogue and was developed from the recognition to learn from, contribute to and profile the digital should no longer be framed that mainstream university teaching themselves and their peers through as binaries in a world where they are environments impact upon studio learning exhibition practice, and as a platform, experienced as ecology. To explore and student engagement today. As a they showcase the cultural and creative answers to these propositions and their consequence of the changing economic, diversity of student achievement in design. inherent nuances, we provide a case study political, and technological conditions In capturing the attention of preferred of an exhibition VVitchVVavve (2018). favoured by universities today, specialist industry guests and future employers, the Curated by the presenters, VVitchVVavve studio facilities are being reconfigured into Grad Show’s identity also extends beyond responded to Florian Cramer’s original classroom-based Technology Enhanced the student cohort to reflect the calibre of (2012) interrogation of the term “Post- Learning (TEL) spaces (often generically the work and teaching embedded within Digital” asking “does the term still make termed as ‘studio’). This paper attempts to each design degree program. any sense?” by surveying a group of local, examine what a studio education consists national and international practitioners of; to define the underlying pedagogical The motivation for this research comes adapting emergent practices not widely philosophy of a studio education; and to from shared staff experience in facilitating examined in Australia. Artists were curated report on how innovative studio learning Grad Shows across multiple institutions. principally for their critical approaches spaces foster better engagement in We have become increasingly aware to aesthetics through bespoke higher education. This is with a view to of the role these exhibitions play in computational mediums including, but proposing a model of studio delivery, contributing to work-integrated and not limited to creative coding, virtual referred to as the ‘sticky studio’, which situated learning through connecting and augmented reality. In yarning circles, enables a pedagogy of ambiguity our student’s existing knowledge with performances, talks, and installations; together with flexible and active active, authentic, contextual learning. we addressed the political, social and experiential learning in contemporary Their conceptualisation, development and cultural contradictions we face in the art and design education. delivery play a significant role in bridging age of designed obsolescence through the participant identity from ‘student’ uncovering, subverting and critiquing to ‘professional’; scaffolding professional power relations lurking behind digital tools. confidence and the application of existing VVitchVVavve was significant in redefining skills to real-world tasks and problems. Post-Digital Aesthetics to acknowledge In this paper, we will discuss and compare assumptions of ubiquitous digitality, the Grad Show process at two institutions responding with artisanal approaches — The University of Newcastle and rather than sterilised digital ideals of Western Sydney University. In doing so, perfection. Its tools were ubiquitous, we will critically reflect on our teaching situated, embedded with neoslime, approaches and outcomes as responsive embracing material speculation, curious structures for positioning graduate imperfection and mawkish plasticity. exhibitions as sites of active engagement

30 31 Session 3B Session 3C

Designing Community Engagement Paper: What can the press do? Engaging The impact of embodied learning: how Engaging civic conversation in Emily Ballantyne-Brodie in the in-between of the learning can working with glass today help shape playable cities School of Design, RMIT University experiences in the studio responsible communities? Troy Innocent Megan McPherson Nadège Desgenétez RMIT University This presentation discusses an iteration Research Unit for Indigenous Creative Arts Australian National University of Design projects run in Shepparton and Cultures, Victorian College of the Arts, Urban play has changed our relationship in which Community Engagement University of Melbourne How can learning to make things in glass with the city. Playable Cities Now have was central to design process and assist a student’s broader creative and the opportunity to make the city itself outcomes. It follows the trajectory of Learning experiences in the university social development? Can glass working a platform for play through radical work developed out of the authors PHD studio are embedded within cultural and foster social awareness? This paper interventions into the democratic use in Sustainability, Transition Design and disciplinary practices that are informed will outline findings from studio-based of data, and the creation of social Food Systems based in the Community in part by the space and place, and academic teaching, informed by practice- frameworks that connect people, place, of Shepparton. The PHD work was the relations in-between. Students led research and current discourses on the technology and code. developed into a number of design and educators need to consider how role of making in connecting self, people studios run out of Industrial Design and disciplinary notions and boundaries are and environments. Playable cities can lead to civic Landscape Architecture at RMIT in an addressed by the practices enacted conversations that are democratic and attempt to engage students in both and embodied in the university studio. It will focus on the particular praxis of inclusive — and that connect people in cross collaborative design processes and In this presentation, I focus on the space glass blowing, first to outline the role and that conversation across different layers community engagement models for and place of print studios, although potential of glass education as a way of the city, reimagining what it was, real world situations, problems and sites. embedded in a canon of disciplinary of empowering students, by informing what it is now, and what it could be. One of these studios was funded by an practice address contemporary university their sense of confidence, responsibility Melbourne is already a playful city, what ACUADS grant which will be discussed and artistic needs. Engagement through and belonging. It will then present would happen if it became playable? The as part of a number of case studies. This practice, and the capacities of these current local and international projects, Playable City Melbourne conversation presentation will discuss a Community practices, is one way of considering to introduce how glass practices can talks to its multi-layered identity — as a Engagement model for designing how the art studio demonstrates its connect makers and wider communities, creative city, technological city, a diverse but also the successes and pitfalls of contribution to culture. This paper draws bringing awareness to societal issues and multicultural city, a liveable city that engaging with real communities in cross on my experiences of student, educator, such as wartime trauma, displacement, is growing fast. It looks at what playable collaborative education structures. artist and visiting artist in print studios over mothering and family or environmental cities are now in response to our particular the last thirty years and my study of the conservation and indigenous voices. social, cultural and environmental context. crit (2018) which was based in university This presentation will lastly argue the How does this connect to broader print studios. I use visual ethnographic critical contemporaneous resonance of a discussion on the impact and and post qualitative methodologies to skill-based practice, and its future role in engagement of the cultural value think through my experience of visiting tertiary contexts. of games and play? What are the and photographing the studio spaces. opportunities for artist gamemakers Responses to space and place are situating play in public space? affective, I deconstruct the space and its What topics are relevant now in usage, and what and how the practices civic conversations? demand through enacted and embodied responses. Playable City Melbourne proposes a framework for a critical reimagination of the city that seeks to address three themes: expanding our ways of being in urban environments; First Peoples connection to place, and more than human infrastructure. These themes will be explored through their expression in urban play, impact and engagement on the lived experience of cities.

32 33 Session 4A

Making Creative Work In The Minor City Dialogue: Public Art and the Roundtable: Communication design The roundtable proposes the following Olivia Vanessa Hamilton Biennale of Sydney education and knowledge transfer: topics to promote discussion (but not Architecture and Urban Design — Interior Felicity Fenner scaffolding critical and creative thinking limited to): Design, RMIT University University of New South Wales Grant Ellmers, Neal Haslem and Marius Foley • Criticality in design education When cities capture creativity as their For more than four decades the Biennale University of Wollongong; RMIT University • Approaches to scaffold critical thinking identity, artist and makers are pressured of Sydney has engaged with Sydney’s and knowledge transfer to become entrepreneurs, and financial public spaces in unexpected ways. This Communication design education • Supporting development of life-long and commercial metrics are used to paper reveals how artists from all over typically engages students in studio- learning and self-directed learning evaluate creative labour. Over time it the world have reimagined Sydney, based and project-based learning • Integrating theory and design principles constricts the conditions and relationships responding to iconic landmarks, previously environments. This learning-by-doing into studio practice that supported and engendered the initial hidden areas and little-known histories by approach reinforces a traditional creative attitudes and activity. offering new insights to and alternative pedagogical belief in design education Spatial and temporal projects in ways of experiencing the city. that the best way to learn about design the public sphere can resist being is through the act of designing. In this instrumentalised by creative cities Established in 1973, the Biennale traditional learning and teaching model, and draw strength through identifying of Sydney is the world’s third oldest the final design artefact is typically the shared values. Minor and commoning continuous biennial of contemporary art, primary measure of learning. This can practices offer examples of resistance after Venice (1895) and São Paulo (1951). have the effect of focussing students on that endure without being defined by The title of the paper takes its name the outcome of the project and important opposing the dominant frameworks or from that of the 1979 Biennale of Sydney, opportunities to learn from the design being pinned to the kind of certainty European Dialogue. Now considered process itself can be lost. Identifying what that is preferred by the majority. As they a watershed exhibition, it was the first the student has actually learnt (for both take less recognisable forms and insist on in the world to engage with the host student and teacher) can be problematic remaining in the process of becoming, country’s First Nations’ culture, presenting as the new knowledge is often bound minor and commoning work confounds current work by Australian Indigenous within the design artefact and the context institutions and governance. Primarily artists in conversation with contemporary in which it was developed. Subsequently concerned with manipulating the existing European art. opportunities to support knowledge conditions. they create or expose new transfer between projects and design ways of being in the world as a politicised Dialogues between diverse cultures have contexts can also be lost. creative activity that is not defined by ensued in Biennale of Sydney exhibitions its dissent, but by the production of new over the 40+ years since. Parallel to that Various approaches have been affirmative subjectivities. dialogue between artists and artworks implemented by design educators to of different cultural backgrounds, an address this concern. This Roundtable This paper makes connections between ongoing dialogue continues to unfold aims to provide a platform to share minor and commoning practices and between Biennale-commissioned public these different approaches and identifies projects public, urban and art and the city of Sydney itself. The provide pathways forward to inform shared spaces produced with these paper will elucidate, for example, the communication design curriculum and values allow for examination of the current conversation around the fate of equip students for emerging design problems with economics underpinning Joseph Beuys’ Sydney iteration of ‘7,000 practice futures. all creative culture. Oaks’, commissioned as part of the 1984 Biennale of Sydney. We are proposing 2 sessions (and happy to discuss further). The 1st session where In the context of international recurrent participants give 10 minute presentations exhibitions as transient and temporary and the 2nd for the roundtable discussion events, the paper explores how Biennale- (preferably later in the conference commissioned art in the public arena has program). This approach would allow engaged local, national and international those presenters giving full presentations audiences, and how that engagement as part of the conference to also has over time created a lasting legacy on contribute to the roundtable. the city, both concrete and mnemonic.

34 35 Session 4B

Navigating Connection: coursework and coursework, and also offer some lessons Engaged and undisciplined The Upcycling Studio: When sustains ethics in engaged design pedagogy for navigating the nuances and complex Dr Geoff Hinchcliffe, Dr Beck Davis, Assoc ability researchers collaborate to teach Kate Tregloan; Pippa Soccio connections that influence this space. Prof Mitchell Whitelaw the first-year students of design Faculty of Architecture, Building and Australian National University Soumitri Varadarajan, Jessica Bird, Planning, University of Melbourne Michael Trudgeon, Emma Gerard, Chris Responding to crises of professionalism, Ryan and Helen McLean Collaborations and other productive the economy, and technology, design RMIT University engagements are opening exciting today is characterized by “fluid, evolving avenues for contemporary art and design. patterns of practice that regularly This paper describes The Upcycling Recent ACUADS Conferences have traverse, transcend, and transfigure Studio, a program of study that required explored themes of Transition, Value and disciplinary and conceptual boundaries” student teams to study sustainability and Adaptation, highlighting shifting spaces with new hybrid practitioners emerging waste systems through design action. and intersections between community, that are a mixture of artists, engineers, This teaching project intersected with industry and creative education. designers and thinkers. Coined as the theoretical aspirations of a group Strengthening connections between the a term to describe this emerging of sustainability researchers who as academy and ‘end users’ is encouraged practice, undisciplined design points collaborators over three decades, and by the Australian Research Council‘s to the dissolution of traditional design having jointly navigated through the Engagement and Impact agenda. These boundaries and argues for a new changing paradigms of sustainability opportunities bring responsibilities, as conception of design that is disciplinarily discourse, wished to revisit the basics well as great learning, when we take our eclectic and always evolving. While of design for sustainability in the students with us. undisciplined design is typically cited for contemporary period. its attributes of disciplinary hybridity, this Engagement with emergent ideas and paper explores the role of engagement While we wanted to instil a passion for key stakeholders through ‘real-world’ within the undisciplined frame. Drawing sustainability in students by giving them projects can motivate and enrich student on experience and outcomes from the experience of making a tangible learning when embedded in coursework. multiple design projects, we offer a impact, the teaching project had to At the same time, staff organising these grounded understanding of the vital reconcile three aspects that characterised opportunities are faced with numerous role that engagement plays within an the project of teaching first year on the challenges in a higher education undisciplined design context. Our case topic of sustainability; the content, the context. They must bring an awareness studies demonstrate how students are nature of the student body and the of potential conflicts of interest, duties motivated by stakeholder engagement digital agenda of online learning. The of care to students, authorship and and how they use it to develop strong content challenge was to integrate intellectual property rights, and Human coherence within an undiscplinary design the development of an activist stance, Research Ethics requirements to the approach. In closing, we reflect on how capability in environmental product design of coursework and research. engagement within an undisciplined design within a mass production context, The Built Environment Learning and frame serves as a compelling way to and how to do sustainability within Teaching (BEL+T) group in the University demonstrate the agency of design and its studio practice. In addition, the diversity of Melbourne’s Faculty of Architecture responsibility. of the large student cohort in first year Building and Planning (ABP) has been spanned school-leavers and mature-age investigating complexities at the Bremner, C. & Rodgers, P., 2013. Design students at two ends of the spectrum, intersection of coursework, IP and Without Discipline. Design Issues, 29(3), and so the program had to be flexible to research ethics. The group has developed pp.4–13. accommodate the learning aspirations guidelines and an educative tool to assist and learning styles of the diverse cohort. ABP staff to navigate these issues. The mandatory inclusion of online learning and the need to demonstrate This paper will offer a contextualised case best practice in digital learning, as in the study of the ABP Coursework + Ethics adoption of flipped classroom, was the project, and its application to design final requirement. studio, coursework opportunities, and research of teaching praxis. It will highlight The recent ban by China, of the import the great benefits available to academics of Australian waste products destined for and students through engaged recycling industries in China provided

36 37 Session 4C the theme for engaging students in A creative proposition for health Spiroartis: Using an art-based Engaging with industry through Design upcycling as a key way to undertake and wellbeing exergaming spirometry platform to Thinking: Reflections of a WIL educator projects in sustainability. While upcycling Keely Macarow address self-esteem and anxiety Jo Li Tay is often a theme in projects undertaken by School of Art, RMIT University issues in adolescent asthma and Curtin University students, it is not explicitly a course topic cystic fibrosis patients. in the first-year studio, where rather than There is not a day that passes when Dusan Bojic Design Thinking has recently gained explicitly teach a theoretical process of we do not think about our health and Queensland University of Technology popularity outside of the design industry, design, students made prototypes, and wellbeing. We hear through media especially in the business sector. the theoretical process of design emerged channels that this year’s flu will be Asthma is a chronic condition that causes Companies are recognising the value as a practice of redesign of products. especially virulent and of the latest cancer inflammation and narrowing of the that design and design thinking brings, Designed to be run over a period of 5 research. As creative practitioners, we bronchial tubes, the passageways that especially in terms of solving problems. years, the project has completed the first are not immune from ill health and our allow air to enter and leave the lungs. The growing interest in Design Thinking teaching year. This paper presents the work practices sometimes contribute Cystic fibrosis is a multi-organ disease has provided design students with pedagogical premises and the evaluation to physical injuries, stress and anxiety. effecting mucous secretion, and often opportunities to engage with industries of the program conducted in the first year. However, we also respond to the lived badly effects the lungs of sufferers. Both outside the creative industries sector, such The authors discuss the outcomes and the experience of health, disease and conditions are diseases of childhood. as consulting. changes being implemented to improve wellbeing through a myriad of creative Spirometry is an indispensable technique the program. endeavours and collaborate with medical employed in the initial diagnosis to At the same time, Work Integrated and health workers to integrate social detect and quantify the degree of airflow Learning (WIL) is a pedagogical strategy practice and codesign projects within obstruction, assessment of severity, and that is well-suited to design disciplines, health settings. Arts in Health colleagues follow-up of chronic respiratory diseases since designers typically have to work in the UK have worked extensively with the such as asthma and cystic fibrosis. It is with client organisations or individuals to public health and social care sectors, local not unexpected that many children with develop solutions. Working with clients government and politicians to establish asthma tend to be anxious and have requires many of the soft skills (e.g. collaborations, organisations, research low self-esteem. The chronically ill child teamwork, organisation, etc.) sought after centres and parliamentary groups and with many limitations may have difficulty by employers — skills that are also crucial reports. These activities have contributed developing a healthy self-concept, for a successful career in design. to and noted the positive impact of but it has been found that Spirometry culture on human health and called treatment for respiratory patients has also In this paper, I describe how Design for accelerated funding and support been found to exacerbate mood disorders Thinking and WIL were used in a unit that for creative practice within health and and self-esteem issues. The SpiroArtis is part of the Graphic Design Major at social care settings and the integration of doctoral research project, as an example Curtin University. I also reflect on the role creative practice and medical humanities of the first art-based interactive health of Design Thinking and WIL in creating in medical and health education. technology platform, will be developed and supporting industry engagement, and employed not only to increase and its impact on design education and My proposition is that creative respiratory patient cooperation and student engagement. practitioners in Australia should also facilitate consistently high performance of collaborate with colleagues across target behaviours in spirometry, but also creative arts, design, social care, health to motivate positive behaviours through and political agendas to respond to the generation of unique and novel and evaluate the impact that creative artwork, and foster positive practice has on human health and mental health and self-esteem in wellbeing. The question is whether the adolescent participants undergoing resulting visions, findings, propositions spirometry testing. and declarations will stimulate a revised National Arts and Health Framework and an increase in government support and funding for creative practice and public health - which we urgently need.

38 39 Session 4D Session 5A

Creative graduate employment Engaging Asia. The role of Australian Art What Craft Brings (to the Institution) Towards a Craft Academy outcomes at 3 years and Design Schools in the Asian region. Mark Edgoose Kevin Murray Scott Brook Julian Goddard and S. Chandrasekaran RMIT University School of Art, RMIT University RMIT University RMIT University; LASALLE College of the Arts This presentation is a series of short In Australia we now have the While there is ample evidence propositions (approximately 10) on the unprecedented situation of a generation suggesting creative graduates do not Over the past 30 years Australian Art value of craft to the institution. The of Masters and PhDs specialising in do well in the labour market, this is and Design schools have been propositions are sourced from readings, craft practice. This is partly due to the often based on small scale studies significantly active in Asia. This has interviews, thoughts, discussions, expansion of postgraduate programs or surveys conducted very soon after been driven mostly by the growth in contradictions and actions. The across Australian universities. It is graduation, such as the Graduate dependencies of Australian universities presentation aims to define how craft, particularly striking in crafts given the Outcomes Survey that is conducted on international students to maintain the act of ‘making’ and ‘doing’, ‘a skilled traditional association with non- 4 months after a student completes cash flow as domestic funding has hand, a cultivated mind’ fuels, privileges, intellectual manual skills. Graduates are their degree. The recently developed tightened. However, this engagement heightens and impacts the conceiving now versed in theories related to Graduate Outcomes Study Longitudinal has also fostered stronger and better and comprehension of creative production material knowledge, such as Tim (GOS-L) is conducted at 3 years relations between Australian artists, in this burgeoning area, and in doing Ingold and Jane Bennett. While this post-graduation, and provides the first designers and academics. so, establishes new ways to view, think has helped art departments maintain strong evidence base of short-term differently and potentially transform our outputs, what does it mean for the field graduate outcomes. This paper surveys the history of this domain and world. of craft practice? In the case of the activity and relationships against visual arts, it can be seen to contribute This paper reports the GOS-L outcomes Australian foreign policy of the period. Craft is to the flourishing of art journals and for Australian graduates across the And asks if we (Art and Design Schools) Material, Making, Hand Made, contemporary art spaces. There are six core domains of the cultural sector are really ‘engaged’ with Asia or merely Skill, Traditions, New Materialism, few equivalents for this discourse in the as defined by the UNESCO statistical following expectations from government Tactile, Digital, Art, Gender, Queer, crafts. Yet many craft practitioners are framework, with a special focus on the and university managers. As an alternative Diversity, Theoretical, Political, Social, actively “”thinking through materials in Visual Arts and Craft. It finds that over to such imperatives the paper will discuss Environmental, Capitalist, Ecological, their workshops and studios. It is possible the first three years, undergraduate some examples of deep interaction and Functional, Critical, Indigenous, Activist, to see materials”” such as clay and wood domestic creative graduate outcomes collaboration based on shared values and Engaged, Technological, Industrial, as languages that articulate the world in make significant improvements in relation experiences suggesting a more real sense Cultural, Career, Know how, Ingenious, a unique way. In view of this, this paper to work status, salary and skills match. of engagement. Craftivism, Outmoded, Institutionalised, proposes a craft academy as a distributed The paper also considers some of the key Labour, Scholarly, Feminist, Neoliberal, institution involving a consortium of variables associated with these New Media, Transformative, Futures, organisations. Besides practical activities outcomes, such as gender and Alternatives, Interdisciplinary, such as shared bibliographies, the plan geography, and evidence that creatives Participatory, Aesthetic, Tools. is to address difficult issues, such as the might actively seek PT over FT work in handmade as a luxury value and the order to support their practice. possibility of settler craft. We need to give our craft graduates something tangible to engage with beyond the PhD.

40 41 Session 5B

Culture and the Liminal Space “The Social Turn in Design” — exploring The paper addresses these central tenets THE EXCHANGE AT KNOWLEDGE Varuni Kanagasundaram Socio-technological approaches to to introduce research that reports on MARKET: Design research and RMIT University design investigations the use of screen-based media during community engagement methodologies Rohit Ashok Khot and Angelina Russo mealtime and its affect on eating Ross McLeod, Shanti Sumartojo and How can ceramic practice and RMIT University patterns. Until very recently, most of Charles Anderson performance generate a dialogue with the research on mindful eating and RMIT University; Monash University community that critically challenges This paper explores the nascent rise of associated studies on understanding and critiques various cultural socio-technological research methods in eating patterns were primarily conducted The paper will present the design research perspectives? By locating within a the design services that promote health in laboratories under controlled conditions methodologies developed through multiplicity of social values, intentionally and wellbeing in the home. The paper (Ferriday et al., 2016; McCrickerd & The Exchange at Knowledge Market lacking a fixed reference point, creative takes as its starting point, changes in Forde, 2017). These efforts demonstrate project, a collaborative ‘urban living practice can sometimes provoke a query the ways that we understand cultural the viability of mindful eating towards lab’ established at Victoria Harbour in for the viewer. It is within this context that practices, and ultimately design for meeting health objectives, but lack Melbourne’s Docklands by RMIT University I explore my ceramic practice. them. It situates socio-technological investigations from a user-centered and Lendlease, to prototype forms of research methods within the timeline of design perspective (Norman & Draper, community engagement. Through visual articulation of rituals methods adopted over the past 70 years 1986) conducted in real-world settings. in the form of installations of ceramics to address changes to home and work Our research asks questions such as, Over the course of 18 months, the project and textile, as well as performance and practices and the ways in which designers what are the commonly observed eating explored the shared urban environment participation, the conveying of loss, have addressed these changes. patterns during watching screen-based through the lenses of design ethnography, trauma and separation of cultural and media? What are the moments (instances) landscape architecture, interior design, familial connections is explored. The In the 1990s, as desktop computers that change user’s attention from food interaction design, fashion and textiles, participation of the broader community moved into the workplace, the study of to media and vice versa? What are the and graphic design. Through an ongoing in the performance offers an opportunity ergonomics, began to morph into the critical factors in screen-based media that set of design research studios, exhibitions for healing through the gesture of sharing field of human computer interaction as contribute to specific eating behavior? and public events, The Exchange that experience in a symbolic sense. designers reconsidered their assumptions Does food or its variety have any role in addressed challenges facing urban A new path is forged. about the organisation of work practices. supporting or causing this relationship development and how the community Ethnography began to be used as a (eating with screen-based media)? understands and might inhabit My creative practice-led investigation method for capturing the “real time” The paper reports on our initial findings of such developments. explores the rituals of women within character of work (Suchman 1987). the value of socio-technological methods the South Asian diaspora as a means Crabtree et al (2012) describe this as a for design practice and aims to establish a The project provided a unique opportunity to translate the narratives of dispersed “turn to the social”, a recognition of the pathway for further design research in the for a broad discussion on the nature of a migrants. Case studies complemented by social and cultural practices within which field of inquiry. resilient urban condition, incorporating the research into the diasporic communities work took place. perspectives of governments, developers, and subsequent translation, informs my architects, designers and residents. ceramic practice. In the mid 2000s, this “social turn” The design projects developed at The extended to the development of “design Exchange included proposals which The content of the work is often ethnography” the practice of undertaking explored the complex issues surrounding culturally inscribed as a dislocated ethnographic qualitative research within design-led community engagement, everyday practice, an enquiry, and the a design context. Design ethnology offers sociality and community, sustainable presentation intentionally displaces the reference points about people’s everyday resilient systems, digital infrastructures, viewer, “”fracturing cultural and familial lives and makes these available to others urban spatial dynamics, and memory connection”. This is a process I refer to to facilitate conversations between and imagination. Moreover, the research as being located in a liminal space, multiple actors involved in the design of approach drew together teaching, comparable to the experience of migrants products and services. (Dijk 2012) design practice and social scientific or someone that is reflexive, to develop At the heart of ethnographic design as methodologies in a unique combination. a sense of identity that adapts to their a field of inquiry is the need for empathy environment. These notions present a and sensitivity towards multiple social and Ultimately the project developed a new complex terrain that I voice through cultural practices, and the embodiment of model of activation and community creative practice led research. those sensibilities into iterative engagement, and an innovative example design processes. of collaboration between academia and industry. The paper explores the theoretical underpinning principles of

42 43 Session 5C Session 5D the project and explains how we worked Visual Stocktake, Piece to Make: Material Roundtable: Is design education broken? Creative Graduates and Public Value through the concepts of activation, engagement in making from waste Myra Thiessen and Veronika Kelly (Industry Panel) collaboration, transformation, place, fashion practice and pedagogy University of South Australia Chairs: Grace McQuilten and Scott Brook interdisciplinarity and futurity as a set of Georgia McCorkill RMIT University conceptual armatures that informed our RMIT University Format: approach to research. Proposal for a round-table discussion led What are the public benefits of creative Making with waste fabrics is one way by the Communication Design Educators graduates today? As governments of ameliorating the impacts of an Network (CDEN). Format will consist increasingly look to employment inherently unsustainable fashion industry. of short presentations by each panel outcomes as a measure of the value of Methods including upcycling, recycling, member. Presentations will ask probing university degrees, it becomes important reuse and remanufacture all involve themed questions that engage the for the sector to demonstrate that making with waste textile as a material audience and aim to challenge existing creative practice has value beyond source. The approach to creation with and traditional practices and ways of the private returns to individuals. waste that occurs within the context of thinking about what is valuable for design Employability skills are of course crucial bespoke, high quality design, with which education today and into the future. to creative graduates, just as secure the authors own practice is aligned, employment is crucial to the health of treats the textile source as laden with Design is a social practice that both the sector. Nevertheless, notions of ‘public information that guides the form of the shapes, and is shaped by, how we live good’ are fundamental to both Higher new garment. Such materials must be with and understand each other and Education and the Creative and Cultural individually crafted into one-off garments our environments, and what we value. Industries, and cannot be answered by by the designer-maker in the manner of Design practitioners typically work employment metrics alone. a bespoke craftsperson. In doing this, across traditional disciplinary boundaries designers draw on a unique combination requiring them to be agile, possess highly This panel brings together industry of qualities including aesthetic taste, developed critical thinking skills, and have and academic speakers to address this exploratory problem solving and the capacity to evaluate and influence question with a view to shining a light on hand making techniques. However social contexts. For these reasons we the public value of creative graduates. little attention is given in pedagogical have noticed a valuing of design/ The matter has some urgency for the literature on the fashion design process designers for the role it/they take/s up as university sector, with governments in both to the creative ways in which designers social facilitator/s; however, we question Australia and the UK developing funding engage with waste textiles. This paper whether western design education models that incorporate performance reflects on methods of engagement with responds to the social environment with outcomes related to graduate waste textile, focussing on two distinct the same agility. With recent interest in employment. While there has been phases of the design process: Firstly, the viability of traditional approaches significant attention to the economic Visual Stocktake deals with methods for to design education and a growing contributions of creative skills, and the coming to terms with the materials at body of knowledge appearing in the public benefits of both Higher Education hand and their potential within design, literature, we aim to open discussion and cultural activity generally, there is through reflective sorting, observation and around and challenge the suitability of as yet little focus on the question of the documentation. And secondly Piece to current models of higher education for value of creative graduates as ‘agents’ Make deals with methods for developing more contemporary and progressive of public value. What are the social joins and seams. approaches to how design is practiced benefits of these agents after they leave today. By engaging the design education university? How might we describe these These two phases have been developed community in discussion we aim to contributions? Where might we look through the practice-based research of uncover existing challenges that may be for evidence? the author, and the goal of this paper is impacting more progressive thinking and to draw out themes and techniques for approaches to pedagogy. We ask, are the The event is supported by Design and the benefit of studio teaching practice. most valuable skills future practitioners Creative Practice Emerging Capability Therefore, a secondary focus of this paper need today being taught? Platform, RMIT, through its funding for is to position the sharing of the designers’ the 2019/2020 Concept Paper ‘Creative own practice in the studio pedagogical graduates and public value: a setting as a further form of engagement. conceptual model’.

44 45 Session 6A

Engaging and re-engaging traditional need to be guided by a relevant ethical A pedagogical model to making in the Mashup Painting and Liquid Modern and emergent photographic industries framework and the ability to respond to photographers studio Consumerism: Engagement through the Shane Hulbert, Alison Bennett as yet unknown opportunities, ecologies Nikos Pantazopoulos Street, Impact through the Storefront and Bronek Koska and techniques. RMIT University Laura Mitchell School of Art, RMIT University Edith Cowan University In this paper I will examine ways in This presentation provides an which Christopher Williams makes highly This paper examines the field of analysis of three projects within a conceptual photographs accompanied expanded painting as a contemporary photographic discipline that explore by titles that operate as an indexical method to critique and comprehend how both traditional and contemporary system to production. Williams works post-internet consumerism; its impact photographic industries are aligning with provide knowledge on how to make a on place, space and collective memory. education, and how these alignments succinct technically considered image The methodology used is practice-led can provide new and meaningful with an oblique critique using subtle research, and the aim is to produce a opportunities in learning, teaching political satire. series of paintings and exegetical writing and research. that use mashup as method in painting Williams collaborates with the tropes of praxis, and retroscapes as source material. The first project outlines the development the advertising industry. He critiques the Mashup is defined as a creation using of an online video channel on Australian production of images that proliferate material from two or more disparate photography and photographers, a to make visible systems that produce sources. Retroscapes are best understood collaboration between RMIT Photography their own valorization. He uses a quasi- in the context of philosopher and and Monash Gallery of Art. scientific methodology to describe the sociologist Zygmunt Bauman’s discourse process of making; with clinical and on ‘liquid modernity’, which provides the The second project explores the value concise value systems. His images explain theoretical backbone of this research. of integrating undergraduate students the materials and process’ and the There is void created by lack of meaning into traditional photographic industries content of the photograph. They have a in the digital age. Consumerism fills this through a major program course (subject) social and political function with historical void as it becomes incessant unfulfilled on the working photographer, and readings that consider a contemporary desire, which is performed in an endless critiques the relevance of this sector in the political discourse. The images that cycle: the search for meaning through future of photographic employment. Williams produces are presented in consumption and the resulting unfulfilled The specific industries represent a site specific context revealing the desire. In Bauman’s liquid modern mainstream clients — an architecture photographs and the sites history. consumerism this cycle is accelerated firm, an advertising agency and a beyond our capacity to adapt quickly production studio. Williams practices is a touchstone to my enough, which breeds anxiety. In defining own process’ in the studio. I will describe retrotopia, Bauman’s retrotopia begins The final project considers a commercial my own inquiries into auto ethnography, with the storm of progress (the future): studio working with new and emergent homosexual narratives and consider rapidly advancing and anxiety provoking. photographic technologies, and the the different types of pedagogical Nostalgia provides relief by generating opportunities this provides for future activities that I use in my own work and a mythical utopic past. Retrotopias, or engagement and employment contextualize through; Like a clap of retroscapes, may be fictional, and if they for students. thunder; Metallic Bleu, Dismantle and did once exist, they may currently have Force to move. fallen into ruins. This paper will examine Within all projects is a review of these concerns in relation to my current pedagogical practices in photographic praxis which is located both within the education and how to position this white cube of the gallery and in the street. within a blended teaching environment of engagement and integration. Given the evolving economy for photography, these projects consider the need to calibrate education with the shifting ground of industry. Not only do developing photographers need to be equipped with emerging imaging technologies, they

46 47 Session 6B Session 6C

Tensile Frontiers: Engagement (Panel n which the boundaries between the The Activist Essay: Art, Feminism and successes and lessons of developing Discussion) two are themselves witnessed as a site of Wikipedia in the Classroom students’ social conscience through online Cate Consandine; Kyla McFarlane; tension and cooperation. Louise R Mayhew activism in the quest for gender equality. Mark Shorter Queensland College of the Arts, Victorian College of the Arts; Faculty of Griffith University Fine Arts and Music, Ian Potter Museum, University of Melbourne Since the 1970s, women’s under- representation in the arts has provoked Tensile Frontiers is a cross-faculty research scoreboards and chagrin. More recently, project between two artists and a curator Wikipedia revealed that less than 13% that engages with three notional sites of of contributors to the site are women. tension in the American West in relation to Consequently, the world’s most accessible broader global concerns. encyclopedia of artist biographies is woefully gender-skewed. This paper Following a research trip to the United presents a case study analysis of one States, Dr Cate Consandine, Dr Kyla attempt to redress these concerns. McFarlane and Dr Mark Shorter will deliver The Activist Essay, for the Queensland a panel discussion that reflects upon their College of Art’s Art, Gender, Sexuality & individual and collaborative research into the Body re-imagines the major essay the politics and aesthetics that shape as a research-based engagement frontier mythologies. In the current global with community in the form of a new political climate, the frontier and the or expanded women’s artist biography border are charged sites of contestation. on Wikipedia. Where university essays Australia’s colonial history has produced traditionally discourage the use of its own frontier myths, such as terra Wikipedia, this project dramatically nullius, that continue to shape and affect re-envisages students’ relationship to its politics and character. Today, the the site, facilitating student learning on traumatic history of lengthy Frontier Wars “notability” (Wikipedia’s equivalent of and contemporary border protection art history’s “originality”), neutrality and policy are divisive flashpoints, politicised verifiability. The Activist Essay maintains by left/right schisms and subsumed fundamental research and writing skills into the narrative of the and adds new engagements with digital so-called culture wars. In the United literacy, group work with peers, and States, the frontier is historically described collaboration with online communities, through colonisation — the movement of enabling students to develop the skills European settlers from east to west — and essential for navigating the internet in an culturally mythologised in literature and era of fake news. Moreover, this project film. The frontier of the United States and empowers students to immediately Mexican border has recently become a and fruitfully address the central mechanism by which US President Donald concern of the course—women’s under- Trump has declared a state of emergency, representation in the arts—by making in order to build a preventative wall them the authors and circulators of new between the two countries. In exploring knowledge on women artists. In doing so, an American ‘frontierism’, the panel will this project uniquely attends to students’ provide an important reference point that desires for assessments to have real-world will contribute to the broader discourse impact and simultaneously benefits the around the frontier and how it functions broader community by translating the as a construction of power and control specialised language of the artworld into globally. An engagement with a an accessible format. At the conclusion research-driven investigation that explores of this pilot (running for six weeks from new models of collaboration between August to October 2019), this paper will artist and curator will also be discussed, i provide a reflection on the logistics, ethics,

48 49 Session 6D

In Transit: engaging creative vitality in Co Operative Design and Cultural Value Impact Network (CVIN) a survey and interviews to identify Melbourne’s outer suburbs Collective Imagining Marnie Badham and Kit Wise (Art), existing approaches, drivers, current Clare McCracken, Angela Clarke and Mikala Dwyer, Ceri Hann Gretchen Coombs (DCP ECP), gaps, and future interdisciplinary Grace McQuilten RMIT University Bronwyn Coate (Economics), methodological possibilities for student School of Art, RMIT University Anna Hickey-Moody (Media Comms), training and partnerships. How might a week long workshop Leanne Morrison (Accounting), Australian suburbs are often perceived as structured around building lanterns Tara Daniel (Heide Museum of Art), tundras of vast, sprawling, empty places shed some light on art education 100 Tristan Meecham (All The Queens Men), devoid of cultural and creativity vitality. In years after the inauguration of the Raji Uppal (Cultural Development contrast, Our Place explores the dynamic Bauhaus? The answer to this question Network) and transforming aspects of suburban forms the basis of two interconnected School of Art, RMIT University communities by activating the voices twenty minute presentations. The first and experiences of young communities. by Mikala Dwyer artist, academic and This workshop and networking event is for Our Place worked collaboratively instigator of the workshop and industry and academia to think through with young people from Knox City, in Ceri Hann workshop facilitator and what work is needed in the cultural partnership with Knox City Youth Services, philosopher of art and technology. sector regarding value and valuation and to develop a short documentary film to launch our website showcasing our reflecting on place and belonging in the The workshop entailed hands on network experts. Our intention is to share contemporary suburban environment. The making that made space for a dynamic our thinking, exchange ideas and identify outcomes from the project challenge a lecture series by a range of artist/ future pilot partnership projects with you. reconsideration of the social and aesthetic academics sharing their perspectives landscape of the suburban environment on the significance of the Bauhaus. The A series of short presentations from from one that is homogenous to one workshop operated as a crossover point RMIT academics will identify a range of that is diverse and creatively enabled enabling social interactions between disciplinary approaches to the creation through digital technologies. Suburban not only different strata of the art school and articulation of cultural value in environments have always been more but also interdisciplinary areas and even discussion with expressed industry needs, diverse than what has been commonly interstate art institutions. Inspired by the interests and barriers to evaluation. historicised (Dines and Vermeulen 2013), documentation of early Bauhaus lantern and forms of creative production are parades Mikala proposed the workshop The Cultural Value and Impact Network useful markers of the lived experience as a learning activity that would engage (CVIN) is building RMIT University’s and use of these transforming spaces. students in a variety of ways. A non- expertise in interdisciplinary collaboration The project also demonstrates a useful confrontational way of getting to know and inventive methods for articulating, model for an art educational institution to other students while mutually inspiring measuring, evaluating cultural value and engage with local communities each other through the act of making. social impact. With practitioners and and government. Also a way of relating the activity to a academics from across the University, tangible account of art history and related we are building strong creative teams theory from a diversity of experts and that use new interdisciplinary methods their multiple perspectives. The workshop attuned to cultural complexity and was oriented around the objective of a diverse communities to enable high parade that would lead to an exhibition impact research partnerships with the at an eminent Melbourne gallery. Ceri arts and cultural sectors, government and will expand on the various aspects of how NGO community. a workshop and performative lectures can be a zone for the simultaneous We have been mapping the capabilities engagement of student’s mind and body with our colleagues in Art, Economics, in the transfer of knowledge. Education, Finance and Marketing, Global Urban Studies, Media and Communication, Design, Architecture, and affiliates of DCP ECP, Global Business and Innovation and Social Change. We have collated existing research methods and industry projects through

50 51 SPEAKER BIOGRAPHIES Lyndall Adams Charles Anderson Bronwyn Bailey-Charteris Lyndall Adams, a contemporary artist, Dr Charles Anderson is a landscape Bronwyn Bailey-Charteris is a curator is a senior research fellow across the architect and artist working across the and artist. Currently she is undertaking School of Arts and Humanities and design schools at RMIT University. He has doctoral studies from the University of the Western Australian Academy of a distinguished international reputation as New South Wales in curatorial practice on Performing Arts at Edith Cowan University, an interdisciplinary practitioner, and has the connection between watery thinking, Western Australia. Adams predominantly received numerous awards for his work the climate crisis and contemporary art supervises postgraduate artist researchers from across the creative professions. His practice in the Nordic region. Based in with 21 completions and another 14 at research foregrounds the fertile character Sweden, she works with practical learning various stages of candidature. She is of collaborative and interdisciplinary platforms, artistic research, publications interested in the complex role of narrative modes of practice and advocates a and exhibitions. structures in positioning visual images of mode of place making which, rather https://bronwynbc.com the body in a constant state of flux. Her than reproduce planned environments areas of interest range across feminisms, as systems of control, configures place Emily Ballantyne-Brodie dialogics, interdisciplinarity, collaboration as a discursive arena of movement, Emily Ballantyne-Brodie is currently and contemporary culture. Lyndall has encounter, and exchange. Recent completing her PHD in Sustainability, participated in solo, collaborative and publications include Human-Non-Human: Transition Design and Food Systems. group exhibitions within Australia the Speculative Robot (with Jondi Keane), She is a regular sessional teacher in the and internationally. and New Quay Central Park (with Aspect RMIT Industrial Design program running Studios, Melbourne). studios and design studies courses in Esther Anatolitis Sustainability, Food Systems and Social Esther Anatolitis fosters local, regional, Amal Awad Innovation. Her most recent conference national and international perspectives Amal Awad is a journalist, screenwriter paper was 2018 Milan Service Design on contemporary arts issues as one of and author of several books. She has been Conference on Transition Design and Australia’s leading advocates for the published widely in mainstream and trade Food Systems. arts. Her practice rigorously integrates media, and has produced and presented professional and artistic modes of for ABC Radio National. She is currently an Estelle Barrett working to create collaborations, ambassador for the Copyright Agency. Estelle Barrett is an Honorary Professorial projects and workplaces that promote Fellow of the Victorian College of the a critical reflection on practice. With a Marnie Badham Arts, University of Melbourne. She has strong background in visual arts, design, With a twenty-year history of art and co-edited three books with Barbara architecture and media, Esther has social justice practice in Canada and Bolt including Practice as Research: held leadership roles across all artforms, Australia, Marnie’s expertise sits across Approaches to Creative Arts Enquiry, and since 2017 has been Executive socially-engaged art, the politics of (2007; 2010), as well as reviews and Director of NAVA. She is Deputy Chair of cultural measurement, and participatory articles in: Cultural Studies Review; Zetesis; Contemporary Arts Precincts and has research methodologies. Marnie is Vice Real Time; Artlink; Text; Social Semiotics; served numerous board, policy, advisory Chancellor’s Postdoctoral Research Fellow, Double Dialogues; Studies in Material and juror roles. Esther is a former curator leads a social practice research theme Thinking; The International Journal of of Architecture+Philosophy, Digital Publics for CAST research group, and teaches Critical Arts and the Journal of Visual and Independent Convergence. She in the Art in Public Space at the School Arts Practice. Her monograph, Kristeva has presented artist workshops all over of Art, at RMIT University. Marnie sits on Reframed: Interpreting Key Thinkers for Australia and has taught into the studio the Ministers Advisory Committee for the the Arts, (2011), examines the relevance of program at RMIT Architecture + Urban Creative State and is Chair the work of Julia Kristeva for the creative Design, as well as in philosophy at UNSW of International Art Space. arts and creative arts research. and the University of Sydney. A writer and critic, Esther’s work is regularly published and collected atestheranatolitis.net.

52 53 Clive Barstow Alison Bennett Jessica Bird Dusan Bojic Professor Clive Barstow is Executive Dean Alison Bennett is an artist / academic Jessica Bird is a service designer at Dusan Bojic has a background in the of Arts & Humanities at Edith Cowan whose practice is situated in ‘expanded Victoria Legal Aid in Melbourne, Australia medical sciences and creative arts. University. His exhibition profile includes photography’ where the boundaries and has a Bachelor of Design (Industrial With a career spanning research in forty years of international exhibitions, have shifted in the transition to digital Design)(hons) from RMIT University. the biomedical and clinical sciences artist residencies and publications in media and become diffused into She also teaches service design and to an arts practice over the last 40 Europe, America, Asia and Australia. His ubiquitous computing. Recent projects sustainability in the industrial design years as a poet, visual, performance work is held in a number of collections, have tested the creative and discursive program at RMIT University. Jess has and installation artist, writer, critic, including the Musee National d’Art potentials of augmented reality, worked in the public sector, tertiary videographer, choreographer, and mixed Modern Pompidou Centre Paris. Clive photogrammetry, 3D scanning, and education and university research media sculptor. At present a doctoral is President of the Australian Council of virtual reality as encompassed by the institutes. Jess uses human-centred candidate in the School of Design at Deans & Directors of Creative Arts (DDCA). medium and practice of photography. design to create better experiences of QUT, developing a commercialisation- His recent exhibitions include “Tomorrow As a neuroqueer digital media artist, legal assistance services for clients and ready framework model for an applied is History” at Turner Galleries, Perth and their work has explored the performance is working to incorporate design thinking systematic methodology for facilitating “Giving Yesterday A Tomorrow” at the and technology of gender identity and across Victoria Legal Aid. She enjoys knowledge management and technology Hu Jiang Gallery China, and recent considered the convergence of biological multi-disciplinary collaboration to address transfer in ArtScience Research. Also publications include “Encountering the and digital skin as virtual prosthesis. complex social problems. involved in establishing Queensland’s first Third Space, University of Oxford, UK. Bennett’s work has generated extensive interdisciplinary ArtScience Research Lab. media coverage, including Australian Cameron Bishop Lisa Rae Bartolomei Story and New York Times. Cameron Bishop (PhD) is an artist, Carolyn Briggs Lisa Rae Bartolomei is an artist, composer writer and curator lecturing in Art and N’arweet Carolyn Briggs is a Boonwurrung & sound designer and is currently enrolled Simon Biggs Performance at Deakin University. As a elder from Victoria who is recognised as as a Masters Research Candidate at Simon Biggs is a media artist, writer and curator he has helped initiate a number a keeper of the history and genealogies SIAL Sound Studios In RMIT University’s curator. His work has been presented at of public art projects including Treatment of her people. She says, ‘It’s about the School of Design . Employing a hybrid of Tate, National Film Theatre, ICA, FACT, (2015/17) at the Western Treatment Plant; strength of families, our heritage and the multichannel electroacoustic , soundscape Ikon, Pompidou, Academy de Kunste, Sounding Histories at the Mission to sense of belonging to place.’ & musical composition for Installation & Maxxi, Macau Arts Museum, Walker Art Seafarers Melbourne with Annie Wilson; performance , her practice and research Center, San Francisco Cameraworks, Total and the ongoing VACANTGeelong project N’arweet is a language and linguistics explore the liminal spaces between the Seoul, Art Gallery of New South Wales with architectural and creative arts expert and is dedicated to recording Imagination and the environment , the and Adelaide and Edinburgh Festivals. researchers, and leading Australian her Boonwurrung language in oral known and the mythical realms. Publications include Remediating the artists to explore and activate spaces and written form. She has been active Social (ed, 2012), Autopoeisis (with James left behind by de-industrialisation. As in community development, Native Fiona Bell Leach, 2004), Great Wall of China (1999), the recipient of a number of grants, Title, cultural preservation and cultural Fiona Bell, a stakeholder engagement Halo (1998), Magnet (1997), Book of awards and commissions he has been promotion. For many years she ran the professional currently working in the Shadows (1996). He is Professor of Art, acknowledged for his community-focused Tjanabi restaurant in Melbourne, which construction industry on a major State University of South Australia and Honorary approach to public art. specialised in contemporary Aboriginal Government road infrastructure project. Professor, University of Edinburgh. cooking, promoted the Boonwurrung Outside of the construction industry, http://www.littlepig.org.uk culture and became ‘the place to Bell has worked across numerous other meet’ for Indigenous people. N’arweet industries including mining, refining, State established Australia’s first Aboriginal Government and not-for-profit. Bell’s childcare centre and is CEO of the significant expertise in developing and Boonwurrung Foundation, which she set implementing engagement programs, up to help connect Aboriginal youth to has enabled her to successfully play a key their heritage. N’arweet is also a member role in facilitating community investment, of the National Congress of Australia’s employee engagement, stakeholder First Peoples. relationships and brand protection.

54 55 Scott Brook Jon Cattapan S. Chandrasekaran Angela Clarke Scott Brook is Associate Professor of Jon Cattapan is an extensively exhibited Dr. S. Chandrasekaran obtained his Dr Angela Clarke is a tertiary teaching Communication in the School of Media visual artist who lives and works in doctorate from Curtin University in 2007. specialist, educational scholar and and Communication, RMIT. His research Melbourne, Australia. He first began Over the past eighteen years he has creativity advocate who provides is focused on cultural economy, creative exhibiting in 1979 and his works deal held several academic positions both academic leadership on research and labour and Higher Education, and he is primarily with ways of representing urban in Singapore and abroad. Currently, teaching in creative disciplines at RMIT currently involved in a project on creative topographies and narratives. he is Head of McNally School of Fine University. Her creative practice PhD www. graduate outcomes in Australia and the Arts at LASALLE, College of the Arts. angelaclarkephd.com is foundational UK’s Creative and Cultural Industries. He is known for panoramic layered city He represented Singapore in major to social enterprise Live Particle. She http://www.creative-graduates.org.uk/ vistas and figurative groupings and has exhibitions such as Havana Biennial has worked extensively within art and a long held preoccupation for the way (Cuba), 1st Asia Pacific Triennial (Brisbane), education contexts as a theatre maker, Jon Buckingham human beings negotiate territories. Asia-Pacific Performance Art Festival teacher and group facilitator. She uses Jon Buckingham is curator and manager Within his paintings, drawings and prints (Canada), International Performance Art improvisation techniques to explore of the RMIT University Art Collection. He we see influences of contemporary global Festival(Poland), 49th Venice Biennale, 8th human creativity and its interrelationship has curated a number of exhibitions, culture and recent history that range Festival of Contemporary Art (Slovenia), with the natural/digital world. She has and his practice explores object-based from science fiction and film through to Singapore Biennale 2016 and New Ben Art published work on creativity, embodiment, learning initiatives, and the role played urban social debates. His extensive travels Festival (Taipei), 2018. fine art education, professional by collections in contemporary institutions in Asia and living in cities such as New learning, educational change and curatorial models. York, London and Venice have deeply In 2016, he was invited as a keynote management, motherhood, and influenced his practice. speaker for 1st international Conference performance philosophy. Danny Butt on Social Arts and Transdisciplinarity at Dr. Danny Butt is Associate Director Cattapan’s work has been accorded University of Evora, Portugal, and also for Bronwyn Coate (Research) at the Victorian College of many accolades. In 2006 he was 3rd Academic International Conference on Dr Bronwyn Coate is a cultural economist the Arts, University of Melbourne, where honoured with a major retrospective The Multi-Disciplinary Studies and Education, with expertise in the economic analysis of he coordinates programmes in Social Drowned World: Jon Cattapan works and Oxford, UK, 2017. He presented papers the arts and creative industries. Bronwyn’s Practice and Community Engagement. collaborations at the Ian Potter Museum at international conferences such as research incorporates approaches from His book Artistic Research in the Future of Art, University of Melbourne. In 2008 Gender, Sexuality and Justice: Resilience behavioural economics to study a range Academy was published by Intellect/ he took up a commission through the in Uncertain Times, Chinese Hong Kong of topics including arts markets, creative University of Chicago Press in 2017. He is Australian War Memorial to become University, 2018 and 5th Arts & Humanities labour and entrepreneurship and creative the editor of PLACE: Local Knowledge and Australia’s 63rd Official war artist and Conference, University College of industries. Bronwyn actively engages New Media Practice (with Jon Bywater was deployed to Timor Leste, where he Copenhagen, 2019. with the arts and cultural sector and and Nova Paul) (Cambridge Scholars Press explored Night Vision technology as an arts funding bodies to generate 2008) and Internet Governance: Asia aesthetic tool, which continues to inform His research interests are Cross-Cultural meaningful collaborations. Pacific Perspectives (Elsevier 2006). He his work. In his most recent work the artist Studies, Asian Aesthetics, Life Science and works with the Auckland-based collective has been documenting urban refuse Experimental Theatre. Local Time, whose practice engages the and reconfigures collections of discarded dynamics of visitor and host in the context objects into ‘rafts’. He turns to saturated of mana whenua and discourses of fields of colour and these gathered indigenous self-determination. objects to explore uncanny presences in the urban environment.

56 57 Cate Consandine Martine Corompt Tara Daniel Nadège Desgenétez Dr Consandine is an artist represented Dr Martine Corompt is a lecturer and Tara’s practice spans the visual and Artist and academic Nadège Desgenétez by Sarah Scout Presents, Melbourne and studio leader in the area of Time- performing arts, both as an artist and has taught, worked and exhibited in Honours Coordinator, at the VCA, School based arts, School of Art RMIT. She educator. Currently, Tara is the Museum Europe, North America, Asia and Australia. of Art, UOM. teaches across first, second and third Educator, managing education programs She has been a lecturer at ANU since year students, with a specific focus on at the Heide Museum of Modern Art. 2005. Desgenétez has received awards Working across a wide range of formal moving image, animation, mixed media Heide invites students and teachers from numerous international funding and discursive mediums, Cate Consandine installation and collaborative practice. from primary, secondary and tertiary bodies, most recently from the Australia interrogates the position of the foreign Since 1995 Martine has exhibited widely institutions to participate in interactive Council for the Arts. Her work is in body in the Australian landscape and the in individual and group exhibitions, exhibition tours, arts workshops and museum collections including the Corning complexities and constructions of desire locally, nationally and internationally professional learning programs. Museum of Glass (Corning, USA), CMAG that are bound to its forms. Her video including works such as Torrent exhibited (Canberra, Australia) and the China works A Woman of the Future (2016) and at Contemporary Art Tasmania and the In prior roles, Tara managed Spark_Lab; Academy of Art (Hangzhou, China). Cut Colony (2012) are both examples of Centre for Contemporary Photography an innovation-based education program Her research interrogates the role of blown staged performances that unfold and 2015 and Tide exhibited at Westspace at the Perth Institute of Contemporary glass sculptures in mediating experiences explore the relationships between subject gallery 2012. Subjects such as the Arts that utilised Art, Music, Dance and of place; her most recent solo exhibitions and landscape from a postcolonial reductive representation of bodies of Theatre to develop innovation skills in presented with Mouvements Modernes perspective. In these works Consandine water and the natural and unnatural young people and educators. Tara was (Paris, 2019) and Heller Gallery locates experiences between stillness and landscape contributed to theme of her a Teaching Artist for the Arts Centre (New York, 2018). movement, or the place where desire is PhD research project titled: Cartoon and Melbourne for a number of years, and posited — the edge of movement — and the Cult of Reduction completed at the delivered projects to schools all over Mikala Dwyer particularly fixes on the liminal body; a VCA Melbourne University in 2017. Victoria through the Small Bites and Arts In works that explore how we relate to body on edge in the landscape. Bites programs. As Head of Performing the object-world, Mikala Dwyer has David Cross Arts Departments at Brunswick Secondary pushed the limits of sculpture, painting Gretchen Coombs David Cross is an artist, writer and College and Melbourne Girls Grammar and performance, establishing herself Gretchen Coombs is an early career curator based in Melbourne. Working School, Tara directed projects at the NGV as one of Australia’s most important researcher and art writer who investigates across performance, installation, video and Arts House Meatmarket, after the era contemporary artists. She has been the forms and structures of care in and photography, Cross explores the of choreographing Rock Eisteddfod entries honoured with solo survey exhibitions in socially engaged art projects. She relationship between pleasure, intimacy had passed. many national art museums including also considers how cultural institutions and the phobic in his works, and often the Art Gallery of New South Wales practice care through curation and incorporates participation by linking Tara has written education resources for and the Museum of Contemporary public programming. Gretchen has a performance art with object-based Theatre Works and Regional Arts Victoria Art, Internationally exhibitions include PhD cultural anthropology and uses environments. As a curator Cross has for performances on the VCAA playlists Blessed Be, MOCA Tucson, USA (2018); ethnographic and creative methods to produced a number of temporary for VCE Drama and Theatre Studies and The End of the 20th Century, The Best is evaluate art projects. public projects, including One Day is a VCAA Theatre Studies Examination Yet to Come—A Dialogue with the Marx Sculpture (with Claire Doherty) across Assessor. She also tutors for NIDA Collection, Hamburger Bahnhof, Berlin New Zealand in 2008–09, and Iteration: Melbourne. Tara studied Dance, Visual (2013); Face Up: Contemporary Art from Again in Tasmania in 2011. He recently Art and Theatre at WAAPA, ECU, and the Australia at Hamburger Bahnhof, Berlin co-founded the research initiative VCA, and Education at the University of (2003); Verso Süd at Palazzo Doria Public Art Commission (PAC) at Deakin Melbourne, specialising in Secondary Pamphilj, Rome, curated by Franz West University which is devoted to the Art and Drama. Tara is passionate (2000); Graz Museum, Austria; Zachęta commissioning and scholarship of about making the arts accessible and National Gallery of Art, Warsaw; Chapter temporary public art. Recent PAC projects inclusive, and using the arts to foster Arts Centre, Cardiff, UK, Istanbul Biennale co-developed with Cameron Bishop curiosity, creativity and a passion for (1995), Biennale of Sydney (2010 and include, Treatment with Melbourne life-long learning. 2014) Adelaide Biennial of Contemporary Water and City of Wyndham (2015–17), Australian Art (2010). Venetian Blind with European Cultural http://www.mikaladwyer.com Centre, Venice (2019), and Six Moments in Kingston for the City of Kingston (2019). Cross is currently Professor of Visual Arts, Faculty of Arts and Education at Deakin University, Melbourne.

58 59 Mark Edgoose Felicity Fenner Jane Gavan Emma Gerard Material-driven research working at the A/Prof Felicity Fenner is a curator of Dr. Jane Gavan is an artist-researcher at Emma is an Industrial Design graduate intersections of craft, art, design and contemporary art and Chair of the City Sydney College of the Arts. Jane leads with first class honours from RMIT — architecture and fuelled by an interest of Sydney’s Public Art Advisory Panel. the creative spillover project for UNESCO, there she launched a design activism in both traditional and hi-tech materials In 2017 she published ‘Running the City: Manufacturing Creativity, Vietnam. community which transformed into an and making processes, Dr Mark Edgoose why public art matters’ (NewSouth). Current research themes include; subject offered within the School of has made a significant contribution to Her next book focusses on the legacy understanding the shared values of Design. Over the past 5 years Emma has Australian object-making since 1989. A of biennale-commissioned public art in contemporary creative practice in society, sat on the committee for the Service global expert in titanium, mark explores biennale host cities around the world. the impact of creative practitioners as Design Network Melbourne (SDNM), his interest in craft objects as they exist in Felicity is a lead researcher on the soft power actors in communities and worked as a Project Facilitator with the space and time – the rail being a linear ARC-funded ‘Curating Cities’, which creative practice in environmental and Victorian Eco-Innovation Lab, Melbourne structure that viewers experience by takes the form of an ongoing and social contexts. Janes studio research University. Currently she teaches Service, travelling along it. Currently mark is the internationally accessible public art and pedagogies operate at the nexus User centred and Design for Sustainability Program Manager BA Fine Art at RMIT, database (since 2011). She was the of material science and material culture. at RMIT University. Her experience has School of Art and leads the Craft Initiative inaugural Director of UNSW Galleries Her creative practice currently involves been directed towards innovation within project and the Craft and Materiality (2012-2018), her international program sculpture in glass and lightweight education and design activism and Research Group. swiftly establishing the Galleries as a materials using Biomimicry. Jane has research interests have focus on empathy leading centre for art and ideas. exhibited and taught in Australia, China, and the role designers play in social Grant Ellmers https://www.artdesign.unsw.edu.au/ USA, Belgium, Italy, France, Vietnam, wellbeing and cohesive societies. Dr. Grant Ellmers is lecturer in the School about-us/our-staff/dr-felicity-fenner Germany + the UK. Jane designs of the Arts, English and Media at the interdisciplinary learning experiences at Arie Rain Glorie University of Wollongong. Grant’s research Marius Foley the University of Sydney and beyond. I am a curator and artist based in interests include critical thinking through Dr Marius Foley is the Program Manager Naarm Melbourne. In 2015 I graduated the design process, knowledge transfer, of the Master of Design Futures, RMIT Kelly Gellatly with an honours degree in Fine Art, from co-design, reflective practice, and design School of Design. This Masters is the study Kelly Gellatly is the Director of the RMIT. As an artist I make video, live-art education (including studio and project- and practice of human centred design Ian Potter Museum of Art. Prior to and installations, predominately for based learning). Grant’s PhD thesis is titled in contemporary situations for design assuming the role in 2013 she was Curator festivals. My practice is often collaborative Graphic Design Education: Fostering the practitioners. Marius supervises students of Contemporary Art at the NGV. Kelly and responsive. conditions for transfer in a project-based in the Design Futures Research Project has curated more than 40 major and studio-based learning environment, as well as practice-based PhD design exhibitions of the work of leading As a curator I experiment with through a structured and critical students. In his PhD, ‘Co-Creative Publics Australian and international artists exhibition making, events and audience approach to reflective practice. He has and Publication Design’, he examines and has published extensively on engagement. I am the program director published nationally and internationally the changing relationship of design to contemporary art, Australian modernism and curator of Testing Grounds and the on the topic of design education. Grant the publics it addresses. Marius’ research and photographic practice. curator and co-founder of the Centre for teaches design thinking, design process, areas include design education; design At the Potter, Kelly has driven major Dramaturgy and Curation. user interface design, and photography. engagements with aged care and organisational change, increased the approaches to death; and design and Museum’s public profile and enabled Julian Goddard media innovation, especially in rural and significant growth in visitors from within Professor Julian Goddard is an academic, remote communities. the University and wider public, including curator and artist specialising in the the number of tertiary students involved aesthetics of the everyday. Over the past in direct curriculum engagement through 30 years as well as being a teacher and the Museum’s Academic Programs. post grad supervisor, as a curator Julian has made numerous exhibitions and published widely on Australian, Aboriginal and Concrete art, including three books, book chapters, articles, papers and many catalogue essays. From 2015 -2019 Julian was Dean of the School of Art at RMIT and before that Head of the School of Design and art at Curtin University.

60 61 Paul Gough Ceri Hann Yusuf Hayat Jennifer Higgie A painter, broadcaster and writer, Ceri is a multidisciplinary arts practitioner Yusuf Hayat is currently a PhD candidate Jennifer Higgie is an Australian Professor Paul Gough has exhibited who develops participatory art forms at the University of South Australia. His writer, art critic and editor-at-large of internationally and is represented in the intended to enhance the conditions for practice-based research has a focus friezemagazine, based in London, UK. permanent collection of the Imperial War collective idea generation. This approach on migrant narratives, transcultural She is currently working on a book on Museum, London, the Canadian War to practice often avoids categorisation, as aesthetics and intersubjectivity in women’s self-portraits, titled The Mirror Museum, Ottawa, and the National War the outcomes are intentionally defused in art. He is committed to social justice & the Palette, which will be published by Memorial, New Zealand. His research the wonder/wander of everyday life. and has worked in leadership roles for Weidenfeld & Nicolson in 2021, and on on war and peace has been presented The gifting of metaphorical objects several international non-government various film scripts. She is also the author internationally at global conferences, to instigate philosophical discourse organisations across social housing, and illustrator of the children’s book symposia and exhibitions. Author of stems from Ceri’s recently completed social support and Emergency Relief. There’s Not One; the novel Bedlam; and nine books, he has published extensively PhD research at RMIT, The Making of a As an artist, Yusuf’s work integrates the editor of The Artist’s Joke. She is the about the visual representation of war Knowledge Casino (2016). The creation photography, video, painting and writer and presenter of Bow Down, the and peace, and also an edited book on of low tech props for treating the urban architectural approaches to sculptural new frieze podcast about women in art the street artist Banksy. Professor Gough is condition as a 3D movie set were used form. He recently undertook artist history, and the editor of the annual art- Pro-Vice Chancellor and Vice President at to enable mutually inspired activities for residencies at the British School at historical journal frieze masters. In 2008, RMIT University. people that may not consider themselves Rome and NEXUS Arts, Adelaide. He has she was a judge of the Turner Prize; in artists, but may become script writers exhibited in Australia and overseas. 2017, she was on the selection committee Anita Gowers of their own way to play. A link to his for the British Pavilion at the Venice Anita Gowers graduated with an MPhil. presentation can be found here: Rachael Haynes Biennale; and she curated the Arts Council from the University of Queensland and https://vimeo.com/200086947 Dr Rachael Haynes is a Lecturer in Collection (England) exhibition ‘One Day has worked at several Universities across Visual Arts at the Queensland University Something Happens’, which toured to a range of disciplines, from neuroscience Lawrence Harvey of Technology in Australia. Haynes five galleries across the UK and Ireland to the creative industries. She has held Lawrence Harvey is a composer, sound completed her PhD, an exploration of the between 2015–17. a range of not for profit board positions designer and director of SIAL Sound ethics of exhibition practice, examining including the Fundraising Institute of Studios, based in the School of Design, encounters between artworks and Geoff Hinchcliffe Australia. Most recently Anita held the RMIT University. He has led ARC Grants audiences in terms of difference, with the Geoff Hinchcliffe is a senior lecturer and position of Strategic Research Manager with local arts organisations and support of an Australian Postgraduate researcher at the Australian National at the Creative Exchange Institute at the published widely on creative and cultural Award for research in 2009. Her University’s School of Art & Design where University of Tasmania. Anita is currently aspects of spatial sound. current research investigates feminist he is developing the School’s new Design undertaking a PhD on the Australian ethics, archives and activism through program. Geoff’s research focuses on picture framing industry at the Australian Neal Haslem pedagogical, curatorial and collaborative enlivening data and digital collections National University, Canberra. Dr Neal Haslem is the Associate Dean, strategies. Rachael was a founding through visualisation, interface and Communication Design RMIT. Neal’s member of the feminist art collective, interaction design. His research results Olivia Vanessa Hamilton research is both informed by, and LEVEL and was the Gallery Director of in both theoretical and applied outputs, Olivia’s research and work explores the critical of, the work of Donald Schön and Boxcopy Contemporary Art Space from typically in the form of web-based proposition that creative collaborative his positioning of ‘reflective practice’. 2012–2018. works which range from the practical, practices can bring new perspectives Neal’s practice-led research continues to the experimental, playful and and capacities to commoning and in to investigate the conjunction of Anna Hickey-Moody occasionally provocative. return, the social and spatial praxis of communication design and intersubjective Anna Hickey-Moody is a Professor commoning provides creative practice action through projects, writing, teaching of Media and Communication, Vice with ways to seek, recognise and value and discourse. Ultimately he aims, Chancellor’s Senior Research Fellow experiences of mutuality. Olivia’s PhD through design research, education and and Australian Research Council Future thesis is titled “A Commoning Creative discourse, to initiate an ‘intersubjective Fellow 2017–2021. Anna is internationally Practice: Tending to Mutuality in Spaces turn’ within communication design action recognised for her expertise in theorising of Engagement’. Her ongoing research and research. youth arts and has recently been is conducted through creative spatial developing an impact evaluation model practice, design pedagogy and writing. for the program of work created through Olivia has written articles for several her future fellowship research. international journals and recently received the The Plan Journal Best Paper award for 2018.

62 63 Shane Hulbert Varuni Kanagasundaram Meghan Kelly Russell Kennedy Shane Hulbert is a Melbourne based I completed my Bachelor of Arts Honours Meghan Kelly is a Senior Lecturer Russell Kennedy is a Senior Lecturer artist, curator and academic. His work has degree (1st class) in Ceramics in 2013 in Visual Communication Design at and Course Director of Visual been shown nationally and internationally, (RMIT University) and in 2014 I was Deakin University and currently serves Communication Design at Deakin most notably at the National Gallery of awarded an Australia Council Art Start as the Associate Head of School for University. Kennedy’s research is in the Victoria and the Centre for Contemporary Grant to develop my ceramic practice Teaching and Learning in the School of area of cultural representation focusing Photography (CCP), both in Melbourne, that explored Cultural Hybridity. I am Communication and Creative Arts. Kelly’s on the relationship of Indigenous visual Australia and the Pingyao International currently undertaking my PhD (Art) at research explores issues surrounding culture to national Identity. Kennedy is a Photography Festival in China. He is RMIT University. identity creation and representation in Fellow of both the Royal Society for the currently Associate Dean, Photography, a cross-cultural context with a focus on encouragement of Arts, Manufacture and at RMIT University in the School of Art, I have been a presenter at international Indigenous communities. Her passion for Commerce (RSA) and the Design Institute where he lectures in photography. He conferences and a recipient of awards a global understanding of design extends of Australia (DIA). He was President of the writes on contemporary art education, in major sculpture/fine art exhibitions, into her teaching practice and continues International Council of Communication and his photographic practice explores overseas Scholarships, Art Residencies to be explored in research projects and Design Icograda (2009–2011) and a board the expression of a collective national in well recognised Art Centres/Institutes design opportunities. Kelly has recently member (2003–2013). Kennedy was a Australian identity through distinct and in USA and the American NCECA published a book on the development of Regional Ambassador to INDEX: ‘Design popular iconography that connects place, Multicultural Fellowship. These have the Kelabit Community Museum in the to Improve life’, the Danish Government’s history and culture. allowed me to engage with the global Highlands of Boreno. Kelly is a member of International Award program (2007-2013). arts community to explore my visual the Design Institute of Australia (DIA) and Troy Innocent narrative and research. the International Council of Design (ico-D). Dr Troy Innocent is an artist, academic, designer, coder and educator. His public Nicola Kaye Veronika Kelly art practice combines street art, game Dr Nicola Kaye lectures at the School AProf Veronika Kelly is currently Dean: development, augmented reality, and of Arts and Humanities at Edith Cowan Academic in Education, Arts and Social urban design. As a recent Melbourne University. A digital-based artist, having Sciences at the University of South Knowledge Fellow, Innocent developed exhibited nationally and internationally, Australia and has led higher education the framework for Playable City she collaborates with artist Stephen design programs and held positions as Melbourne, a three-year project in which Terry. Recently they were awarded the Program Director in Communication Melbourne is transformed into a playable inaugural J.S. Battye Creative Research Design, Research Degrees Coordinator city through an inventive blend of live art, Fellowship at the State Library of WA, and and Associate Head of School in Art, game design and public art. Innocent is the inaugural Parliament of WA and ECU Architecture and Design. Veronika’s Senior Research Fellow at RMIT University, Artist Residency. Nicola has presented at research interests include the cultures where he continues his research into a number of national and international of design practice, discourses of design, ‘urban codemaking’, a design process for conferences, and has published book design and rhetoric, critical design, ethics situating play in cities, he has developed chapters and a book, Physical/Virtual and/in/of design practice. Veronika’s work urban games in Melbourne, Bristol, Sites: Using Creative Practice to Develop is published internationally, and she has Barcelona, Istanbul, Ogaki, Sydney Alternative Communicative Spaces. Her been recognised with a national OLT and Hong Kong. creative and written works explore social Citation for Outstanding Contribution movements and cultural institutions/ to Student Learning and UniSA Citation, archives focusing on digital culture. and International Society of Typographic Designers Tutor Awards.

64 65 Rohit Ashok Khot Gillian Lever Nancy Mauro-Flude Clare McCracken Dr. Rohit Ashok Khot is the Deputy Gillian Lever is a sound artist and Dr Nancy Mauro-Flude is an artist Clare McCracken is a Melbourne- Director of the Exertion Games Lab; composer working across multichannel and researcher interested in visceral based, socially engaged artist and PhD ARC DECRA fellow and Vice-Chancellor’s sound performance, diffusion and sound systems and non-deterministic Human candidate at RMIT University, researching Postdoctoral Fellow at RMIT University, installation. She is currently undertaking Computer Interaction. She is currently methodologies of participatory art in the Australia. Rohit’s research embodies a Master of Design at RMIT’s School of researching the history of the automaton age of hyper mobility. She is the recipient interdisciplinary strength and explores the Design, and her practice-led research in theatre, its relationship to the computer of the prestigious Vice-Chancellor’s PhD amalgamation of design and technology explores the intertwined nature of the and the philosophical and planetary Scholarship. Clare’s practice includes in a creative way. He designs, develops relationship between spatial sound, the consequences of self determined large-scale immersive installations, fine art and studies technologies that aim to space it inhabits, and the embodied machines. Mauro-Flude’s practice objects and contemporary performance integrate into everyday practice to offer a listener. based research plays a role in making works. She often works site-specifically, pleasurable and fulfilling experience. visible a more diverse representation of across disciplines and collaboratively Rohit is passionate about playful Keely Macarow subjectivities in 21C artform production, with other artists and community Human-Food Interaction (HFI) and has Associate Professor Keely Macarow is challenges the value systems of internet to create works that interrogate an ambitious goal to alter the common Coordinator of Creative Care, School of culture. She is an academic staff member contemporary social, political and perception that food cannot be healthy Art, RMIT University. Keely collaborates in the School of Design at RMIT. environmental issues from an Australian and pleasurable at the same time. Dr. with artists, designers, social scientists, perspective. Her practice is characterised Khot is involved in the organization and activists, medical, aged care and Louise R Mayhew by performance, participation, story management of the Special Interest engineering researchers to explore how Dr Louise R Mayhew is an Australian telling, humour and fiction. Group meetings, workshops and creative arts and design interventions feminist art historian and Foundation symposiums at leading international can be applied to healthcare, political Art Theory Convenor at Queensland Kyla McFarlane conferences specifically around food and housing settings and for public College of Art. Her research is attuned to Dr Kyla McFarlane is the Academic and play, besides serving on program exhibition and performance. Keely has underwritten histories. This interest stems Program Coordinator at the Ian Potter committees for leading international worked with medical and healthcare from her doctoral investigation of Museum, Parkville. McFarlane’s curatorial HCI conferences, including DIS and TEI. partners including St Vincent’s Hospital women-only art collectives in Australia, and writing practice has a strong focus His track record includes 45 scholarly Melbourne (Designing Sound for Health c. 1970–2010, and expands to include on the body, gender, performance and publications in last 7 years, the majority and Wellbeing, ARC Linkage, 2008-2011 Australian, feminist and participatory art marginalised histories. She has curated of which appear in highly competitive HCI + Smart Heart Necklace: Revolutionising histories. More broadly, she’s interested exhibitions focusing on feminist practice, conferences and journals and include one Ambulatory Cardiac Monitors, Gandel in ethics, activism and methods of emotional affect, performance, vernacular best paper and one honorable mention Philanthropy, 2014–2015) and Co-design representation. For the past three years, and lens-based practice. Without Words (top 5%) award. His research has also for better experiences in end-of-life Mayhew has coordinated a Brisbane at CCP, Melbourne (2011) brought together appeared in 30+ press articles including settings. A transdisciplinary project contribution to International Women’s photographic and video works from both a cover story on Mashable Australia, IEEE (Karolinska Institutet & Stockholm Elder Day’s global Art + Feminism Wiki Edit- art and documentary realms that engage Spectrum and TV coverage on Channel Care Bureau, Swedish Research Council A-Thon. In 2019, Mayhew is marrying with emotional affect, sincerity, passion 9 News and ABC News 24. He has won Formas, 2017-2019). her research, pedagogical and activist and empathy. This project included prestigious awards including IBM PhD interests via an affirmative action Cate Consandine’s Colony (2010), fellowship (2014–2015), ARC DECRA Lorraine Marshalsey Wikipedia-based assessment. a sculptural and video-based work fellowship (2019–2022), 2017 RMIT HDR Lorraine Marshalsey is the Honours engaging ‘the body on edge’ in a Prize for Research Excellence (2017), RMIT Program Director at Queensland College Georgia McCorkill landscape. A Different Temporality at Vice-chancellor’s Postdoctoral Research of Art (QCA), Griffith University in Australia Georgia McCorkill has professional MUMA, Melbourne (2011) investigated Fellowship (2017–2019) and SIGCHI and a Senior Fellow of the Higher experience as a designer within diverse the recent history of Australian feminist Development Fund Grant (2017, 2018). Education Academy (SFHEA). Lorraine is sectors of the fashion industry from bridal practice (1975-85) through radical produces international research on the couture to corporate uniforms. Through approaches to temporality and sexual Bronek Koska studio as a site for learning; as a learning creative practice research she explores difference. For the Asia Pacific Triennial RMIT lecturer Bronek Koska’s work space (physical and online), on sensory sustainable design strategies applicable 8 at QAGOMA (2016), McFarlane encompasses both commercial affect in educational environments, on to bespoke contexts, focusing on upcyling worked with Club Ate, Gabriella and photographic practices such as ceramics as a craft-based studio practice, and sharing. She has exhibited in various Silvana Mangano and Super Critical architectural photography and photo and the values of studio learning within fashion festivals and galleries as well as Mass to deliver three major media artistic outcomes that explore design education. Lorraine regularly designed for red carpet scenarios. She performance commissions. that creative affordances of the medium. deliver papers on these topics including teaches design studios that explore Koska’s elaborate staged tableau at the Tate Liverpool in the UK and at ethical, sustainable, local or political issues photographs demonstrate his expertise the Australian Ceramics Triennale in 2019. through practical and creative design in cinematic lighting and the expressive Lorraine also leads the Learning Spaces development and making. power of production values. Research Working Group (LSRWG) at QCA.

66 67 Helen McLean Grace McQuilten Laura Mitchell Kevin Murray Helen McLean is Senior Advisor Learning Dr Grace McQuilten is a Senior Lecturer Laura Mitchell is a visual arts PhD Dr Kevin Murray is an independent writer & Teaching, RMIT University. She has in Art History & Theory and Leader candidate with Dr. Lyndall Adams and curator and Adjunct Professor at 18 years of academic development of the Contemporary Art and Social and Dr. Paul Uhlmann at Edith Cowan RMIT University. Major current roles are experience involving the support and Transformation Research Group. Grace is a University, WA supported by an ECU-HDR managing editor for Garland Magazine leadership of academics across a range published art historian, curator and artist Scholarship. Her practice-led research and the Online Encyclopedia of Crafts in of disciplines in design and social sciences. with expertise in contemporary art and project involves expanded painting the Asia Pacific Region. In 2000–2007 She was a member of the Evaluation design, public art, social practice, social using mashup as a method, visual source he was Director of Craft Victoria where team for the Australian Government 2014 enterprise and community development. material she defines as retroscapes, and he developed the Scarf Festival and Office of Learning and Teaching Strategic Grace’s new book, Art as Enterprise: philosopher and sociologist Zygmunt the South Project, a four-year program Commissioned Projects. Helen has had Social and Economic Engagement in Bauman’s discourse on ‘liquid life’, post- of exchange involving Melbourne, leadership roles as an Acting Deputy Dean Contemporary Art is published by IB internet consumerism, and ‘retrotopia’. Wellington, Santiago and Johannesburg. (Learning & Teaching) in the School of Tauris (UK) and is co-authored with Dr Mitchell dual USA-AUS citizen, holds His books include Judgement of Paris: Education (2013) and the School of Global, Anthony White. It considers new economic an MFA from Virginia Commonwealth Recent French Thought in an Australian Urban and Social Studies (GUSS) (2017). models for the arts in the context of University in the USA. She has exhibited Context (Allen & Unwin, 1991), Craft social practice, creative industries and internationally, conducted grant funded Unbound: Make the Common Precious Ross McLeod transformations in the public realm. residencies and community arts initiatives, (Thames & Hudson, 2005) and with Dr Ross McLeod is Program Director of Grace is a Chief Investigator on the public art commissions, and taught Damian Skinner, Place and Adornment: the Master of Design Innovation and ARC Discovery Project ‘The underworld: extensively. She is a member of A.I.R. A History of Contemporary Jewellery in Technology in the School of Design at outsider artists and the reformulation Gallery, NYC. Australia and New Zealand (Bateman, RMIT University. His research speculates of Australian art,’ (2018–2020) and the 2014). He is currently a Senior Vice- on the interdisciplinary nature of design ARC Discovery Project ‘Art-based Social Leanne Morrison President of the World Craft Council Asia practice and actively integrates industry Enterprises and Marginalised Young Dr Leanne Morrison’s research focuses Pacific Region, coordinator of Southern based collaborations and public art Peoples Transitions,’ (2017–2019). on the role of accounting in society, Perspectives and Sangam: A Platform for commissions with teaching and learning particularly the interactions between Craft-Design Partnerships. outcomes. His published books include Tristan Meecham organisations and the natural world Interior Cities (a scholarly analysis of the Tristan is an artist who facilitates as communicated through corporate Tiriki Onus concerns and context of Interior Design creative frameworks that enable social environmental reporting. To examine Tiriki Onus is a Yorta Yorta man and Head practice), Intersection (an insight into the transformation; connecting community, this relationship, she weaves aspects of of the Wilin Centre for Indigenous Arts multivalent nature of spatial art) and audience and artists together in events storytelling, Art and philosophy into her and Cultural Development, University The Sensuous Intellect (a compendium that transcend the everyday. He is the methodologies. Dr Morrison has recently of Melbourne. He is a successful visual of design approaches that interweave Director of All The Queens Men. published a book about the ways in artist, curator, performance artist and materials, media and phenomena in which western culture has identified with opera singer. His first operatic role was ways that engage our senses both All The Queens Men create spectacular nature over time, from the pre-Socratic in the premiere of Deborah Cheetham’s imaginatively and viscerally). theatrical and participatory arts period to today. In this book she used Pecan Summer in October 2010, which experiences. Established with Bec Reid, these various approaches in her analysis he reprised in 2011, and 2012 for the Megan McPherson All The Queens Men champion social of corporate communication about the Melbourne and Perth runs. He received Dr Megan McPherson is a practicing artist equality, celebrating diverse community natural world. She is also working on the Dame Nellie Melba Opera Trust’s and has taught and researched in the through creative actions and socially projects which examine corporate impact Harold Blair Opera Scholarship in 2012 university art school since 1996. Megan’s engaged frameworks. through the lens of feminist philosophy; and 2013. In 2015 he was the inaugural overarching research emphasis is the how cultural values impact on the way Hutchinson Indigenous Fellow at the engagement in artistic, social and cultural corporations report; how organisations University of Melbourne. production practices. She explores this and stakeholders can communicate focus through investigating how creative through storytelling, and; environmental and cultural education is provided in philosophies. Her industry experience universities and formal and informal includes her role as a tax consultant, education settings using ethnographic, and various board positions in the sociological, and creative practice environmental not-for- profit sector. methodologies to explore identity, subjectivities, affect and agency. Megan is a research fellow in the Research Unit for Indigenous Creative Arts and Cultures, VCA, The University of Melbourne.

68 69 Nikos Pantazopoulos Lisa Radford Chris Ryan Mark Shorter Nikos Pantazopoulos situates his work Lisa Radford is an artist who lectures Chris Ryan is a member of the Editorial Dr Mark Shorter is and artist and the in post-minimalism and conceptual in Painting at the VCA, University Board of the Journal of Industrial Ecology current Head of Sculpture at the VCA photography. The work is in reaction of Melbourne. (Yale University), visiting professor at School of Art, UOM. Shorter’s art reflects to sculpture and painting, mediated TUDelft and a member of the Visiting a long-standing interest in exploring with bodily, material and spatial Angelina Russo Academy of the IIIEE at Lund University. virtual frontiers and their relationship to inquiries. His current focus is on auto Angelina Russo, PhD is a senior Ryan has been a consultant to the colonisation, power and desire. Works ethnography, homosexual narratives; academic who recently established a UN Environment Program (UNEP), such as Mapping La Mancha (2015) ornamentation and affects on commerical research stewardship service coordinating and writing its Global produced an alternative framework to architecture and develops traditional (Making Makers) for DECRAs and other Progress Report on Sustainable consider the meeting point between the fabrication methods. Pantazopoulos early career researchers. She is a Visiting Consumption for the Johannesburg UN north and the south by attempting to is interested in the transdisciplinarity Professor in the Exertion Games Lab at world summit in 2002. With colleagues tunnel from Christchurch, New Zealand of mediums interrogating through RMIT University where she exercises from the Netherlands (TUDelft) he to the mythical Europe of Don Quixote’s a psychosexual, political and an art her academic citizenship to assist young worked on the UNEP Eco-Design industry Spain. This sisyphean task treated the historical lens. designers and researchers. program, acting as joint editor of D4S space between these disparate locations (Design for Sustainability published by like a kind of inverted sculpture, to be Frank Panucci She has an MBA in Higher Education UNEP in Paris in 2006. He has been relentlessly carved into in a kind of absurd Frank Panucci was appointed Executive Management from University College Professor and Director of VEIL as a diplomacy. In his forthcoming show at Director of Grants and Engagement in London (2014), a PhD in Architecture design-action-research unit within the Carriageworks, Sydney as part of The June 2013. Previously Director Community and Design (2004) and a Bachelor of Faculty of Architecture, Building National he is challenging the colonial Partnerships Section of Australia Council, Design, Human Environment Design and Planning. landscapes of Vienna-born painter Chief Executive Officer of Community (1988). She has received awards including: Eugene Von Guerard so they are not Cultural Development NSW and General Queensland Premiers’ Smithsonian Harrison See viewed as sublime visions of Manager of Carnivale Festival. Frank has Fellowship (New York); Australian Harrison See is a contemporary artist the antipodes but rather as shadowy, extensive experience in community arts Post-Graduate Industry Award. Prior to interested in symbolism and narrative gothic geographies with edges that and human rights. Making Makers, she held leadership that transcends cultural difference. His blend into the shadows of a roles in academia including: Associate practice-led research explores dialogic lonely darkness. Tom Penney Dean Research, University of Canberra; collaborative painting across cultures. See Dr Tom Penney is a Lecturer in the Digital Director of Higher Degrees Research, RMIT is currently a PhD candidate in the School Media program at RMIT. Tom is an artist University; Chief Investigator, ARC Centre of Arts and Humanities, Edith Cowan and researcher in the fields of post-digital of Excellence for Creative Industries and University (ECU), and assistant artist and aesthetics, play studies, queer media Innovation and Head of Communication research assistant on the Joondalup cultures, digital culture, internet criticism Design, QUT. She is recognised for her Wanneroo Interchange public arts and identity politics. His practice involves extensive social enterprise experience as project—a collaborative research project interactive 3D environments and a co-founder of the 4000 member global between ECU, Main Roads WA and CPB imaging, games technology and critical network, Museum3 which ran for 8 years Contractors. See is a New Colombo Plan digital design. providing an invaluable resource to the Alumni and the recipient of a Research cultural sector. Training Program Scholarship. His work challenges notions of masculinity, performativity and affection in digital Nicholas Selenitsch spaces, especially in online dating Nicholas Selenitsch is an artist who apps and social media platforms. Tom lectures in Painting at the VCA, University is interested in challenging how we of Melbourne. compound and intensify identities in such spaces and responds to this through writing, speculative design and critical representation in interactive art.

Josh Peters Josh Peters is a recent graduate from the Sound Arts course, School of Art RMIT University.

70 71 E. Scarlett. Snowden Shanti Sumartojo Kate Tregloan Soumitri Varadarajan E. Scarlett. Snowden is a human. Dr Shanti Sumartojo is a human Assoc Prof Kate Tregloan focuses on the Soumitri Varadarajan, is an Associate Presenting at RMIT University in 2019 as geographer and interdisciplinary design contributions of creative disciplines, and Professor in Industrial Design, RMIT a student has allowed Scarlett access researcher at Monash University and an creative education, to interdisciplinary University, Australia. He has trained as a to problematic dominant social systems Adjunct at RMIT University. Her research impact and community need. She Mechanical Engineer & Industrial Designer (institutions) they can cheekily explore explores how people experience their has developed architecture and with a PhD in Social Science. He has ways to subvert. Research cum coping spatial surroundings, including both interdisciplinary projects in NSW, worked at Hitachi in Japan and directed mechanism. Scarlett speaks across material and immaterial aspects, with a Tasmania and Victoria, and has led studios and taught in Israel, India, their mixed racial, gender and class particular focus on the built environment. cross-faculty education programs and Netherlands, Turkey, Portugal and France. background. Accordingly, when asked Her recent books include Uncertainty and cross-institutional funded research, at He has held visiting academic positions what kind of Artist they are, the answer Possibility: New Approaches to Future- Monash University and the University of at Universities in New Zealand, China is often *woman shrugging: medium skin Making in Design Anthropology (with Yoko Melbourne. She is most interested in the and India. Over the past decade he has tone*. Their practice is currently framed Akama and Sarah Pink) and Atmospheres values and judgments that influence supervised PhD candidates in the areas as a structural critique through the lived and the Experiential World: Theory and creative work, and the design of creative of Industrial Design, Fashion Design, Art, experience and lens of intersectionality, Methods (with Sarah Pink). tools that offer new ways to consider and Interaction Design and Communication which conveniently overlaps with various support creative praxis and production. Design. In 2018 he is teaching 1st year practical and theoretical transdisciplinary Jo Li Tay She leads the ABP Built Environments courses: User Centered Design Studio, explorations. Increasing inclusive and Jo Li is an associate lecturer in Graphic Learning + Teaching (BEL+T) group. Design for Sustainability Studio and diverse societal space via various Design at Curtin University. Her teaching is Industrial Design Engineering. interdependent boundary blurring art- primarily centred around design thinking, Michael Trudgeon interventions is the ‘aim of this game’. In research methods in design, Dr Michael Trudgeon is a professor of Peter West this way they seek to stretch across social and design theory. She has research design in the School of Design at RMIT Peter West is a non-Indigenous lecturer knowledge systems, to encourage serious interests in Aesthetics, Interactivity, University. He is the Deputy Director, of in RMIT’s Communication Design and playful malleable working spaces Experience Design, Learning, and the Victorian Eco Innovation Lab [VEIL], program and co-lead of RMIT’s where things like co operative design and Design Thinking. Her PhD is titled “A founded at the Faculty of Architecture Indigenous engagement initiative; collective imagining can occur. Which Model for Mapping Interactivity in Building and Planning at the University Bundyi Girri. West’s doctoral thesis is great, because the ACUADS session Learning Experiences”. of Melbourne. He is responsible for proposes design practice models that they’ve been invited to explore is titled ‘co delivering the Master of Design Innovation are situated in response to Indigenous operative design and collective imagining. Myra Thiessen and Technology final design studio sovereignty. West sees the Welcome Dr Myra Thiessen is Senior Lecturer in program and the international VEIL from Kulin as an offer and obligation to Pippa Soccio Communication Design and Program Eco-acupuncture design studio teaching respond to the conditions of being in a Dr Pippa Soccio is a Lecturer in Director for the Bachelor of Art and Design program into the Masters of Architecture sovereign relationship. This is an ongoing Teaching and Learning with the ABP (Honours) program at the University of program at UoM. He has taught practice and challenge to Western Built Environments Learning + Teaching South Australia. Her research interests masters and undergraduate students in design epistemes and the racialised (BEL+T) group. She works with staff to are grounded in cultures of reading and architecture, interior design, industrial logics of whiteness. improve teaching quality and student learning, which includes two key areas. design and graphic design since1983 engagement using research into best First, the investigation of typography for at RMIT, the University of Melbourne, West has been part of an 2013–16 ARC practice contemporary built environment reading and how the brain processes Swinburne and Monash University. linkage focused on Indigenous Nation pedagogy. She is an ABP Alumna, having typographic information for learning, Building and is winner of the 2018 Good completed two undergraduate degrees and second, the development of a Raji Uppal Design Award for Social Impact. and a PhD in architecture. Pippa is framework for understanding and Raji is a cultural planning and evaluation passionate about effective teaching teaching communication design as critical specialist who works with local and learning. For her PhD she developed rhetorical practice. government and cultural organisations a post occupancy evaluation tool for to plan and understand the outcomes measuring indoor environment quality of their activities. She has recently in schools. This research is significant as completed a research project focusing on learning spaces with poor acoustics, air local government planning practices, the quality, thermal comfort and lighting results of which were presented at the10th can impact on effective teaching and ICCPR conference. Earlier this learning as students can’t hear, think or year she published a book chapter concentrate in class, or are absent due exploring governance of cultural to illness that is caused/exacerbated by organisations in Australia and the unhealthy spaces. potential impacts of CDN’s outcomes schema on governance practices.

72 73 Kit Wise Kit is Dean of the school of Art, RMIT University. He has held senior educational leadership roles since 2008, including Associate Dean Education in the Faculty of Art Design & Architecture at Monash University, and Director, School of Creative Arts, University of Tasmania. He has engaged in an advisory capacity with creative arts schools on course design and interdisciplinarity, including LaSalle, Singapore, Massey, New Zealand and Banff, Canada. He is Deputy Chair of the Executive Council of ACUADS and an Executive Board Member for the Deans and Directors of Creative Arts.

74 75 PARTNERS

For further information: art.rmit.edu.au/acuads

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