100 Songs Project 2012

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

100 Songs Project 2011

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

Qaphqa : fresh cut 2013 Part 1

'Qaphqa' was an outdoor artwork exhibited in the forecourt of Brisbane’s Institute of Modern Art as part of Fresh Cut exhibition series. The work took the form of a three-storey-high series of stacked 'outhouses', the seat of each opening onto the cubicle below to form what the artist referred to as a 'long drop'. Assembled in untreated pine and plywood and festooned with mock-medieval ensigns and flags, the work included a flyer containing a poem by Jorge Luis Borges and was accompanied by a published catalogue.

Metropolis: Part I–III

Video installation, Metrolpolis: Part I-III, using 1-channel HD video with surround sound. At the end of the first decade of the twenty–first century, contemporary culture appears increasingly seduced and absorbed by apocalyptic reveries. Scientists are racing to cryo-preserve genetic material from animals and plant matter in underground bunkers, while filmmakers use the spectacle of computer-generated imagery (CGI) to speculate on the outcomes from dramatic climate change, that we are not yet ready to confront in reality... Premier's new media art prize 2010: http://www.qagoma.qld.gov.au/exhibitions/past/2010/premier_of_queenslands_national_new_media_art_award_2010/chris_howlett

Cartels – What are they and how to avoid being part of one : the implications of University fee deregulation

Universities supply a range of services to students. These include most obviously, tuition services in relation to undergraduate and postgraduate courses; research supervision services in relation to research degrees; as well as consultancy services in relation to Government and industry work. For the purposes of the CCA, universities are trading corporations. They engage in trade or commerce through the provision of a range of services for reward. As such Universities are subject to the same rules and regulations that govern the conduct of other trading corporations, such Coles and Woolworths. As senior officers and managers of a trading corporation you need to acquire some basic understanding of the rules that govern competition in the education sector. In other sectors, companies generally undertake a risk assessment of those areas where they are most at risk of contravening the CCA; to ascertain in advance how problems might arise so that they can put in place strategies to mitigate the risk of inadvertent contraventions.

Applying for funding is the worst part of my job

That’s what one researcher told us when we asked them about applying for NHMRC Project Grant funding. Others said that applying for funding had made them ill, lost them friends, ruined Christmas and caused arguments with friends and family. What makes applying for funding so bad? We’ve tried to summarise the problems with the system in the diagram above. This is based on our group’s four years of research into the funding process. Some of the arrows are based on evidence from our surveys (Survey 1, Survey 2), others are based on anecdote or experience and so maybe wrong. Please let me know if I’ve missed an arrow or an issue.

ATAR scores only part of the picture for teaching

A common debate has resurfaced over teacher quality and the quality of teacher education in Australia. This time it was started by a leaked draft report into teacher education from the Australian Institute of Teaching and School Leadership (AITSL) which the public can’t expect to see for at least another month. Media reports have all focused on one aspect of the wide-ranging report: teaching students' ATARs.

Gentlemen Songsters

This project was initially envisaged as a compare and contrast proposition between two performances in music venues, a year apart, at the Melbourne Ukulele Festivals 2013 and 2014. The covert intermedial incorporation of scripted, theatrical elements into an ostensibly musical performance was the initial focus. However, the opportunity arose to continue the creative practice towards a performance outcome at the Queensland Cabaret Festival at the Brisbane Powerhouse in June of 2014. This expanded project was titled ‘Gentlemen Songsters’ and enabled a refinement and honing of the event beyond what was initially planned. In addition to the composition, recording and curation of original songs, this process involved two cycles of performance, videography, transcription, re-writing and re-performance. Led by this creative practice, the research investigated the potential for sonata and song cycle as influences on performance structure, in the creation and performance of Composed Theatre. This manifested as a theatricalisation of compositional processes. Performed by ‘Tyrone and Lesley’, performance personae of David Megarrity (lyricist/composer/performer/ukulele) and Samuel Vincent (composer, musician, performer), Gentlemen Songsters played at the Brisbane Powerhouse as part of its inaugural Queensland Cabaret Festival on June 13 2014

LunaRoo: A Proposal for the Google Lunar XPrize Payload Opportunity with the Part Time Scientists team

This proposal describes the innovative and competitive lunar payload solution developed at the Queensland University of Technology (QUT)–the LunaRoo: a hopping robot designed to exploit the Moon's lower gravity to leap up to 20m above the surface. It is compact enough to fit within a 10cm cube, whilst providing unique observation and mission capabilities by creating imagery during the hop. This first section is deliberately kept short and concise for web submission; additional information can be found in the second chapter.

All horticultural factsheets (Part 1)

Teaching Resource material prepared for DLB320 Landscape Horticulture, available to wider group of users via ePrints.

All horticulture factsheets (Part 2)

Teaching Resource materials prepared for DLB320 Landscape Horticulture (2015). CONTENTS 2 Old Brisbane Botanic Gardens Samples 3 Australian ICONS 4 Old Fashioned & Reliable 5 Palms & Bamboo 6 Cordylines & Dracaenas 7 Bromeliads & Succulents 8 Toxic & Poisonous Plants 9 Dangerous & Dirty Plants 10 Weeds, Pests & Diseases 11 Useful (Economic) Plants