Information Experience : Contemporary Perspectives

The purpose of this book is to open a conversation on the idea of information experience, which we understand to be a complex, multidimensional engagement with information. In developing the book we invited colleagues to propose a chapter on any aspect of information experience, for example conceptual, methodological or empirical. We invited them to express their interpretation of information experience, to contribute to the development of this concept. The book has thus become a vehicle for interested researchers and practitioners to explore their thinking around information experience, including relationships between information experience, learning experience, user experience and similar constructs. It represents a collective awareness of information experience in contemporary research and practice. Through this sharing of multiple perspectives, our insights into possible ways of interpreting information experience, and its relationship to other concepts in information research and practice, is enhanced. In this chapter, we introduce the idea of information experience. We also outline the book and its chapters, and bring together some emerging alternative views and approaches to this important idea.

Child observation as teachers' work in contemporary Australian early childhood programs

This article reports data from a study of how teachers use child observations in one State in Australia. It argues that the current economic and political climate has meant changes for most early childhood settings catering for children prior to school entry. How teachers in these various settings deal with changes in relation to child observation depends on the contexts in which they work. The paper suggests that the purpose of observing children is changing and that traditionally accepted ways of writing child observations may be under threat.

Architecture in the South Pacific : the Ocean of Islands

Architecture in the South Pacific: The Ocean of Islands recounts the recent developments of the South Pacific and its fascinating architecture. This volume traces the European architectural overlay onto this scattered group of islands as well as the transition of these same islands towards a regional identity that has been fashioned by the remoteness of each location, the incomparable setting, and the distinctive ethnic mix of its inhabitants. A series of themed essays present the story of architectural development in the Solomon Islands, Vanuatu, New Caledonia, Fiji, Wallis and Futuna, Tonga, the Cook Islands, Samoa and American Samoa, and French Polynesia. Recent architecture typifies the evolution of the islands as they have been subjected to the transformative waves of alien trade, religion, colonization, war and tourism, followed by post-colonialism and revived nationalism. As with the Pacific region itself, the most prominent characteristic of the architecture is its diversity. The blending of the universal and the local sets the stage for a fresh vision of the South Pacific across a wide range of building types, from spectacular mission churches to sensational resorts in paradise. This book, in full colour, will appeal to architects, armchair-tourists, students and all those for whom the South Pacific is the idyll of their dreams.

It’s Not Just a Game: Contemporary Challenges for Games Research and the Internet

In this final chapter we will raise a number of issues that we have encountered as we have put this collection of papers together. In doing this, we also reflect upon the seven challenges for video game theory that Bernard Perron and Mark Wolf(2009)put forward in the introduction to the second video game theory reader given it is probably one of the most recent assessments in the area at the time of writing. These challenges are concerned with Terminology and Accuracy, History, Methodology, Technology, Interactivity, Play and the Integration of Interdisciplinary Approaches. These issues will be brought up throughout this chapter, but not necessarily in mutually exclusive fashion...

The art of the positive pas de deux : putting positive psychology into dance!

Performance psychology has more recently included a focus on applied practice within the performing arts, and specifically the dance industry. Whilst the use of psychology within this field has been occurring for a number of years, it has primarily taken its cues from the area of sport psychology or clinical psychology when dealing with ‘problems’ (e.g. eating disorders). What has been evident with the more recent introduction of positive psychology concepts with this population is the observed responsiveness from dancers towards a strengths-based approach. The aim of the inclusion of these frameworks has been to assist in increasing the empowerment, personal responsibility and effectiveness of the dancers’ psychological preparation and skills in the area of performance – whether on stage or off.

Stature estimation of a contemporary Australian sub-population: An evaluation of the Trotter and Gleser method using computed tomography of the femur

Utilising computed tomography scans to allow a virtual analysis of three-dimensional reconstructions of the femur, this project confirms that the traditional 1952 Trotter and Gleser stature estimation equations are inapplicable for a contemporary Queensland population. Therefore, this study introduces modern stature estimation equations for femoral length and fragmentary femoral remains using Bayesian statistics for application in forensic anthropological casework. In addition, it was found that caution needs to be applied when comparing estimated stature to reported stature on the missing persons database due to inaccuracy in Queensland drivers' licences.

World peace for video art

A single channel video projection with image, text and sound components. It was projected so as entirely fill a 3 x 3.5 wall in a 6 x 3.5 metre gallery space. The work deals with the role of humour and the fictocritical in exploring the relationship between politics and art.

Mark Webb Survey Exhibition

The exhibiton brought together a diverse group of works using an array of presentational strategies, which critically facilitate a dialogue across the material and conceptual aspects of my practice over 25 years. It focussed on my ongoing explorations into art as a model for research, as a site for intermediary exchange between different discursive forms and as a space to engage the politics of the everyday.

Figure and ground

Critically responding to Heimo Zobernig's painted green carpet, a semi-permanent architectural intervention realised in the immediate aftermath of my survey show, I painted the windows of the predominantly glazed space red to effectively create a two-colour painting that envelops the viewer and adds a new dimension to the painterly tradition of hinterglasmalerei. The work created an immersive environment for viewers that aimed to promote an affectual experience through the intense saturation of the complimentary contrasts red and green.

EDDY

This exhibiton bought together a selection of artists - Danielle Clej, Channon Goodwin, Christopher Handran, Majena Mafe, Erika Scott and Mark Webb - to explore the role conversations and incidental engagements play as part of making art.The premise of the show focused on how these artists might respond to the process of sharing ideas and responses to one other in the making of artwork.

Knowledge Transfer in Transnational Programmes : Opportunities and Challenges for the Pacific Region

The globalised world: The current higher education community The last decade has seen rapid changes in the landscape of higher education (HE) throughout the world, largely as a product of globalisation. A major effect has been to propel the interconnectedness between nations and people across the globe (Scholte, 2005). The use of information and communication technology (ICT) has diminished the distance between countries. The world’s economies are becoming more integrated and interrelated through neoliberal economic policies, free trade agreements and open access of goods and services beyond national borders, policies promulgated by organisations such as the World Trade Organization and The World Bank (Marginson & Ordorika, 2011; Mok, 2011). As a consequence, universities are operating at global, national and local levels simultaneously. In the Pacific region, new universities are emerging. For example, Fiji now has one regional and two national universities; Samoa has a national university and Solomon Islands has an institute of higher education. These new players add to regional competition as they open opportunities for global partnerships and transnational programmes. Thus, participating at these multiple levels is inevitable, and no university is immune to these changes (Marginson, Kaur & Sawir, 2011a). Universities are now part of the global HE community that cannot be confined within a nation’s borders. Transitional HE programmes are perhaps one of the most evident demonstrations of the interconnectedness of universities across countries in this global era.

Totes Over It

A collaborative series of limited edition canvas tote bags, each bearing a different feminist slogan, produced by the feminist collective LEVEL for exhibition and distribution as part of the Queensland Government-funded Q[ARI] Project at Sydney Contemporary Art Fair at Carriageworks in 2013.

We need to talk (MCA picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Museum of Contemporary Art (MCA) as part of the official program of activities surrounding the exhibition 'War is over: (If you want it!): Yoko Ono', 2013. It took the form of a public picnic where women and their friends were invited to share food and discuss what they wanted to see in the world. Groups discussed their desires before a public declaration of these outside the museum at Circular Quay in Sydney.

Continuing Bonds

Some of the oldest surviving examples of human creativity are items connected to death rituals. Despite the complexity of historical death rituals, the visceral sensations of grief are largely repressed or ignored in contemporary society – but where social ritual falters, art attempts to fill the gap. This catalogue essay was written to accompany Karike Ashworth's contemporary art exhibition, 'Lamentation', an exploration of grief, at The Hold Artspace in Brisbane.

Sans Faute

Sans Faute (without fail) considers how technology has influenced Chinese society, culture and practice. The exhibition seeks to reveal a shared language between Western and Chinese contexts that exists through employing technology as a universal creative meeting point. The pervasive impact of the current digital landscape has been widely recognised, embraced and continues to influence many aspects of Chinese lives. The significance of these shifting contexts on contemporary art is explored in Sans Faute. Through the presentation of a range of video installations, the exhibition aims to initiate rigorous and critical engagement with these provocative works that challenge traditional ideologies to discover emergent ideas. Featuring works by eight artists from mainland China, Sans Faute is an exploration of different attitudes collected together to provide a complete picture of how these artists build a new iconic imagery. "The works of these artists present a younger generation's thinking of the reality of contemporary China through their own emotional and individual life experience," says Stephen Danzig, IDAprojects director. "We are currently witnessing an amazing re-identification in so many elements that make up China's social fabric - none more so than what's happening in the arts currently. You only need to see what's happening in Beijing to realise the pace of change." Sans Faute has been supported by QUT Confucius Institute.