Pack

Inspiration for this work came from my recent experience of living in Beijing, China. Having a massive population of over 21 million people, one cannot feel but just another number within the crowd of this hectic megalopolis. Society is conditioned to obey, to conform, with some cultures being more hard lined with their citizens than others. However, there is a desire within each of us to have freedom of expression… to project an identity, to be an individual… nevertheless a desire not to be different… to follow trends and fads… a desire to fit in and connect. Within the pack there is also the outcast… the one who is different… the one who does not fit in. Pack has been created to be absorbed and interpreted openly by each individual. Driven by repetition and cycles, I have used this choreographic approach as a metaphor for the daily routine inherent in one’s life.

The Trial of Homo Economicus: The Dollar Hunting Animal

This operetta /morality play is set in a court room in the town of Puddle on the Piddle. The court is presided over by Judge Jan whose main role is to "adjudicate" between the prisoners (Homo economicus) and the victims, the wild life of Australia. After evidence has been presented the audience acts as Jury and votes guilty or not guilty by secret ballot. The Puddle Police play an important role in accompanying the prisoners into court.

Where the action isn't, that's where it is

Contribution to ARI Remix. ARI remix is a three-year digital humanities, artist interviews and oral history project collecting and presenting memories of Australian Artist-run culture in Queensland, New South Wales and the Australian Capital Territory between 1980 and 2000. Its focus is fleshing out and illuminating the ephemeral and neglected histories of the many lively and socially engaged artistic scenes along the east coast of Australia during the last two decades of the 20th century.

Exploring Iceland through its Viking past

A co-authored article about the Icelandic sagas, and a journey undertaken to tell the saga stories in the places of their setting. "Kári Gislason and Richard Fidler travelled to Iceland with a two-part mission: to tell stories from the Viking sagas written early in the country's history in the places where they actually unfolded a thousand years ago, and to settle a longstanding family mystery."--Publisher website

A f/oxymoron? : Women, creativity and the suburbs

Donald Horne famously wrote, ‘Australia was born urban and quickly grew suburban’ (1964), an observation that carries a weight of assumptions about suburban living. Historically, the Australian suburbs have been regarded as places of retreat, family life and female activity, and subsequently as a place where not much of interest happens. By contrast, a city's central areas are seen as more dynamic spaces and, with recent creative city thinking and planning, as potential powerhouses of innovation and creativity. This article challenges assumptions about suburban living as passive places of retreat through an examination of women in the creative workforce who are living and working in the suburbs. It draws on historical accounts of creative suburban activity and a research project that mapped and investigated the experience of creative workers in the outer suburbs of Brisbane and Melbourne. The study finds that there is much creative work occurring in suburban localities, but this is not as unusual as might be expected.

Captain Cook's country dance

James Cook was born into a working class family and rose to become a national hero, one of the greatest explorers of all time. He was celebrated in the popular culture through dance, music, song, and theatre. Today little is remembered of these highly esteemed works, although they remained well-known in the nineteenth-century.

The Art of Studio Teaching

This project began in 2013, with the award of an internal QUT Teaching and Learning grant. The task we wished to undertake was to document and better understand the role of studio teaching practice in the Creative Industries Faculty. While it was well understood that the Faculty had long used studio pedagogies as a key part of its teaching approach, organizational and other changes made it productive and timely to consider how the various study areas within the Faculty were approaching studio teaching. Chief among these changes were innovations in the use of technology in teaching, and at an organizational level the merging of what were once two schools within different faculties into a newly-structured Creative Industries Faculty. The new faculty consists of two schools, Media, Entertainment and Creative Art (MECA) and Design. We hoped to discover more about how studio techniques were developing alongside an ever-increasing number of options for content delivery, assessment, and interaction with students. And naturally we wanted to understand such developments across the broad range of nineteen study areas now part of the Creative Industries Faculty. This e-book represents the first part of our project, which in the main consisted in observing the teaching practices used in eight units across the Faculty, and then interviews with the unit coordinators involved. In choosing units, we opted for a broad opening definition of ‘studio’ to include not only traditional studios but also workshops and tutorials in which we could identify a component of studio teaching as enumerated by the Australian Learning and Teaching Council’s Studio Teaching Project: • A culture, a creative community created by a group of students and studio teachers working together for periods of time • A mode of teaching and learning where students and studio teachers interact in a creative and reflective process • A program of projects and activities where content is structured to enable ‘learning in action’ • A physical space or constructed environment in which the teaching and learning can take place (Source: http://www.studioteaching.org/?page=what_is_studio) The units we chose to observe, and which we hoped would represent something of the diversity of our study areas, were: • Dance Project 1 • Furniture Studies • Wearable Architecture • Fashion Design 4 • Industrial Design 6 • Advanced Writing Practice 3 • Introduction to Creative Writing • Studio Art Practice 2 Over the course of two semesters in 2013, we attended classes, presentations, and studio time in these units, and then conducted interviews that we felt would give further insight into both individual and discipline-specific approaches to studio pedagogies. We asked the same questions in each of the interviews: • Could you describe the main focus and aims of your unit? • How do you use studio time to achieve those aims? • Can you give us an example of the kind of activities you use in your studio teaching? • What does/do these example(s) achieve in terms of learning outcomes? • What, if any, is the role of technology in your studio teaching practice? • What do you consider distinctive about your approach to studio teaching, or the approach taken in your discipline area? The unit coordinators’ responses to these questions form some of the most interesting and valuable material in this book, and point to both consistencies in approach and teaching philosophies, as well as areas of difference. We believe that both can help to raise our critical awareness of studio teaching, and provide points of comparison for the future development of studio pedagogy in the Creative Industries. In each of the following pages, the interviews are placed alongside written descriptions of the units, their aims and outcomes, assessment models, and where possible photographs and video footage, as well as additional resources that may be useful to others engaged in studio teaching.

Memory and Gender in Medieval Europe 900-1200

Review of Memory and Gender in Medieval Europe, 900-1200 by Elizabeth van Houts (Toronto UP, 1999).

Representations of the Natural World in Old English Poetry

Review of Representations of the Natural World in Old English Poetry, by Jennifer Neville (Cambridge UP, 1999).

Reengaging, reenacting and reenvisaging discourses of disaster through public space performance: Austerity, art, and the art of protest

This paper offers a mediation on disaster, recovery, resilience, and restoration of balance, in both a material and a metaphorical sense, when ‘disaster’ befalls not the body politic of the nation but the body personal. In the past few decades, of course, artists, activists and scholars have deliberately tried to avoid describing personal, physical and phenomenological experiences of the disabled body in terms of difficulty and disaster. This has been part of a political move, from a medical model, in which disability, disease and illness are positioned as personal catastrophes, to a social model, in which disability is positioned as a social construct that comes from systems, institutions and infrastructure designed to exclude different bodies. It is a move that is responsible for a certain discomfort people with disabilities, and artists with disabilities, today feel towards performances that deploy disability as a metaphor for disaster, from Hijikata, to Theatre Hora. In the past five years, though, this particular discourse has begun rising again, particularly as people with disabilities fact their own anything but natural disasters as a result of the austerity measures now widespread across the US, UK, Europe and elsewhere. Measures that threaten people’s ability to live, and take part in social and institutional life, in any meaningful way. Measures that, as artist Katherine Araniello notes, also bring additional difficulty, danger, and potential for disaster as they ripple outwards across the tides of familial ties, threatening family, friends, and careers who become bound up in the struggle to do more with less. In this paper, I consider how people with disabilities use performance, particularly public space interventionalist performance, to reengage, renact and reenvisage the discourse of national, economic, environmental or other forms of disaster, the need for austerity, the need to avoid providing people with support for desires and interests as well as basic daily needs, particularly when fraud and corruption is so right, and other such ideas that have become an all too unpleasant reality for many people. Performances, for instance, like Liz Crow’s Bedding Out, where she invited people into her bed – for people with disabilities a symbolic space, which necessarily becomes more a public living room restaurant, office and so forth than a private space when poor mobility means they spend much time it in – to talk about their lives, their difficulties, and dealing with austerity. Or, for instance, like the Bolshy Divas, who mimic public and political policy, reports and advertising paranoia to undermine their discourses about austerity. I examine the effects, politics and ethics of such interventions, including examination of the comparative effect of highly bodied interventions (like Crow’s) and highly disembodied interventions (like the Bolshy Diva’s) in discourses of difficulty, disaster and austerity on a range of target spectator communities.

International Perspectives on the Creative Econmomy

This publication contains papers by leading international experts in creative industries theory, practice and methodology. The objective of this book is to provide a clear and detailed account of developments in the international creative economy, including specific media or cultural sectors, as well as commonalties among these sectors. The content and core themes are : The creative economy (definitions, issues, theory, and emerging perspectives); Methodology, including statistical analysis of selected cultural and media industry sectors globally; Innovation and creative industries policy, including cultural export strategy; and Regional and local perspectives (North America, Asia, Europe, Oceania)

Lighter than Tai

YEAR: 2008 ROLE: Performer FORMAT: Live Art Event at Tiananmen Square Beijing, China (3 hours) and Later on Summit of Mt. Tai Shan, Shandong Province, China (6 hrs + 3 hrs). WITH: Solo WHAT: In the Hall of Reverence on Tiananmen Square, Beijing Mao Zedong's body lies in state surrounded by flowers and draped with a Red Flag of Communist China. His casket with a glass top lies on a black stone from Mt. Tai, reflecting the quotation from Sima Qian (China's Han Dynasty historian) that "One's life can be weightier than Mt. Tai or lighter than a goose feather". This pair of performances were a quiet, personal reflection upon what such a once revolutionary expression might mean in today's very different time and place. The work was conceived during the Olympic Cultural Festival showing of Intimate Transactions (www.intimatetransactions.com) - during the tumultuous times leading up to China's proudly staged August 2008 Olympics. The rise and rise of China had long been generating major geopolitical, ecological and cross-cultural shifts throughout the region and beyond. In this dramatic epicentre of change and at a time of such great national pride, how might we each act in ways that are ecologically 'mighty' and yet simultaneously have an impact lighter than a goosefeather? This is both a question for China in its relations with the autonomous provinces and the environment as it is for all of us in our own 'local' affairs. However ecologically speaking all that is of local concern is of global concern and noone can therefore be exempt from the need to sustain that which we share in common and must all protect for the future. Performance 1: Tiananmen Square, Beijing: Dropping 100 goose feathers. Performance 2: The summit of Mt Tai, Shandong Province. Building a mountain from Goose Feathers. SHOWING HISTORY: 1: Anniversary of Protest Crackdown, Jun 8th 2008. 2: Dawn on Tai Shan's summit, 15th June, 2008 DETAILS: Performance 1: Begin an hour after dawn (5.45am) in Tiananmen Square Bring pre-prepared performance shirt, a bag of goose feathers tipped with red. Begin at the "Gate of Heavenly Peace" under the image of Chairman Mao. Circumnavigate the world's largest open and the most surveilled public space 5 times dropping feathers periodically. Meditate on Forces of Change. Finally enter Chairman Mao's mausoleum with the masses and move quietly past his preserved body. End the performance at the Gate of Heavenly Peace 3 hours later. Performance 2: Walk up Mt. Tai Shan in silence meditating on Forces of Change (6 hours). Stay overnight on the summit. Begin an hour before dawn (3.45am) in silence. Bring performance shirt, a sack of goose feathers and a simple wooden structure. On the sunrise viewing side of the mountain build a miniature, fragile 'mountain' in goose feathers and sticks on the edge of a sheer precipice. Watch the sun rise as the feathers blow away into the valley deep below (3 hours).

The educational affordances of generative media in arts education

Network Jamming systems provide real-time collaborative media performance experiences for novice or inexperienced users. In this paper we will outline the theoretical and developmental drivers for our Network Jamming software, called jam2jam. jam2jam employs generative algorithmic techniques with particular implications for accessibility and learning. We will describe how theories of engagement have directed the design and development of jam2jam and show how iterative testing cycles in numerous international sites have informed the evolution of the system and its educational potential. Generative media systems present an opportunity for users to leverage computational systems to make sense of complex media forms through interactive and collaborative experiences. Generative music and art are a relatively new phenomenon that use procedural invention as a creative technique to produce music and visual media. These kinds of systems present a range of affordances that can facilitate new kinds of relationships with music and media performance and production. Early systems have demonstrated the potential to provide access to collaborative ensemble experiences to users with little formal musical or artistic expertise.This presentation examines the educational affordances of these systems evidenced by field data drawn from the Network Jamming Project. These generative performance systems enable access to a unique kind of music/media’ ensemble performance with very little musical/ media knowledge or skill and they further offer the possibility of unique interactive relationships with artists and creative knowledge through collaborative performance. Through the process of observing, documenting and analysing young people interacting with the generative media software jam2jam a theory of meaningful engagement has emerged from the need to describe and codify how users experience creative engagement with music/media performance and the locations of meaning. In this research we observed that the musical metaphors and practices of ‘ensemble’ or collaborative performance and improvisation as a creative process for experienced musicians can be made available to novice users. The relational meanings of these musical practices afford access to high level personal, social and cultural experiences. Within the creative process of collaborative improvisation lie a series of modes of creative engagement that move from appreciation through exploration, selection, direction toward embodiment. The expressive sounds and visions made in real-time by improvisers collaborating are immediate and compelling. Generative media systems let novices access these experiences with simple interfaces that allow them to make highly professional and expressive sonic and visual content simply by using gestures and being attentive and perceptive to their collaborators. These kinds of experiences present the potential for highly complex expressive interactions with sound and media as a performance. Evidence that has emerged from this research suggest that collaborative performance with generative media is transformative and meaningful. In this presentation we draw out these ideas around an emerging theory of meaningful engagement that has evolved from the development of network jamming software. Primarily we focus on demonstrating how these experiences might lead to understandings that may be of educational and social benefit.