How did we do anything without it?: Indigenous art and craft micro-enterprise use and perception of new media technology

The degree of new media technologies that are broadly available has changed considerably ill nearly two decades since they emerged. How do Indigenous art and craft micro-enterprises use these technologies today? What are their perceptions of it? There is a lack of current data about use of computer technology by Indigenous-owned art and craft enterprises. A current snapshot is needed of the use and consequences of new media technologies in these organisations. This paper reports on results from a 2006 survey of small Indigenous-owned arts enterprises across Australia, including for-profit and non-profit enterprises, those from metropolitan, regional and remote areas, and including both art centres and other types of arts enterprises. The data suggest a major change over the previous decade in the degree that small Indigenous art and craft organisations use and perceive new media technology.

Western Australia intercultural arts research project : an investigation into culturally and linguistically diverse art and artists in Western Australia

Background: The introduction of the Australia Council's 'Arts in a Multicultural Australia Policy' (AIMAP) (2000) represented a shift in how the arts in multicultural communities were viewed. It has long been recognised that the arts play a significant role in promoting social cohesion, social policy goals, economic growth, and shaping a nation’s sense of identity. However, prior to the introduction of this policy, multicultural arts was typically seen as involving cultural retentive activities which had their roots in expressions of migrant cultural traditions. The introduction of the policy heralded the beginning of an era in which culturally and linguistically diverse (CaLD) Australians were seen as integral to the fabric of the Australian arts sector. Evaluation of the policy in 2005 however, revealed that culturally and linguistically diverse Australians were under-represented in most artistic categories. Western Australia is the most culturally diverse state in Australia. It is therefore of great interest to the State Government to have a comprehensive picture of the situation in that state. Hence, the Office of Multicultural Interests (OMI) commissioned Deakin University to undertake an investigation into the participation rates of CaLD artists in the arts sector in Western Australia.

Scope: The project examined the participation in the arts of CaLD artists in Western Australia. The arts sector comprises many more individuals and organisations than artists. For example, there are arts agency administrators, venue operators, policy officers, curators, and countless others who work together to make up the arts sector. This project focused on the artists, the individuals such as those who make music, visual art, dance and theatre performances. In the past it has been shown that CaLD populations are not well represented in the broader arts sector. This research aimed to discover the current position for CaLD artists in terms of participation in the broader arts sector and what factors influence their situation.

Environmental art and the production of publics : responding to environmental change

Environmental crises around the world have inspired an outpour of creative response. As the effects of climate change increasingly manifest, environmental! art is being politically and pedagogically mobilised for ameliorative strategies. The rubric that instrumentalist, techno-scientific approaches to environmental stress (and attendant social distress) cannot solely provide solutions to this challenge has found increasing acceptance. The concern of this paper, however, is the limited understanding of public art's capacity that is perpetuated bv certain trends in environmental art in which the work is charged with communicative responsibility,. Connected to the representational and instructive traditions of public art, this tendency is further informed by the influence of the 'information-deficit model' in environmental conmunication research: a concept that asserts a straightforward connection between information provision, indiyidual awareness and collective action on a concern. The idea that public art can function as a conduit for knowledge,.which in turn will inspire new moral positions and behaviours, absents the art work from the process of knowledge-making and the production of conditons that enable new practice. Arguing for a revised approach to the environmental possibilities of public art, this paper will propose that in thinking aboutl environmental transformation as essentially unrepresentable, a dfferent mode of public engagement with the issue is enabled.

Art and Oedipus

[No Abstract]

Gathering collecting: art and the ethics of 'care at a distance'

Catalogue essay 2 in a catalogue of an exhibition held at SASA Gallery, Adelaide, 8 May-1 June 2007. He addresses the notion of what it is to collect and how art objects survive the transposition associated with collecting.

Technology education, science and science education : exploring the relationship

In this paper the nature of technology education in relation to science and science education is explored. Ways forward are indicated for both technology and science in the curriculum so that the two areas can be mutually supportive. In the 1990s, when curriculum writers were attempting to provide technology a unique place in the curriculum, they tended to downplay the relationship between technology and science. One reason for this tendency derives from a perception that science is an academic and elitist discipline and technology is well served by emphasizing the distance between the two. The other reason is perhaps political, that science, by virtue of its status in the community, and the status of its special type of knowledge, would be in a position, if allowed, to subsume the new subject. There are philosophical and historical precedents that justify such a concern. In tracing the historical relationships between science and technology, in professional practice, in philosophical positioning, and in school curriculum, we inevitably need to deal with the politics of school subjects.

The position taken in this paper is that science and technology are different, both in their epistemological foundations, and in the nature of the professional communities and the concerns of individual practitioners within the two areas. In clarifying these differences the essential nature of technology and of science are illuminated. The paper also explores ways in which the two areas can benefit from each other’s existence in the curriculum, and ways of approaching teaching that both clarifies the special nature of each type of knowledge, and allows them to be mutually supportive. This may necessitate a reconstruction of the nature of school science.

Renegade judgement : a study of madness in medicine and literature

Explores socio-historical understandings and treatments of madness, examining literary works alongside contemporary medical texts. Incorporating notions of scientific objectivity, individual subjectivity and social totality, the thesis shows conceptual overlaps between art and science, identifying continuities and conflicts between fictional, clinical and cultural investigations into madness.

Subject cultures and pedagogy : comparing mathematics and science

This research found that a teacher is both a member of a culture and an individual, building practice within parameters set by a dynamic and multifaceted subject culture. Feelings of competence and confidence grow as an aesthetic understanding of what it means to know, teach, and appreciate a subject.

Traces from the astrolabe: art and astronomy

This portfolio represent an ongoing investigation into relationships between art and astronomy with particular reference to photographic imaging of the cosmos and how such imaging has influenced the mapping and modelling of the universe. I am also interested in the subjective interpretation of astronomical observations and the point at which such images fail to represent, ie, the blurred image, which may represent the limits of technology as well and opening the possibility for metaphorical readings and imaginings on the part of the observer.