Competition or collaboration: policies and practices in international higher education

Universities in the twenty-first century experience numerous competing drivers that shape their sense of purpose and role in society, their perspectives of knowledge and its production and their overall sense of being in the world. One major force is marketplace discourse, in particular neo-liberalism and competition, which is discordant with the discourse of academic collaboration and collegial sharing. This review essay examines what it means to ‘be’ a university in light of these overarching discourses and what is envisioned for universities of the future.

A/r/tography and place ontology

Through lived experience, I learn how my education, life habits, changing abodes, and different career trajectories are intertwined with my identity and place. A/r/tography is a way of exploring these interconnections through reflexive practice as a visual artist, creative arts therapist, art educator, and researcher. Knowledge emerges from contemplating my artistic practice, my art education, the drawings of clients who participate in my creative art therapy sessions, and the work of students who attend my art classes, from which I contemplate early art images as shapes or figurative forms floating on the page. This paper asserts that creative art therapists are able to use the creative-artistic processes of living inquiry found in a/r/tography to make connections between identity and place.

Immersive interfaces for art education teaching and learning in mixed reality virtual and real world environments

Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user’s creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

Immersive interfaces for art education teaching and learning in virtual and real world learning environments

Teaching critical reflection: a tool for transformative learning in social work?

In an Australian Bachelor of Social Work degree, critical reflection is a process explicitly taught in a fourth year subject to students who have returned from their first field placement experience in agencies delivering social work programmes. The purpose of teaching critical reflection is to enable social work students to become autonomous and critical thinkers who can reflect on society, the role of social work and social work practices. The way critical reflection is taught in this fourth year social work unit relates closely to the aims of transformative learning. Transformative learning aims to assist students to become autonomous thinkers. Specifically, the critical reflection process taught in this subject aims to assist students to recognise their own and other people's frames of reference, to identify the dominant discourses circulating in making sense of their experience, to problematise their taken-for -granted ‘lived experience’, to reconceptualise identity categories, disrupt assumed causal relations and to reflect on how power relations are operating. Critical reflection often draws on many theoretical frameworks to enable the recognition of current modes of thinking and doing. In this paper, we will draw primarily on how post-structural theories, specifically Foucault's theorising, disrupt several taken-for-granted concepts in social work.

Immersive interfaces for art education teaching and learning in virtual and real world learning environments

Selected ubiquitous technologies encourage collaborative participation between higher education students and educators within a virtual socially networked e-learning landscape. Multiple modes of teaching and learning, ranging from real world experiences, to text and digital images accessed within the Deakin Studies Online learning management system and a constructed virtual world in which the user's creative imagination transports them to the “other side” of their computer screens is discussed in this paper. These constructed environments support interaction between communities of learners and enable multiple simultaneous participants to access graphically built 3D environments, interact with digital artifacts and various functional tools and represent themselves through avatars, to communicate with other participants and engage in collaborative art learning. A narrative interpretative research approach was used to profile the 21st century higher education student learner, to investigate the lived experience and multiple art learning perspectives documented in student visual journal entries and art educator observations to ascertain if an e-technology rich augmented learning environment resulted in the establishment of more effective e-learning communities of practice.

Building movements : installations : space-time twister; the rub

The two collaborative installations are part of the Building Movements event and aim to generate a shared ‘body of actions’. We are proposing to emphasise attention to constructed environments (buildings, clothes, landscapes…) as active participants in ecologies of lived experience, with particular interest in how we can more explicitly approach our environments as spatial research devices, i.e. how constructed environments can offer key questions and provocations in any research enquiry.

Living with suicidal thoughts

The dominant understandings of suicide have privileged the professional observations of health professionals and sociologists over the lived experiences of persons who have reported feeling suicidal. The current study explores what it is like to feel suicidal by examining comments posted voluntarily in an online forum. Adopting an inductive thematic analysis, a number of themes were uncovered which shed light on the following questions: Who has suicidal thoughts? What triggers suicidal thoughts? What is it like to feel suicidal? Also drawn from the data, was information relating to the types of treatments that people received, as well as ongoing survival strategies that people have relied on. The fi ndings indicated people with suicidal thoughts form a heterogeneous group with mixed opinions about the causes of suicidal thoughts. The findings also highlighted a variety of experiences, descriptions and means for survival highlighting the depth of insight that those with fi rst-hand experience have about suicidal thoughts, highlighting also the deep gap in knowledge and understanding in the existing literature about suicide and suicidal ideation. The recommendations for future direction in practice and research include, listening to, and valuing more, the voices and perspectives of suicidal people themselves.

The vortex of violence : moving beyond the cycle and engaging clients in change

This article introduces the conceptual practice tool of ‘The Vortex of Violence’ and one suggested practice model for utilising the vortex of violence in practice with women who have experienced a domestic violence relationship. The practice tool and model are an expansion of ‘The Cycle of Violence’ that shifts the focus from explanation of the dynamics of abusive relationships to the exploration of the lived experience of women and the development of a personal/therapeutic template for healing and reclaiming of their lives.

We need to talk

We need to talk was a collaborative creative work by the feminist collective LEVEL - Rachael Haynes, Courtney Coombs, Caitlin Franzmann, Anita Holtsclaw and Courtney Pedersen. LEVEL was commissioned by the Museum of Contemporary Art (MCA) to stage this event as part of the Re-School Program. This work utilises reflexive and discursive strategies to move beyond the script of feminism as a historical moment and back to the lived experience of feminist art as political understanding and social engagement.

‘Global’ is not just ‘out there’ but also ‘right here’

This paper reports on a study into how the cultural expectations of the roles of students and teachers impact on the lived experience of higher education students. Specifically, the paper discusses ways in which academics and students perceive the theoretical and practical sides of the front-end loading programs in which they are involved. The paper takes an interdisciplinary and cross-cultural approach in drawing from data sets collected from students and staff in both a UK medicine program and also an Australian teacher education program. As such, it responds to the aim of the AARE-APERA conference to enrich global cooperation in educational research. Giddens’ (2003) sociological theory of “structuration” was selected as a framework for the study because it enables insight into how individuals make meaning and identity through their circumstances and endeavours. The theory provided useful in demonstrating how we understand, and thus educate for, the roles of professionals, including doctors and teachers, in society. The discussion and findings of the paper contribute to the international literature on professional culture and identity, work-integrated learning and the enactment of theory and practice in university front-end loading programs.

Recognition, resistance and reconstruction : an introduction to subjectivities and social justice

The aim of this book is to examine new forms of resistance to social injustices in contemporary Western societies. Resistance requires agency, and agency is grounded in notions of the subject and subjectivity. It is a premise of this book that new and/or reconstructed forms of subjectivity are required to challenge social relations of subordination and domination.
Subjectivity is primarily based on lived experience. While subjectivity is sometimes used to explore individualistic strategies for personal meaning, we argue that subjectivity is central to political struggles against regimes of power. Thus, understanding how subjects are constituted is important in fostering the capacity of critical reflection and social transformation.
Our aim  is to understand the relationship between subjectivity and the wider social order. The relationship between the psyche and society is one of the most challenging issues facing social theory. While there is a variety of theoretical approaches to subjectivity, those that explore the links between the subject and society are the most promising in developing strategies for resistance. In this introductory chapter, we review and interrogate what we believe are the most important theoretical approaches to subjectivity, drawing upon Marxism, critical theory, feminism, postcolonialism and post-structuralism. Our aim in this book is not to develop a new theory of subjectivities. Rather, we are more concerned with investigating how diverse subjectivities are constructed and reconstructed.

The ‘Australian Girl’ and the domestic ideal in colonial women’s fiction

The vast majority of novels and periodicals read by colonial Australian girls were written and published in Britain. ‘Daughters of the Southern Cross’ were more likely to have access to the Girl’s Own Paper by subscription or to imported fictions that had proven popular with British girl readers than any locally produced depictions of girlhood. From the 1880s, however, Australian authors produced several milestone fictions of girlhood for both adult and juvenile audiences. Rosa Praed's An Australian Heroine (1880) and Catherine Martin’s An Australian Girl (1890)  gave voice to the lived experience of Australia for young women, and their publication in Britain contributed to an emergent reciprocal transpacific flow of literary culture.

Two canonical Australian novels that focus on the maturation of girl protagonists who live on bush homesteads were also published in this period. Ethel Turner’s Seven Little Australians (1894) and Miles Franklin’s My Brilliant Career (1901) feature intelligent girls who are not able to be effectively socialised to embrace domesticity. Turner’s Judy Woolcot is distinct among her six siblings as a plucky girl who instigates trouble, while Franklin’s aspiring writer Sybylla Melvyn is informed that ‘girls are the helplessest, uselessest, troublesomest little creatures in the world.’

The 1890s saw an agricultural depression in Australia that only fuelled the urban perpet-uation of the idealised and nationalistic bushman myth in literary and popular culture. The ubiquity of the myth problematised any attempt to situate women heroically within the nation outside of the home. British fictional imaginings of Australian girls lauded their lack of conformity and physical abilities and often showed them bravely defending the family property with firearms. In contrast, Australian domestic fiction, this chapter argues, is unable to accommodate bracing female heroism, postulating ambiguous outcomes at best for heroines who deviate from the feminine ideal.

Judy’s grandmother describes her ‘restless fire’ as something that ‘would either make a noble, daring, brilliant woman of her’, or ‘would flame up higher and higher and consume her’. Turner does not allow Judy’s unconventionality to prosper. Instead, she is killed by a falling gum tree while saving the life of her brother, leaving the future fulfilment of the domestic ideal to her sister, Meg, whose subsequent story occupies Little Mother Meg (1902). Franklin’s Sybylla expresses her inability to be content with the simple pleasures of keeping a home, and this informs her decision to reject a marriage proposal from a wealthy suitor. The novel’s indeterminate conclusion does not allow fulfilment of Sybylla’s writing aspirations, situating her outside the feminine ideal yet not affirming the merits of her desire to reject married life.

While Sharyn Pearce suggests that Judy’s tragic end follows a narrative pattern that sup-ports the glorification of male heroes and renders ‘over-reaching women’ as ‘noble failures’, the novel might also productively be read within the context of other fictions featuring girl protagonists of the period, such as Praed and Martin's novels. This chapter makes the case that Turner and Franklin’s thwarted heroines critique the containment of Australian girls to the banalities of the home by exposing the negative and uncertain outcomes for those who desire the freedoms and aspirations permitted to boys and men. Unlike British fictions that champion adventurous girls, these Australian fictions critique the continuation of gendered restrictions in the colonies by proposing that girls who desire excitement and independence ‘should have been…boy[s]’ (as Sybylla’s mother remarks).

Sensing the story: structure and improvisation in writing for performance.

This article discusses the process of writing through devising in performance. It takes as a case study Apart of and A Part From in which muscle and sense memory – touch, smell, taste, sound and sight – were the points of departure for a contemporary performance piece on migration and identity. This was a practice-as-research project aimed to better understand the artist’s body (myself) in improvisation with memory fragments. Working from a non-verbal frame the writing experience began as actions in space, then new memories in my body, to maps on paper, to key word and some staging patterns, to systematic capturing of the textual, rhythmic and spatial structures in the emerging 30-minute performance. Various objects were incorporated to give aesthetic coherence of the piece. The article reports on the processes of writing in action, the writing and performing as lived experience and how the writing emerged from the spaces in between – self and other, self and object, self and space, present self and past self.

Spirituality, music, and wellbeing : sharing insights from an Australian setting

The relationship between spirituality, music, health, and wellbeing is gaining much theoretical and research attention globally. These related concepts are complex and involve many facets and challenges. This paper explores the relationship between music and spirituality as a way to communicate actively with God, which interconnects with wellbeing and quality of life. The focus of this paper discusses one case study from my wider research project “Spirituality and Wellbeing: Music in the Community” that started in 2013, in Melbourne (Australia). Having gained ethical clearance, case study methodology (interviews, documents, and observation) was employed. For this paper, I only offer a discussion of semi-structured interviews with volunteer participants from an Anglican Church in the southeastern suburbs of Melbourne (Australia). Using interpretative phenomenological analysis (IPA), I analyzed and codified the interview data to explore the lived experience of the participant’s perception and how they make sense of it. As IPA is phenomenological, it takes into the account my own ideas through a process of interpretation when analyzing the phenomena under study. The interview data are reported under two overarching themes: music and spirituality and music and wellbeing. The data provides insights into the various ways music contributes to participants’ spiritual journey and growth. I argue that music is a powerful vehicle that connects people with God and others as it fosters an enhanced sense of spiritual growth and self-wellbeing.