Reflective thinking : turning a critical incident into a topic for research

Clinical nurses encounter critical incidents every day.  While these may be a source of frustration they also have the potential to be turned into research projects so that problems can be examined and others can learn from them.  This paper describes the reflective process used to generate a research project from a critical incident encountered in the clinical area.

Korean 'Chung-soh' and Australian contemporary dance

This project investigated a characteristic concept of Korean culture, "Chung-soh", to develop an understanding a 'Korean-ness' in dance and of how "Chung-soh" informs cross-cultural dance processes involving Korean and Australian artists. At the same time the author developed her artistic identity through investigating and understanding her dance practice. The DVDs contain 2 works choreographed by the author: Cross sections and Embryo.

Climate change research & responses on the Eyre Peninsula : Weaving natural resources management with community resilience planning

In the last 10 years climate change risk assessment has come to a head as a matter of discussion at all levels of governance. In an attempt to gain a co-ordinated appreciation, measure of scope and impact likelihood, and to better guide a holistic natural resources management strategy, the Eyre Peninsula Natural Resources Management Board has taken a comprehensive exclusive and coordinated approach at a regional level to this issue.

Water, agricultural sustainability, biodiversity enrichment and stabilisation, and community resilience planning are all integral features in this 'program' of research and engagement. The clear intent is to creatively drive change and socio-economic growth without compromising the significant aesthetic and biodiversity attributes of the landscape and its primary role as a dryland wheat producer. The 'program' involves clear practice-based research as to fact, fiction and perception, and the provision of scenarios as to vulnerability and resilience building to cater for climate change over the next 30 years but also to sensitively respond to propective mining growth for the Peninsula.

This paper reviews this 'program', the research and findings undertaken, the co-ordinated actions being taken, the importance of community engagement and resilence building, and the orchestration and propective execution of this 'program' by the Board.

The 'program' represents important case model in successful regional planning.

Aesthetic experience and innovation in practice–led research

Within the context of ERA, this paper addresses the question of how we might provide practitioners with a framework for understanding creative arts research as the production of new knowledge. Drawing on the thought of Julia Kristeva, it examines the aesthetic underpinnings of discovery and the implications and significance of this for research training and the development of more effective pedagogies both within and beyond the university.
Kristeva’s work constitutes both an implicit and explicit critique of science allowing us to conceive of artistic research as an experiential and performative production of knowledge. As a mode of enquiry, artistic practice reveals the inextricable and necessary relationship between practice and theory, interpretation and making, art and life. This interrelationship underpins the aesthetic dimension of revolutionary practice and its production of unfamiliar or mutant forms of knowledge that is often difficult to grasp in terms of its capacity to engender social change and innovation. In the context of creative arts practice as research, the notion of experience-in-practice indicates that interpretation and analysis must fall to the practitioner-researcher, himself or herself, rather than to another person who has been external to the procedures of making, to trace the significant experiential, subjective and emergent processes involved in the production of the work that allows it to reveal the new. This is necessary if the generative and revolutionary impact of artistic research is to be fully understood in the wider research arena. In the final part of this paper, I will apply and illustrate these ideas through an analysis of a number of artistic research projects successfully completed in Australia.

Existentialism : providing an ideal framework for educational research in times of uncertainty ®

Issues such as anxiety, alienation, crises and concerns over self-identity typify this era of uncertainty. These are also recognised themes of Existentialism and have implications for educational practice and research. The purpose of this paper is threefold. Firstly, it aims to clarify Existentialism, as too often it is mistakenly assumed to refer to an atomistic view of the individual, who is able to exercise absolute freedom. This clarification refers primarily to the works of Kierkegaard, Nietzsche and Heidegger.

The second purpose is to present an outline of a particular existential framework. This is mainly structured around the notion of the learner, who is characterised as being in relation, culturally embedded, alienated and a meaning-maker. These attributes have direct implications for the ideal of 'the educated person' - an often-articulated 'aim' of education programmes. Becoming educated, according to this framework, means becoming authentic, spiritual, critical, empathetic, and having personal identity.

A third purpose is to argue how educators may usefully employ such a framework. By engaging with it, educators are able to examine effective pedagogical approaches using notions of 'the existential crisis' and anxiety. In this way, educational curriculums, programmes and policies can also be critiqued using this framework.

Jemima

The Salon Series provided an opportunity to present the work "Jemima". "Jemima" plays with multiple physicalities, performance states and expression as they jostle up against each other al at once. The jostling in the moment of performance creates a viscosity in the musculature, a tension, that also creates an intensity in performance. The discussion post performances provided an opportunity to articulate discoveries made in the studio prior to performance and also insights from performance. The questions asked by audiences have further stimulated studio practice as research. 

A new era for research education in Australia?

Use of the Australian research assessment exercise, Excellence in Research for Australia (ERA) to influence the policy and practice of research education in Australia will undoubtedly have many consequences, some of them unintended and potentially deleterious. ERA is a retrospective measure of research quality; research education is prospective.

Learning from arid planning and design history and practice : from Woomera to creating the new Roxby Downs communities

The principles and knowledge about arid planning and design have much applicability to contemporary Australian planning discourses because of climate change evidence and policy shifts that sketch a hotter and more unreliable future climate with an emphasis upon a semi-arid environment for Australia. Despite this merit and intent, we appear to have learnt little from the past and are failing to draw upon the pioneering planning and design knowledge that underpinned community development and scaffolding in numerous Australian arid and semi-arid communities, and to bring this knowledge into our future planning processes and strategies.

This paper considers the essential attributes and variables of three Australian arid planning and design, drawing upon historical practice and research that have been explored in the planning of semi-arid and arid places including Port Pirie, Whyalla, Monarto, Broken Hill, Port Augusta, Leigh Creek, Andamooka, Olympic Dam Village and Roxby Downs. It specifically reviews Woomera Village (1940s) Shay Gap (1970s) and the proposed extensions to Roxby Downs (2010s) as models of how to better plan and design communities in arid environments. Instrumental in these innovations is the use of landscape-responsive urban design strategies, water harvesting and irregular rainfall capture, arid horticulture, building design, colour and materiality, orientation and shading strategies, and social community construction under difficult isolationist circumstances. The paper points to key strategies that need to be incorporated in future climate change responsive community developments and policy making.

Proceedings of the 2009 R-research seminar

The Deakin Motion.Lab was excited to have Scott deLahunta and Wayne McGregor from Wayne McGregorIRandom Dance visit in late July 2009.

Scott deLahunta is the director of R-Research, the research arm of Wayne McGregor|Random Dance based in London. McGregor is a multi-award winning, world renowned contemporary dance choreographer, and along with directing his own company, is also resident choreographer at The Royal Ballet in London.

Together with Deakin Motion.Lab's Kim Vincs, deLahunta and McGregor gave a public presentation of their research, their philosophies, and the future of dance and technology, focussing specifically on the use of motion capture.

Scott deLahunta's visit was supported by the British Council, the Australian Research Council Discovery Program (DP0987101). Thanks also to Random Dance, to R-Research Seminar co-presenter Dancehouse and to the Australian Ballet who supported Wayne McGregor's visit to Australia.

Radical practice? Writing 'beyond' system

Might writing be at once the context or system that restricts and forms us but also, in some instances, the means to evade or transform this very system? The question posed in the call for papers for this conference outlines the very grounds upon which the writing subject may be seen as negotiating questions posed by artistic practice and creative research. Here these are formulated around ‘encounters’ between seemingly autonomous or pre-determined realms: between subjects and objects, between knowing and being, between aesthetic systems however defined. This view accepts the fragmentary definitional world of capitalist social relations. What I suggest is that the kind of subject that is at stake in creative practice and research has much in common with a kind of radical subjectivity. What I suggest is that writing is a practice that can be seen through the lens of Karl Marx’s notion of purposeful activity. Writing, in other words, is a critical/creative practice founding a radical view of subjectivity that attempts to overcome the dualism of subject and object via the category of human practice. Against an individual expressivist paradigm, or modes of thought that envision writing (and language) objectively, this might be called radical practice in that writing is a critical/creative practice: critical in that it is against what exists, and creative in that it seeks to move beyond it.

Moving to the rhythm of Africa : a case study of a tertiary educator's understanding of multicultural dance in teacher education

Australia is proud of its rich and varied array of the Arts depicting a range of cultural diversity formed by ongoing migration. Although the complex issues of dance, culture and identity are interconnected, forming a multicultural society in Australia, dance education is a powerful platform to transmit and promote togetherness where understanding and respect is shared in dance practice. The focus of this article is on dance education as part of multicultural arts education within teacher education courses at Deakin University (Melbourne) Australia. It forms part of my ongoing wider study that started in 2010 regarding Attitudes and perceptions of Arts Education Students: Preparing culturally responsive teachers across two continents (Australia and South Africa). In 2011, I interviewed the dance educator and will report on two themes from her interview data: multicultural dance and the inclusion of African dance within multicultural dance practice. I argue that the inclusion of innovative and immersive practice of dance where authentic teaching and learning can be facilitated is a powerful platform to share multicultural dance practice in tertiary education.

WORK

Steph Hutchison's solo WORK is fuelled by an interest in pushing the body to its physical limit. A hybrid performance, interweaving dance, circus arts, improvisation, sports and theatre, WORK is inspired by the physical journey of Julie Moss. In 1982, Julie Moss competed in her first Ironman without ever completing the total distance before. What began as a lark became a struggle for survival and a test of human will. Each time she felt like quitting, she thought it was her 'ego trying to self-sabotage,' but her real self was 'that voice that said; "just keep moving forward. There is no limit." Hutchison explores the notion of dance as extreme sport and emphatically engages her body in rigorous physical practices. Her attention is to muscularity and the performance of effort, work and labour, to the point of physical exhaustion. Using circus apparatus such as tissu, rope and acrobatic mats, Steph pushes to and beyond the limits of her physical ability during the performance. In preparation for the show, she puts herself through intense bootcamp style training, classical and contemporary dance training and teaches herself new acrobatic tricks. Her aim is to push herself past exhaustion to another level.