Linking and sharing data in the humanities and creative arts: building the HuNI Virtual Laboratory

The Humanities Networked Infrastructure (HuNI) is one of the national Virtual Laboratories that are being developed as part of the Australian government's National e-Research Collaboration Tools and Resources (NeCTAR) programme. This paper examines the methodologies and technical architecture being deployed by HuNI to link and share Australian data in the humanities and creative arts.

The new wilderness: A practice-led model for arts based enquiry

The New Wilderness is a practice-led, multidisciplinary arts project first piloted by artists, writers, teachers and academics from Geelong, Deakin University and Courthouse ARTS Centre in 2013. In a series of workshops run by artists, and working to specific themes, the project provided a platform for participants to explore and respond creatively to change in the community; it culminated in a large-scale installation at Courthouse ARTS Centre’s main gallery. Our paper positions the project as a able to cut across convention, empowering young artists to respond to ‘big questions’ of relevance to the changing material, spatial and social relations within their communities. In questioning and seeking to transform communities into sustainable media, economic, environmental and social ecologies, this emergent model begins with a localised focus, which is designed to travel across time and place, and pedagogical frameworks. The paper positions Geelong as a community under radical transformation in its economic foundations and demographics. As artists and academics living and working in the region we see it as an experimental ground for investigations into a series of provocations that mirror the shape of the paper we intend to give. The provocations, as outlined in the workshops, might also be envisaged as new relations to:Object – From consumable to unusable to play. In revisiting the first iteration of The New wilderness in 2013 we discuss the ‘superfictional’ (Hill, 2000) enquiry that participants were asked to engage with. Its premise described Geelong as an abandoned, post-apocalyptic site. Participants were asked to imagine themselves as a group of future explorers and excavate objects from the city’s old tip. In unearthing their choices and re-presenting the objects in the gallery the participant was prompted to analyse site, situation, object and process as phenomena for ‘being’ or ‘telling stories’, providing insights into wider realms of cultural experience (Ellis, Adams and Bochner, 2010). Parallel to this ‘autoethnographic’ reflection our paper uses the philosopher Giorgio Agamben’s analysis of consumer and material culture. He traces the subject’s relation to objects from use-value, to exchange-value and in the era of extreme capitalism, to pure exhibition-value. He searches for ways that the objects produced in our material culture can be ‘profaned’ (Agamben, 2007). Space – From the material to the spatial to the situation. We are interested in how objects and the practices they elicit can be ‘profaned’ by their situation (Agamben, 2007; Wark, 2103). To profane, according to Agamben, is to open up the possibility that the object loses its exhibition-value to ‘a special form of negligence’ (Agamben). He uses the example of the child’s ability to insinuate any object into a new logic of play (Agamben). Like the objects excavated for The New Wilderness they could be from a variety of spheres – business, household, industry, health etc… The child, like the artist, reconstitutes, reorders and assembles new relations between things. In reflecting on the first New Wilderness project the paper correlates the creative response of the participant (student, child, artist) with the occupier. The Occupy Movement, which took up residence in many of the world’s cities’ financial districts in 2011, used a number of strategies commensurate with both Agamben’s notion of profanation and McKenzie Wark’s reading of the Situationist International’s use of détournement - as a strategy that releases objects and subjects back into the field of play (Wark, 2013). The field was taken by the occupy movement to be the space in which they occupied – capitalism, its logic and its practices, were, for a short time, redundant in the occupied field. The New Wilderness conceptualises the city as a localised field, from which its discarded objects can be ‘profaned’ or, repurposed, to reflect on shared histories, responsibilities, pedagogies and future action. Subject: self/other– As much as we propose New Wilderness to be a pedagogical initiative we see it as personal, critical and political. In the themed workshops, designed to elicit personal responses to the object and the site, which culminated in a multi-disciplinary installation, performance and/or text based work, participants were encouraged to think critically, and importantly, collectively. Through the four workshops run in the first iteration of the project participants were asked to re-consider their material value-systems, much as the occupy movement was trying to do, and like the occupiers, participants were empowered to be agents of change. Our paper reflects on the practical outcomes and the conceptual, political and pedagogical strategies embedded in The New Wilderness project. The paper affords us the additional opportunity to imagine a life for it in other geographical, socio-economic and educational situations. Merinda Kelly and Cameron Bishop, 2013Bio: Merinda Kelly is a sculptor and installation artist, educator and PhD student at Deakin University. Her research interests include Visual Culture, Practice Led Research, the Ontology of Art, and Autoethnography. Her most recent work includes the Pop Archaeology' and the Globo-Touro Projects.Bio: Dr Cameron Bishop is an artist and academic working in Visual Arts at Deakin University. He exhibits regularly and has written a number of journal articles and book chapters. His research has focused on the philosophical and postcolonial dimensions of space and subjectivity and more recently has evolved into an active interest in strategic interventions into space and practice.

Aggregating cultural heritage data for research use: The humanities networked infrastructure (HuNI)

This paper looks at the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by researchers across the humanities and creative arts. We discuss the methods used by HuNI to aggregate data, as well as the conceptual framework which has shaped the design of HuNI’s Data Model around six core entity types. Two of the key functions available to users of HuNI – building collections and creating links – are discussed, together with their design rationale.

Wild and banal: the value of the arts as commons

Purpose – The purpose of this paper is to identify the value of the arts play in public spaces in replicating a contemporary commons. Design/methodology/approach – The study is an exploratory investigation which uses a case study of cultural events in public parks – the Vancouver Parks Board’s fieldhouse residency program (2012-2015). The study uses content analysis of the social media sites created for these projects to identify how the sites and the cultural events were valued by stakeholders and participants. Findings – The paper finds that, in combination, the park events and the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests. Research limitations/implications – The paper finds that, in combination, the park events and the reflective engagement prompted by the social media discussion of them function as a form of the commons, in which new urban communities are formed or defined around specific common social interests. Practical implications – It is anticipated that cultural programs will increasingly interact with common public places. Social implications – The study supports the increased use of and recognition of public places as culturally significant. Originality/value – The study aims to encourage the expansion of arts and cultural policy and programs to incorporate common public places.

Philanthropy and the arts

Philanthropy and the Arts documents an emerging model of philanthropy that moves beyond the fundraising process to capture the essence of philanthropy in the intrinsic values held by donors, benefactors and philanthropic leaders. These values are the same as those that the arts bring to society, so the act of philanthropy itself embodies a commitment to ensuring the arts deliver for Australia a better community in which to live. Philanthropy and the Arts contains stories of successful philanthropy in the arts and acknowledges the relevant research in fundraising and philanthropy, translating this into the tools required for effective practice. While focusing on The Australian Ballet in particular, it has application across all art forms and arts companies and the non-profit sector more broadly.

Antisubjectivism and the (spectral) return of consciousness in landscape research

This paper analyses the changing conceptions of consciousness within landscape research over a critical period from the late 20th century to the present. The 1980s and 1990s mark a radical shift in the framing of consciousness away from psychological, perceptual, or experiential perspectives towards an ontology of consciousness as signifier, cultural artifact, and ideology. In cultural geography and the visual arts, these reframings can be characterised as anti subjectivist in that they do not attempt to problematize human consciousness so much as deactivate it and disqualify it from discussion. I draw out the theoretical and critical foundations of these antisubjectivist approaches as well as the subsequent opening out of the notion of landscape in more recent discussion. This ‘opening out’ implicates a more complex reengagement with minds, bodies, and landscapes and with the contested distinctions between subject and object. At the same time however, consciousness is seldom formulated explicitly within the literature and hence consciousness often occupies a spectral presence in the landscape of landscape research. I use one of my own paintings, Dalek in Landscape, to presage the discussion and attempt to highlight the tensions between these ideological, cultural and biological dimensions of consciousness at play within the landscape idea. Given the broader adoption of these anti-subjectivist developments within the academy, the example of landscape serves as a potentially useful case study for thinking upon the changing conceptions of consciousness in cognate creative and academic disciplines.

Lessons learnt from dancing the data : performed research of beginning teachers' experiences

This paper discusses the power of performed research. Such power lies in assisting to research the whole human – thought, action, and emotion. The paper discusses the potential for research through the arts in the development of creativity and imagination, to facilitate social change, and to explore performance as a research process as well as an end result that presents findings. The experiences of Bagley and Cancienne (2001); (2002) guided the creation of the work, and assist to frame this paper. The dance work discussed in this paper is a recent addition to the performed research work ‘The First Time’. The dance work was crafted to bring together the comparable experiences of first year teacher participants, and similarities among the findings of research into their identity. The creation of ‘The First Time’ was employed as a tool to understand and analyse the data. The dance work was employed to highlight findings regarding beginning teachers’ transition to teaching. This paper explores the process of creating and presenting arts-based research to expand the avenues through which the results of research are made available to a relevant audience; of how this method might broaden and complement traditional ways of thinking about and doing educational research.

Detonating the research plan: exploding the supervisory process

Bomb making is dangerous work. And not just because what you’re creating can blow up in your face. Even as you type in your search terms – how to make a bomb – you wonder who is watching, what algorithm might throw you up into the light of surveillance and trigger the knock at the door. (McKnight, 2014, p. 1)AbstractSo begins Lucinda’s PhD. In this dialogic paper of interwoven stories we employ a critical auto-ethnographic approach to explode moments of our lives and work together as we worked through the “research plan” at the heart of the supervision timeline. Lucinda’s thesis highlights the way curriculum emerges from the struggles of ideological becoming (Bakhtin 1981) as she and a group of teachers, sought to produce and perform both individual gendered identities (Butler 1997, 2007) and plans for the identities of student subjects, while negotiating subject positions made available to girls and women in broader social contexts. The link between the personal and political is created by a methodology combining narrative inquiry and discourse analysis as a heteroglossic (Bakhtin, 1981) text. In this paper we detonate the research plan developed in the first months of the PhD timeline as Jo responds to Lucinda’s narratives with her own, and we share jointly written narratives that try to capture some key moments of the process. We rework our own stories of the supervised and the supervisor through the competing discourses of our work and lives.

Re-presenting and representing with seven features: guiding an arts-based educational journey

This paper outlines a journey of arts-based inquiry into teacher education and identity transformation in the transition to teaching, guided by Barone and Eisner’s Seven Features of Arts-Based Educational Inquiry. Employing a theatre-based research approach the researcher investigated teachers’ epiphanic or revelatory first moments of identity transformation, culminating in the creation of the play script and performance: ‘The First Time’. The article discusses what Barone and Eisner’s works offered this arts-based researcher on their journey. Outcomes of the research include the value of working backwards from this frame for further data elucidation and analysis and presenting research to relevant ‘expert’ audiences.

Building audiences: Aboriginal and Torres Strait Islander arts

FOREWORDAs a culturally ambitious nation we are shaped by our cultural engagement and it is an important catalyst for critical discourse. It is vital that audiences and artists discuss their experiences, enabling us as a community to come together through engagement with diverse practice that challenges and entertains. This research has been undertaken in response to the Australia Council’s strategic vision for a nation where there are no borders to accessing Australian arts, and all Australians are able to experience and cherish Aboriginal and Torres Strait Islander arts and culture.Building Audiences provides an insight into the nature of existing Australian audiences and the broader public. It reveals how Australians engage with Aboriginal and Torres Strait Islander arts in the public sphere as audiences, highlighting that this engagement is part of a broader national dialogue about their relationship with and towards Indigenous Australia.

Fostering cultural diversity in Australia: a case study of teaching, learning and assessing African musical arts

Australia is forged by ongoing migration welcoming a range of cultures, languages and ethnicities thus celebrating a diverse range of musical arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in particular where authentic teaching and learning is facilitated may help foster understandings of culture in educational settings and the wider society. As a migrant forming part of the African Diaspora in Melbourne, I am strongly connected to my ancestral homeland (South Africa) when teaching African music to Australian tertiary students. Having gained ethical clearance to undertake the two research projects at Deakin University in Melbourne (Attitudes and perceptions of Arts Education Students: preparing culturally responsive teachers and Pre-service teacher attitudes and understandings of Music Education), I discuss tertiary students experience in relation to the teaching and learning of African music within higher education courses. Drawing on interview, questionnaire, observation notes, anecdotal feedback and narrative reflection, I employ Interpretative Phenomenological Analysis to analyse and code the data into themes. By offering a discussion of assessment and evaluation, I explore and invite international dialogue in regards to how best we can prepare, assess and evaluate our students to improve the quality of musical arts education.

Research writing chronotopes and constitutions of possibility.

 This research experiment works toward a research writing form which recognises and facilitates the role of research in the creation of new possibility in the world. It experiments with and examines the forms of time and space constituted in research texts, by reading these through similar patterns in fiction texts.

Swimming lessons : learning, new materialisms, posthumanism, and post qualitative research emerge through a pool poem

This article shifts from the formal learning spaces of school anduniversity to an Australian public swimming pool to playfullyengage some of the dilemmas that recent theory poses forcurriculum studies. The article enacts multiple diffractions(Barad, 2007) as theory becomes swimming and swimmingbecomes theory, and ideas and movements are themselvesdiffracted or changed by the writing of a poem. What does thepool teach us? What is learnt at the pool? How does learningemerge at the pool? Physics, chemistry, biology, and artistrycombine, as multiple human and non-human bodies intra-act(Barad, 2007), calling each other into being in this exploration ofhow distributed agencies and fractal causalities (Bennett, 2010)change how learning might be thought, represented, andswum. The poem incorporated here serves as provocation andinspiration for other scholars struggling with these educationaldilemmas and interested in arts-based research.

Positioning research and new knowledge systems

Debates into the positioning of research and aligning them with new knowledge systems has received mixed reactions. Many argue that research needs to follow discrete silos of disciplinary knowledge where knowledge needs to remain within a particular and defined construct. However, in the global world that we now embrace, there is a burgeoning of new knowledge systems that have disrupted ‘traditional’ processes of carrying out research and foregrounded the encompassing of new knowledge systems that follow research pathways and methodologies that are all encompassing of the multifaceted educational and social systems that embrace specific postcolonial and indigenous societies. Much of this corollary has stemmed from historical and political factors that have seen the rise of some disciplines of knowledge and the non-awareness’s and non-recognition of others. This paper articulates from an auto-ethnographic perspective the discussion surrounding the positioning of research, new knowledge systems and interdisciplinary learning in the areas of International and Aboriginal students. Focusing on postcolonial theory and Aboriginal approaches to research, the author foregrounds the tensions of historiography, hybridity, subjectivities, collaborative sharing and voice through what she terms a ‘strands of knowledge’ approach in these two areas. In the process, the author conceptualises two definitions. These are: intra-paradigm shifts and the irreducibility of the ethics of research and discusses how they are integral concepts when researching in or around particular cultural communities and groups.