Blended learning and art education: student participation in a collaborative, authentic assessment project

This paper reports on higher education student engagement with blended learning experiences incorporating located (on campus), cloud based (online e-learning ) and graphically built, socially networked 3D multi user virtual environments (MUVES). Immersion in this environment enabled collaboration between two groups of students enrolled in separate undergraduate art education and public relations units, to identify, develop and participate in an integrated, authentic assessment project. It is contended that immersive blended learning experiences support creative problem solving and encourages synchronous and asynchronous student participation in authentic problem solving and collaborative practice. Interacting with co-learners, students gain knowledge and skills through situated learning, defined as the application of knowledge, learned in one setting and transferred to another and where immersion in a virtual learning experience leads to higher level engagement on the transfer task in a real world setting. In this project, collaborative blended learning involved the creation of a collection of digital artworks by art education students using computer software located in a real world environment. These artworks were curated and exhibited by the students in a virtual gallery they designed and built on Deakin Arts Education island in Second Life. For public relations students, the virtual art exhibition was the focus of a virtual campaign, designed, researched and developed by them to promote the Deakin Virtual Art Gallery on Deakin island in Second Life. The final promotion for the Virtual Gallery was presented by the students at a symposium in both real world and virtual world environments.

Body of my ancestors: the art of dreaming

In this body of work Gilson relives her own story and in doing so her artwork gives further voice to her ancestors. The narratives within her artwork are personal but reflect the story of so many others. In spite of the shameful treatment historically meted out to Aboriginal peoples across Australia, Gilson’s artwork retains a positive element that inspires hope. She has created a platform from which to show others and future generations how to re-engage with culture and how to continue the yarning and their Dreaming through art practices.

Immaterial Land: refiguring art and materialism

Material RepresentationsThrough an examination and critique of western notions of ideology, particularlythose based on Lois Althusser’s account of ideology grounded in imaginaryconditions of existence, my research aimed to propose an alternative way of thinkingabout ideology and ontology. My argument related specifically to art and culture anddemonstrated through theoretical argument and practice, how Indigenous art andculture allow us to conceive of an alternative understanding of ideology. The purposeis to attempt to overturn the amnesia condition that persists in Australia with regardsto culture. I elaborated an alternative framework of ideology based on Indigenousculture and grounded on the relationship between culture and Land and posited amaterialist ontology that resolves the opposition between “real” and the “imaginary”as they are understood within an Althussian framework. My argument is underpinnedby the crucial premise that an Indigenous ideology is grounded upon the notion of“Country” (Land) and its inextricable relation to culture.

Staging a cultural collaboration: Louise Lightfoot and Ananda Shivaram's first Indian Dance Tour of Australia, 1947-1949

One of the most highly stylized of the Indian forms of dance-drama, Kathakali has also received the greatest amount of attention on the global stage. We argue that its international exposure began with the performances of Ananda Shivaram, as managed by the Australian impresario Louise Lightfoot, in a landmark intercultural collaboration. From 1947 to 1949, Shivaram, along with an ensemble of Australian dancers, successfully toured Australia, adapting a range of Kathakali dance-dramas to performance in an international context. Lightfoot organized and publicized the tour, translated texts, and explained the art of Kathakali - virtually unknown - to excited Australian audiences. Using newspaper reports, advertisements, program brochures, and promoter's notes, we chart the performer's and the impresario's journeys, how they fostered intercultural understanding, and how Shivaram became a cultural ambassador for India.

Serious play: the art of Kevin Mortensen

Kevin Mortensen came to prominence in Australia and internationally as an early and highly regarded practitioner of performance art. He represented Australia at an early Venice Biennale and was a major figure in the Mildura Sculpture Triennials, which helped establish contemporary sculpture in this country in the 1960s and 1970s after a long period in which the art form languished. The new sculpture of this time was strongly related to American performance art, Happenings and Earth Art, and in Australia took on environmental concerns and facets of Australia's landscape, flora and fauna. Mortensen's art is highly environmental. More recently Mortensen has practised as a sculptor and also made prints and drawings. He was Head of Sculpture at RMIT University in the 1980s and early 1990s but, today almost a recluse, continues to exhibit new work at Australian Galleries in Melbourne and Sydney. Author Rob Haysom provides a beautifully written and researched account of Mortensen's entire career and the book is lavishly illustrated.

Towards a politics and art of the land : gothic cinema of the Australian new wave and its reception by American film critics

This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode.

Widening participation in Australia: lessons on equity, standards, and institutional leadership

Widening participation movements inevitably give rise to discussions of the false dichotomy between equity and standards. The assumption is that by allowing differently prepared students into university and thereby improving equity, standards are somehow compromised. A recent national Australian study examined effective teaching and support of university students from low socio-economic status (LSES) backgrounds from the conceptual framework of bridging sociocultural incongruity rather than from a deficit perspective that assumes lower standards are operating. This chapter outlines the findings from that study of relevance to institutional leaders and policy makers. It draws on the rich qualitative data to show that, contrary to claims of lowered standards, students from low socio-economic backgrounds are high achievers who both expect and want high academic standards. It argues that the dichotomy between equity and standards is premised on an assumption of deficit in, and fundamental lack of respect for, students from diverse backgrounds which undermines the widening participation agenda. Where the false dichotomy exists in institutions, a situation is created which mitigates against LSES students feeling empowered to achieve high academic standards and overall success. It presents the key factors for empowering students from low socio-economic backgrounds to achieve academic success of the highest standard.

Interdisciplinary mathematics education: a state of the art

This book provides an essential introduction to the state-of the-art in interdisciplinary Mathematics Education. First, it begins with an outline of the field’s relevant historical, conceptual and theoretical backgrounds, what “discipline” means and how inter-, trans-, and meta-disciplinary activities can be understood. Relevant theoretical perspectives from Marx, Foucault and Vygotsky are explained, along with key ideas in theory, e.g. boundaries, discourses, identity, and the division of labour in practice. Second, the book reviews research findings of mainly empirical studies on interdisciplinary work involving mathematics in education, in all stages of education that have become disciplined. For example, it reports that a common theme in studies in middle and high schools is assessing the motivational benefits for the learner of subsuming disciplinary motives and even practices to extra-academic problem-solving activities; this is counter-balanced by the effort needed to overcome the disciplinary boundaries in academic institutions, and in professional identities. These disciplinary boundaries are less obviously limitations in middle and primary schools, and in some vocational courses. Third and finally, it explores selected case studies that illustrate these concepts and findings, both in terms of the motivational benefits for learners and the institutional and other boundaries involved.

Country brand and stakeholder engagement: Case study of Australia unlimited

The thesis presents a comprehensive conceptual framework of stakeholder brand engagement with a place brand identity. The framework comprises of typology of stakeholder brand engagement in place branding context as well as drivers, inhibitors, manifestations and outcomes of such engagement.