I me mine: Artistic self/artistic persona

"This exhibition investigates whether there are places and activities that people consider" "more private, and more authentic than others. It also seeks to discover how people actually talk about their ‘authentic’ selves without recourse to academic theorization or speculation."

From the comforts of print to the possibilities of digital media: leading the way in teaching political leadership in a faculty of arts

Since it inception, Deakin University has been committed to the delivery of innovative, high quality course materials to its off campus students. Until recently these packages were predominantly print based, although augmented with audio-visual materials delivered in cassette format. Ironically, with the advent of information and communications technologies (ICT), and some select computer assisted learning and multimedia packages, there was an overall decline in the use of audio and video as important means of enhancing learning. Like many other universities, Deakin has moved to a strong, centralised approach to the provision of its digital and online corporate technology environment. With investment in these technologies has come a renewed interest in the ways in which text and audio-visual materials in digital form can enhance students' learning experiences. Moreover, the ways in which a variety of digital media supported by online developments can create new models and approaches to teaching/learning has figured prominently. This paper presents a case study of how this challenge has been taken up in a unit, Political Leadership, in the Faculty of Arts. The academic teacher's intentions in moving to a completely digital approach are examined along with students' experiences of learning in the subject. Issues are considered from the experience.

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.

Multiplatform innovation and participatory citizenship : the Australian Broadcasting Corporation’s digital children’s television projects

This paper examines children’s multiplatform commissioning at the Australian Broadcasting Corporation (ABC) in the context of the digitalisation of Australian television. A pursuit of audience share and reach to legitimise its recurrent funding engenders a strategy that prioritises the entertainment values of the ABC’s children’s offerings. Nevertheless, these multiplatform texts (comprising complementary ‘on-air’ and ‘online’ textualities) evidence a continuing commitment to a youth-focussed, public service remit, and reflect the ABC’s Charter obligations to foster innovation, creativity, participation, citizenship, and the values of social inclusiveness. The analysis focuses on two recent ‘marquee’ drama projects, Dance Academy (a contemporary teen series) and My Place (a historical series for a middle childhood audience). The research draws on a series of research interviews, analysis of policy documents and textual analysis of the television and multiplatform content. The authors argue that a mixed diet of programming, together with an educative or social developmental agenda, features in the design of both program and online participation for the public broadcaster.

Seduction and demise in East Berlin: Digital prototype for an immersive opera

‘Seduction and Demise in East Berlin – a digital prototype for an immersive opera’ is a reflective case study of how digital technologies can be successfully applied to facilitate dynamic mediated partnerships and collaborations resulting in cutting-edge industry standard outcomes in the fields of design, performance and digital media. The ongoing use of online interaction throughout the development of the prototype facilitated a grammar of participation, collaboration and output between third year tertiary design students from Deakin University and independent Opera Company the Beggars Opera Co-Operative (BegOpCoOp), resulting in the achievement of positive professional outcomes for both project partners. Through this process, students at Deakin University Visual Communication Design department developed a normative working model that enabled a swift engagement with and response to the creative and strategic challenges that come with applying contemporary design practice in a current industry context. BegOpCop, as the industry partner, were able to use the digital collaborative process as a springboard to interrogate and innovate their own practice as producers of contemporary operatic repertoire and to develop exciting new digital and design-savvy creative collateral with which to seek further production partners, taking them to the next professional level as a growing arts organisation.

Deletion as second death: the moral status of digital remains

There has been increasing attention in sociology and internet studies to the topic of ‘digital remains’: the artefacts users of social network services (SNS) and other online services leave behind when they die. But these artefacts also pose philosophical questions regarding what impact, if any, these artefacts have on the ontological and ethical status of the dead. One increasingly pertinent question concerns whether these artefacts should be preserved, and whether deletion counts as a harm to the deceased user and therefore provides pro tanto reasons against deletion. In this paper, I build on previous work invoking a distinction between persons and selves to argue that SNS offer a particularly significant material instantiation of persons. The experiential transparency of the SNS medium allows for genuine co-presence of SNS users, and also assists in allowing persons (but not selves) to persist as ethical patients in our lifeworld after biological death. Using Blustein’s “rescue from insignificance” argument for duties of remembrance, I argue that this persistence function supplies a nontrivial (if defeasible) obligation not to delete these artefacts. Drawing on Luciano Floridi’s account of “constitutive” information, I further argue that the “digital remains” metaphor is surprisingly apt: these artefacts in fact enjoy a claim to moral regard akin to that of corpses.

Pixel review: Dance and digital wizardry conjure stunning illusions

A number of artists have explored the fusion of technology with performing arts. From Gideon Obarzanek​ and Frieder Weiss' projection mapping techniques with Glow and Mortal Engine to Garry Stewart and Thomas Pachoud's​ experiments with real-time looping and layered video in Proximity, it seems that infusing performance with choreographed bodies, screen-based design and choreographed pixels is the next frontier of contemporary performance.