Totes Over It

A collaborative series of limited edition canvas tote bags, each bearing a different feminist slogan, produced by the feminist collective LEVEL for exhibition and distribution as part of the Queensland Government-funded Q[ARI] Project at Sydney Contemporary Art Fair at Carriageworks in 2013.

We need to talk (denim workshop)

A collaborative, participatory denim craft station installed by the LEVEL feminist collective in the Q[ARI] Project - Artist-Run Initiatives exhibition, at the Griffith University Art Gallery in 2013. The exhibition was funded by the Queensland Government through Arts Queensland, and featured seven artist-run-initiatives from Brisbane.

We need to talk (MCA picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Museum of Contemporary Art (MCA) as part of the official program of activities surrounding the exhibition 'War is over: (If you want it!): Yoko Ono', 2013. It took the form of a public picnic where women and their friends were invited to share food and discuss what they wanted to see in the world. Groups discussed their desires before a public declaration of these outside the museum at Circular Quay in Sydney.

We need to talk : feminism and food (GOMA Harvest Picnic)

This collaborative, participatory work by feminist collective LEVEL took place at the Gallery of Modern Art (GOMA) as part of the official program of activities surrounding the exhibition 'Harvest', 2014. It took the form of a public picnic, where women and their friends were invited to share cooking recipes while also discussing the possible recipe for a gender revolution. Groups discussed their ideas, before a public reading of potential 'ingredients' and 'methods' outside the museum on the Maiwar Green.

To see and be seen : cinematic constructions of gender and spectatorship in contemporary screen-based art

To See and Be Seen: Cinematic Constructions of Gender and Spectatorship in Contemporary Screen-Based Art addresses how gendered representation can be structured within visual art practice through a series of creative moving-image works. Using the aesthetic language of French New Wave cinema as its primary point of departure, this research project investigates how gendered representations are constructed by cinematic language. In doing this, it proposes latent possibilities present within the dominant gaze created by patriarchal relations of power. This project, in a series of creative works, demonstrates how the 'masculine' authorial gaze is learnt culturally, and by examining the gendered syntax of film, reveals how this can be recontextualised by the female artist.

The waves, parts 1 and 2

This two-part video installation, exploring the feminine gaze and the traditions of cinema, was exhibited at the Institute of Modern Art in Brisbane as part of the 2013 'Fresh Cut' program.

Silver palace

Silver palace is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The exhibition examines the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context.

across the sea

'Across the sea' is a multi-channel screen-based installation that explores the part that the landscape and narration play in cinematic constructions of gendered identity. The work is informed by new wave cinema, feminist film theory and emergent ideas of a female gaze. across the sea considers both the role of the artist, as well as the auteur in cinema, to question how the outcomes differ when a female rather than a male gaze is writing, directing and filming the imagery. The screen-based installation of 'across the sea' seeks to further examine the ways in which our experience as a viewer of cinematic imagery can be both constructed and expanded within a gallery context. across the sea investigates the spaces that exist between the gallery and the cinema, in an effort to consider notions of femininity that exist between and throughout the varied spaces of film and art.

How does access to development finance shape our cities?

In market economies the built environment is largely the product of private sector property development. Property development is a high-risk entrepreneurial activity executing expensive projects with long gestation periods in an uncertain environment and into an uncertain future. Risk lies at the core of development: the developer manages the multiple risks of development and it is the capital injection and financing that is placed at risk. From the developer's perspective the search for development capital is a quest: to access more finance, over a longer term, with fewer conditions and at lower rates. From the supply angle, capital of various sources - banks, insurance companies, superannuation funds, accumulated firm profits, retail investors and private equity - is always seeking above market returns for limited risk. Property development presents one potentially lucrative, but risky, investment opportunity. Competition for returns on capital produces a continual dynamic evolution of methods for funding property developments. And thus the relationship between capital and development and the outcomes for the built environment are in a restless continual evolution. Little is documented about the ways development is financed in Australia and even less of the consequences for cities. Using publicly available data sources and examples of different development financing from Australian practice, this paper argues that different methods of financing development have different outcomes and consequences for the built environment. This paper also presents an agenda for further research into these themes.

The impact of infrastructure charges on house prices in Australia

Developer paid fees or charges are a commonly used mechanism for local governments to pay for new infrastructure. However, property developers claim that these costs are merely passed on to home buyers, with adverse effects to housing affordability. Despite numerous government reports and many years of industry advocacy, there remains no empirical evidence in Australia to confirm or quantify this passing on effect to home buyers. Hence there remains no data from which governments can base policy decision on, and the debate continues. This paper examines the question of the impact of infrastructure charges on housing affordability in Australia. It presents the findings of a hedonic house price model that provides the first empirical evidence that infrastructure charges do increase house prices in Australia. This research is consistent with international findings, that support the proposition that developer paid infrastructure charges are passed on to home buyers and are a significant contributor to increasing house prices and reduced housing affordability.

Can playing Monopoly™ enhance learning for property students

This paper outlines the initial results from a pilot study into the educational use of the board game Monopoly City™ in a first year property economics unit. This game play was introduced as a fun and interactive way of achieving a number of desired outcomes including: enhanced engagement of first year students; introduction of foundational threshold concepts in property education; introduction of problem solving and critical analysis skills; early acculturation of property students to enhance student retention; and early team building within the Property Economics cohort, all in an engaging and entertaining way. Preliminary results in this research project are encouraging. The students participating in this initial cycle have demonstrated explicit linkages between their Monopoly City™ experiences and foundation urban economic and valuation theories. Students are also recognising the role strategy and chance play in the property sector. However, linking Monopoly City™ activities to assessment has proved important in student attendance and hence engagement.

Great Expectations : stability and change in English teaching : the teacher as chameleon

Curriculum is always in a state of flux and so often the moves to ‘reform’ it are political rather than pedagogical. So often in these days of accountability we focus on the learner. I want to focus on the teacher in this presentation. As English educators we have to ‘fit’ whatever new policy model comes our way. The Australian curriculum seems to have tried to please every stakeholder in its process and as such has been formed without a single, unifying coherent theoretical basis. How do we challenge this paper tiger? We have to find the pedagogical models within the current framework and see what still works in practice. At the chalk-face there are still teaching, learning and assessment practices in English surviving from the last few decades of pedagogical change; and there is also room for accommodating new practices. Embracing and adapting the old and the new may be the key to staying creative and passionately engaged with our subject area.