Technics & touch: body / matter / machine

This exhibition project tested the limits of human and robot proficiencies through a series of experimental scenarios. The project explored methods of producing feedback systems through perception and action cycles. The exhibition consisted of two parallel events: a laboratory space where the artists were 'in-residence', producing drawings in conjunction with the robot; and a procedural drawing exhibition in an adjoining space, where the outcomes of this human/non-human team were exhibited alongside the work of practitioners who have been exploring rule-based drawing for some time. The aim was to make and to discuss approaches to embodied, expanded and autonomous intelligent systems.

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.

Like a porcupine or hedgehog?: The prose poem as post-romantic fragment

Prose poems are frequently characterised as fragmentary or incomplete in the way that they gesture to a larger, often unnamed, frame of reference; present small, sometimes unfinished narratives which are implied to be parts of larger narrative structures; and are often characterised by considerable indeterminacy. In this respect, it may be argued that prose poetry traces part of its lineage back to Romantic fragment poems—indeed, at least as far back as James Macpherson’s Ossian “translations”. In the Romantic period, fragments were understood as reflecting the idea of the imperfectability of contemporary human existence, aided by the antiquarian attraction of many Romantic writers to the ruins and relics of the classical past and an associated preference for the evocation of notions of infinitude and boundlessness. This paper argues that prose poems gesture to this Romantic genealogy in their concern with openness and diversity, and the reshaping of literary-aesthetic boundaries to metonymically explore incompleteness. The paper takes its name from Friedrich Schelgel’s Igel. Schlegel famously described the fragment as an Igel, or hedgehog, because of its autonomy and isolation from the wider world. One way of understanding the renaissance of the prose poem in the last 35 years, is to apply the Schlegelian metaphor of a hedgehog to contemporary prose poems in order to argue that this hybrid genre remains in dialogue with the fragmented literary works of the past. This paper argues that as prose poetry continues to explore fissured identity and plurality in a postmodern society, it owes a significant debt to postmodernism’s Romantic and fragmented inheritance.

What contributes to vocational excellence? Characteristics and experiences of competitors and experts in WorldSkills London

Modelling Vocational Excellence (MoVE) International is a WorldSkills Member research initiativesupporting:• skills improvement and Competition best practice• international skills benchmarking, and• promotion of vocational excellence to young people, employers and policy makers.MoVE International is the inaugural research project for the WorldSkills Foundation and is alsosupported by Skills Finland, WorldSkills UK, WorldSkills Australia and the Dusseldorp Skills Forum.The research team is a partnership between: University of Tampere, Finland; University of Oxford,UK; and RMIT University, Australia, with support from Deakin University, Australia.The research initiative sets out to produce outcomes relevant to the interests of its majorstakeholder groups. The data produced by the study offers WorldSkills International and individualWorldSkills Members a framework for international benchmarking on skills quality, and a windowinto the WorldSkills experience for Competitors and Experts. Through the research reports,WorldSkills Member organizations will also gain access to global data on WorldSkills Competitorsand Experts which may be applied to improve training and professional development. Importantly,young people are afforded a global voice. In telling their own stories they can share theirexperiences with peers, and provide future Competitors with insights into the experience of beinginvolved in international skill competitions. For WorldSkills International, the data is a source ofpromotional material, and may contribute to event and organizational evaluation.The MoVE research project launches the WorldSkills Foundation’s program of research,engagement and advocacy. MoVE offers the Foundation an opportunity to influence the globaldebate on vocational education and training, and to shift the orientation of VET research away froma ‘deficit’ framework to one which highlights benefits and opportunities (see section 2.2 for a fullerexplanation of these research orientations).The outputs of the 2011 MoVE international research project include this global report and casestudies of the Australian, Finnish and British teams that competed at WorldSkills London 2011.

The sixth oceanic conference on international studies: Transitions in the Asia pacific

The Sixth Oceanic Conference on International Studies (OCIS) was held in Melbourne, Australia between 9 and 11 July 2014. The conference was hosted by the School of Social and Political Sciences at University of Melbourne and supported by the Australian Institute of International Affairs, Deakin University, La Trobe University, Monash University, RMIT University and Swinburne University. The Sixth OCIS had a broad organizing theme of ‘transition’ focused on the changing balances of power shaping the Oceanic and Asia Pacific regions and related questions of social and political change in this context. Over 200 papers were presented at the conference, reflecting a wide variety of issues in international studies and related fields of scholarship. Amongst this diversity, the conference did have some recurring themes relating to great power rivalry, the influence of China, and the implications of multilateral frameworks and key bilateral relationships on the security and economic dynamics of the region. Significant attention was also devoted to analysing the foreign policies and political institutions for managing problems of peacebuilding, terrorism, gender inequality and sexual discrimination, people movements, climate change and financial instability at the regional and global levels. This special issue of Global Change, Peace and Security reflects these themes of transition in the Asia Pacific and comprises a diverse array of contributions from scholars attending this conference.

Quotidian metageographies: prose poems as nonfiction postcards

The prose poem is a flexible vehicle that is often used, in a range of guises, to drive explorations and excavations of the quotidian.

Collaborative reflective experience and practice in education explored through self-study and arts-based research

Eight teacher educators used self-study methodology to engage in reflective practice to overcome their isolation as individual teachers and researchers, and to facilitate professional development. Their research question asked: How can we continue to develop our teaching practice to ensure we are high quality, contemporary teacher educators? They contributed collaboratively in one overarching research project as well as through several focussed projects that explored issues in their individual teaching practices including: sustainability, creativity, curriculum design, pedagogy, assessment, and the learning experiences for students. This paper explores the outcomes from collaborative inquiry that five of the eight educator/researchers engaged in during a research-writing retreat. It documents their experience using arts-based strategies in which drawings were created about their experiences of engaging in a collaborative project and smaller focussed self-study projects. Analysis involved inquiring into each other’s drawings through recorded conversation. The metaphoric representations found through analysing the drawings provided insight into participants’ teaching practices and identities as teacher educators. Six months later when the participants had developed their projects further and used other artsbased methods to understand these experiences, they reflected on the key issues for their teaching practices that had arisen from undertaking this Collaborative Reflective Experience and Practice in Education research. Arts-based inquiries and reflective analysis over six months, constitute this paper. The experiences and analyses are shared to show how creating and sharing metaphoric meaning of visual representations is useful in self-study research to drill down into the real issues. Importantly, this in-depth sharing provides authentic interdisciplinary links when individual educators share their own approaches to teaching in their disciplined area. Findings suggest that gaining new insights into each other’s discipline-based approaches to teacher education through these methods, revealed different responses to pedagogical challenges and allowed for new possibilities for understanding the landscape of teacher education.

S (H) IFT

on elf many invited authors to provide a creative-critical response to a work in Performing mobilises. exhibition

Morbis artis: diseases of the arts

What constitutes life, what counts as a sentient being, and who gets to determine what lives are saved, punished, exploited and destroyed?

Composed of eleven separate but connected installation works, Morbis Artis explores the question of organic life through particular artistic lenses, each taking on the moniker of disease to represent and embody the issues that challenge bare life today.

Drawing upon Frances Stracey, the artists working on this exhibition consider Bio-art to represent ‘a crossover of art and the biological sciences, with living matter, such as genes, cells or animals, as its new media’.