A qualitative study of small-scale artist run 'Indie' music business in Brisbane

This study is an examination of three small-scale artist run music businesses based in Brisbane. The researcher embedded himself within these three environments over the space of three years, using participant observation and content analysis to establish the key motivations, theories, and ideas which drove these businesses. As a researcher participant the author also drew on his own experiences to interrogate those investigated by other researchers in the field, with the underlying key theories influenced by Pierre Bourdieu's writings on Small-Scale production. This study provides a fascinating insight into Brisbane music culture, in particular the independent music scenes.

Boundary swaying

This practice-led research is positioned within my ongoing enquiry into the dancer’s experience and role within the creative process. Gins and Arakawa (1997) and Keane (2007) speak to the unsatisfactory reliance on discipline boundaries, to describe the dynamic lived-experience of interaction. This theorising is of application to this project, which examines creative agency through the lens of Arakawa and Gins’ language prompt, boundary-swaying. In this project the boundaries of movement creator, performer and director overlap and blur through the use of improvisation and multiple cameras. All contributors are invested creatively and compositionally in the ensuing dynamic collaboration, wearing many hats, ‘conceiver, creative thinker, teacher and learner’ (McKechnie 2005, 93; Stevens & McKechnie 2005, 250). This project asked the question, how can the work of Arakawa and Gins to agitate, disrupt, and transform the modus operandi of creative practice between choreographer and practice, dancer and practice and choreographer and dancer? The use of Arakawa and Gins’ philosophy and language prompts within this project stimulated and positively influenced the established creative relationship of researcher and choreographer/artist in the following ways: • Foregrounded the dancers tacit knowledge, first-hand experience, know-how and embodied savviness; • Promoted artistic collaboration, illuminating new creative possibilities, choices and innovation; • Facilitated the distribution of creative authority and agency. This creative work was presented as part of the AG3 ONLINE: the Third International Arakawa and Gins - Architecture and Philosophy Conference. The work was vetted for inclusion by an international panel of examiners.

A different kind of studio: Reflecting on the open studio and the artist-teacher

For more than 15 years, QUT’s Visual Arts discipline has employed a teaching model known as the ‘open studio’ in their undergraduate BFA program. Distinct from the other models of studio degrees in Australia, the open studio approach emphasizes individual practice by focusing on experimentation, collaboration and cross-disciplinary activities. However, while this activity proves to be highly relevant to exploring and participating in the ‘post medium’ nature of much contemporary art, the open studio also presents a complex of affecting challenges to the artist-teacher. The open studio, it can be argued, produces a different type of student than traditional, discipline-specific art programs – but it also produces a different kind of artist-teacher. In this paper, the authors will provide a reflection on their own experiences as artists and studio lecturers involved with the two ‘bookends’ of the QUT studio program – first year and third year. Using these separate contexts as case studies, the authors will discuss the transformative qualities of the open studio as it is adapted to the particularities of each cohort and the curricular needs of each year level. In particular, the authors will explore the way the teaching experience has influenced and positively challenged their individual (and paradoxically) discipline-focussed, studio practices. It is generally accepted that the teaching of art needs to be continually reconceptualised in response to the changing conditions of contemporary art, culture and technology. This paper will articulate how the authors have worked at that reconceptualisation within both their teaching and studio practices and so practically demonstrate the complex dialogic processes inherent to the teaching of the visual arts studio.

Petition for Artist Cards

This work was a interactive object piece that was installed at West Space as part of the 'Conceted Efforts' exhibition. Three clipboards hosted a petition addressed to Australian Museum Directors urging them to accept this artist card in lieu of payment when artists visit their institution, a list of potential elements of proof of position as an Australian artist, and an example of the artist card. The work explored the potential for collaboration between artists and institutions and explored the value of artists in the contemporary art world.

The performance in context model: A 21st century tertiary dance teaching pedagogy

Despite tertiary institutions acknowledging that reflective practice is an essential component of undergraduate dance teacher training, there is often a disparity between the tertiary students’ reflective skills and the more sophisticated reflective ability needed to navigate the 21st century workforce (Silva 2008). This paper charts the evolution of a dance teaching reflective pedagogy within a suite of three units across a three-year undergraduate dance teacher-training course for school, community and studio dance teachers. This reflective pedagogy based on exploration, collaboration, critical questioning and connections with community forms the basis of a model of tertiary dance teacher- training; the Performance in Context Model (PCM). Over the past four years, through four cycles of action research, the PCM pedagogy, context and engagement with community has developed into a successful model integrating practical dance teaching skills, artistry and community engagement. The PCM represents a holistic collaborative approach to dance teacher education: the marrying of ‘teacher-as-artist’, ‘teacher-as-performer’ and ‘teacher-as-researcher’. More specifically, it emphasises the need for mature, reflective, receptive and flexible approaches in response to dance teaching and learning. These are enacted in a variety of contexts, with tertiary dance teaching students identifying as teaching artists, as well as researchers of their own practice.

Discovering mentorship information from author collaboration networks

Researchers are assessed from a researcher-centric perspective - by quantifying a researcher's contribution to the field. Citation and publication counts are some typical examples. We propose a student-centric measure to assess researchers on their mentoring abilities. Our approach quantifies benefits bestowed by researchers upon their students by characterizing the publication dynamics of research advisor-student interactions in author collaboration networks. We show that our measures could help aspiring students identify research advisors with proven mentoring skills. Our measures also help in stratification of researchers with similar ranks based on typical indices like publication and citation counts while being independent of their direct influences.

Synopsis of researcher meeting -- Bottlenose Dolphin Health & Risk Assessment Project, February 22-24, 2005

A meeting was convened on February 22-24, 2005 in Charleston, South Carolina to bring together researchers collaborating on the Bottlenose Dolphin Health and Risk Assessment (HERA) Project to review and discuss preliminary health-related findings from captured dolphins during 2003 and 2004 in the Indian River Lagoon (IRL), FL and Charleston (CHS), SC. Over 30 researchers with diverse research expertise representing government, academic and marine institutions participated in the 2-1/2 day meeting. The Bottlenose Dolphin HERA Project is a comprehensive, integrated, multi-disciplinary research program designed to assess environmental and anthropogenic stressors, as well as the health and long-term viability of Atlantic bottlenose dolphins (Tursiops truncatus). Standardized and comprehensive protocols are being used to evaluate dolphin health in the coastal ecosystems in the IRL and CHS. The Bottlenose Dolphin Health and Risk Assessment (HERA) Project was initiated in 2003 by Dr. Patricia Fair at the National Oceanic and Atmospheric Administration/National Ocean Service/Center for Coastal Environmental Health and Biomolecular Research and Dr. Gregory Bossart at the Harbor Branch Oceanographic Institution under NMFS Scientific Research Permit No. 998-1678-00 issued to Dr. Bossart. Towards this end, this study focuses on developing tools and techniques to better identify health threats to these dolphins, and to develop links to possible environmental stressors. Thus, the primary objective of the Dolphin HERA Project is to measure the overall health and as well as the potential health hazards for dolphin populations in the two sites by performing screening-level risk assessments using standardized methods. The screening-level assessment involves capture, sampling and release activities during which physical examinations are performed on dolphins and a suite of nonlethal morphologic and clinicopathologic parameters, to be used to develop indices of dolphin health, are collected. Thus far, standardized health assessments have been performed on 155 dolphins during capture-release studies conducted in Years 2003 and 2004 at the two sites. A major collaboration has been established involving numerous individuals and institutions, which provide the project with a broad assessment capability toward accomplishing the goals and objectives of this project.

Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

File Transfer Protocol

The discourse surrounding the virtual has moved away from the utopian thinking accompanying the rise of the Internet in the 1990s. The Cyber-gurus of the last decades promised a technotopia removed from materiality and the confines of the flesh and the built environment, a liberation from old institutions and power structures. But since then, the virtual has grown into a distinct yet related sphere of cultural and political production that both parallels and occasionally flows over into the old world of material objects. The strict dichotomy of matter and digital purity has been replaced more recently with a more complex model where both the world of stuff and the world of knowledge support, resist and at the same time contain each other. Online social networks amplify and extend existing ones; other cultural interfaces like youtube have not replaced the communal experience of watching moving images in a semi-public space (the cinema) or the semi-private space (the family living room). Rather the experience of viewing is very much about sharing and communicating, offering interpretations and comments. Many of the web’s strongest entities (Amazon, eBay, Gumtree etc.) sit exactly at this juncture of applying tools taken from the knowledge management industry to organize the chaos of the material world along (post-)Fordist rationality. Since the early 1990s there have been many artistic and curatorial attempts to use the Internet as a platform of producing and exhibiting art, but a lot of these were reluctant to let go of the fantasy of digital freedom. Storage Room collapses the binary opposition of real and virtual space by using online data storage as a conduit for IRL art production. The artworks here will not be available for viewing online in a 'screen' environment but only as part of a downloadable package with the intention that the exhibition could be displayed (in a physical space) by any interested party and realised as ambitiously or minimally as the downloader wishes, based on their means. The artists will therefore also supply a set of instructions for the physical installation of the work alongside the digital files. In response to this curatorial initiative, File Transfer Protocol invites seven UK based artists to produce digital art for a physical environment, addressing the intersection between the virtual and the material. The files range from sound, video, digital prints and net art, blueprints for an action to take place, something to be made, a conceptual text piece, etc. About the works and artists: Polly Fibre is the pseudonym of London-based artist Christine Ellison. Ellison creates live music using domestic devices such as sewing machines, irons and slide projectors. Her costumes and stage sets propose a physical manifestation of the virtual space that is created inside software like Photoshop. For this exhibition, Polly Fibre invites the audience to create a musical composition using a pair of amplified scissors and a turntable. http://www.pollyfibre.com John Russell, a founding member of 1990s art group Bank, is an artist, curator and writer who explores in his work the contemporary political conditions of the work of art. In his digital print, Russell collages together visual representations of abstract philosophical ideas and transforms them into a post apocalyptic landscape that is complex and banal at the same time. www.john-russell.org The work of Bristol based artist Jem Nobel opens up a dialogue between the contemporary and the legacy of 20th century conceptual art around questions of collectivism and participation, authorship and individualism. His print SPACE concretizes the representation of the most common piece of Unicode: the vacant space between words. In this way, the gap itself turns from invisible cipher to sign. www.jemnoble.com Annabel Frearson is rewriting Mary Shelley's Frankenstein using all and only the words from the original text. Frankenstein 2, or the Monster of Main Stream, is read in parts by different performers, embodying the psychotic character of the protagonist, a mongrel hybrid of used language. www.annabelfrearson.com Darren Banks uses fragments of effect laden Holywood films to create an impossible space. The fictitious parts don't add up to a convincing material reality, leaving the viewer with a failed amalgamation of simulations of sophisticated technologies. www.darrenbanks.co.uk FIELDCLUB is collaboration between artist Paul Chaney and researcher Kenna Hernly. Chaney and Hernly developed together a project that critically examines various proposals for the management of sustainable ecological systems. Their FIELDMACHINE invites the public to design an ideal agricultural field. By playing with different types of crops that are found in the south west of England, it is possible for the user, for example, to create a balanced, but protein poor, diet or to simply decide to 'get rid' of half the population. The meeting point of the Platonic field and it physical consequences, generates a geometric abstraction that investigates the relationship between modernist utopianism and contemporary actuality. www.fieldclub.co.uk Pil and Galia Kollectiv, who have also curated the exhibition are London-based artists and run the xero, kline & coma gallery. Here they present a dialogue between two computers. The conversation opens with a simple text book problem in business studies. But gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners. www.kollectiv.co.uk

Using a qualitative approach to research to build trust between a non-Aboriginal researcher and Aboriginal participants (Australia)

This article focuses on the qualitative methodologies employed in a research project developed in collaboration with Aboriginal advisors and gaining an in-depth understanding of Aboriginal Victorian peoples' connection to their ancestral lands. It outlines why qualitative methodologies were used and highlights the ethical dimensions of working with Aboriginal Victorian communities. A research partnership was developed between Aboriginal Victorian communities and the non-Aboriginal researcher and this process was emphasised because in the past Australian Indigenous people have been grossly exploited in health research. The methods of semi-structured interviews and focus groups were used to gain a better understanding of this topic. The novel point of this article is that it provides an honest reflection of the benefits and limitations of this qualitative research process from the perspectives of a non-Aboriginal researcher and an Aboriginal participant, when emphasis is placed on a collaborative approach. The paper outlines what a successful qualitative research project looks like in Victorian Aboriginal communities. This can be used as a blueprint not only for working with Victorian Aboriginal communities, who have been marginalised within Australian society, but may also be relevant to other culturally diverse communities throughout the world.

Classroom teachers as co-researchers : the affordances and challenges of collaboration

The article outlines the aspects of the research design that engage with teachers in schools and discusses some of the challenges and affordances that the relationships (between the teachers, the schools, the research partners and the researchers) experienced in the project, Literacy in the 21st Century: Learning from Computer Games. The article has a particular focus on the teachers' work as co-researchers, their descriptions of working in the project and some of the issues for teachers and researchers in working in this way. The data used for the analysis includes the teacher writing, interview data and researcher observations. The teachers who participated in the project designed and delivered curriculum using computer games in various ways including making their own games, evaluating games, analyzing game structures, and examining the culture around games and the ways in which games and other technologies are merging. Some of these curriculum units are described elsewhere in this issue (Beavis & O'Mara, 2010). This article's purpose is to follow the teachers' professional learning experiences rather than detail these curriculum designs, which the teachers will describe elsewhere. The paper concludes with our personal reflections on the affordances and challenges of working this way for us in our different roles in the research team.

Becoming an artist: life histories and visual images

Chapter summary:
In this chapter, we consider the experiences of an art/research experiment that took place in the context of the annual conference of the British Sociaological Association (BSA), held at the University of East London in April 2007. The essay is in four parts: in the first section, the researcher gives the context of the project that underpinned the BSA event, mapping its theoretical directions and methodological moves. In the second section, the artist tells stories of becoming through words and images. The force of the artist’s narrative challenges and reconfigures discursively constructed boundaries between the researcher and the artist, initiating a dialogic encounter that unfolds in the third section as a visual/textual interface. This encounter revolves around the quest for meaning, which is after all what oral history is about (Portelli, 2011). Our quest for meaning actually inspired us to write about and problematize the BSA event. In this light, the final section looks critically into some of the questions that have arisen, situating them within wider problematics in the field of oral histories and narrative research.

Book summary:
Interviews are becoming an increasingly dominant research method in art, craft, design, fashion and textile history. This groundbreaking text demonstrates how artists, writers and historians deploy interviews as creative practice, as 'history', and as a means to insights into the micro-practices of arts production and identity that contribute to questions of 'voice', authenticity, and authorship. Through a wide range of case studies from international scholars and practitioners across a variety of fields, the volume maps how oral history interviews contribute to a relational practice that is creative, rigorous and ethically grounded.

An actor-network theory study of public sector inter-organisational collaboration

EMBARGOED The literature on inter-organisational collaboration, although wide-ranging, offers little guidance on collaboration as process. It focuses in the main on human attributes like leadership, trust and agency, but gives little consideration to the role of objects in the development of inter-organisational collaborations. A central aim of this thesis is to understand the interaction of objects and humans in the development of a particular health and social care partnership in the North East of England. This socio-material perspective was achieved through actor-network theory (ANT) as a methodology, in which the researcher is equally sensitised to the role of human and non-human entities in the development of a network. The case study is that of the North East Lincolnshire Care Trust Plus (CTP). This was a unique health and social care collaboration arrangement between North East Lincolnshire Council and North East Lincolnshire Primary Care Trust, setup to address heath inequalities in the region. The CTP was conceived and developed at a local level by the respective organisation’s decision makers in the face of considerable opposition from regional policy makers and national regulators. However, despite this opposition, the directors eventually achieved their goal and the CTP became operational on 1st September 2007. This study seeks to understand how the CTP was conceived and developed, in the face of this opposition. The thesis makes a number of original contributions. Firstly, it adds to the current body of literature on collaboration by identifying how objects can help problematize issues and cement inter-organisational collaborations. Secondly it provides a novel account describing how two public sector organisations created a unique collaboration, despite pressing resistance from the regulatory authorities; and thirdly it extends Callon’s (1996) notion of problematization to examine how, what is rather vaguely described as ‘context’ in the literature, becomes enmeshed in decisions to collaborate. UNTIL 03/02/2016 THIS THESIS IS ONLY AVAILABLE FOR CONSULTATION AT ASTON UNIVERSITY LIBRARY WITH PRIOR ARRANGEMENT

Using Action Research to Develop My Solution-Focused Practice in Collaboration with Year 6 And 7 Pupils When Discussing Their Behavioural Self-Regulation at School

This action research study aimed to develop the researcher's use of solutionfocused techniques when working with Year 6 and 7 pupils’ self-regulation. A systematic literature review highlighted an evidence base that demonstrated the efficacy of solution-focused methods when working with this population. The researcher’s intention was to add to the body of Educational Psychology practice-based evidence in this area. The researcher recruited eight participants from primary and secondary school provisions. Solution-focused techniques were systematically trialled in partnership with the pupils and were modified through an action research cycle. Semistructured interviewing provided participants the opportunity to critically evaluate the researcher’s solution-focused practice. Thematic Analysis was used to assess feedback in order to adapt the delivery of solution-focused techniques. Developments to practice explored within this study included modifications to the use of the six core components of Solution Focused Brief Therapy. Adaptations have the potential to inform the use of these solution-focused approaches with other educational practitioners.

Collaboration and student engagement in design education

One of the great paradoxes in design education is that undergraduate students are encouraged to study and model the behaviors and attitudes of famous designers, but without being aware that such esteemed individuals rarely work in isolation. The vast majority of designers work in teams, as part of both the conceptualization and production processes. Even 'design-auteurs' or 'artist-designers' must still interact with, respectively, clients, consultants and contractors, or patrons, curators and publishers. As a result of this, collaboration is widely considered an essential part of the design process and a critical skill for developing a career in the design industries. However, while design practitioners and the professional bodies that represent them acknowledge the importance of groups and teams, there has been a general reluctance (either an unwillingness or inability) to emphasize the importance or team processes, or em­bed the development of team skills, in undergraduate design curricula. There are many reasons for this situation existing, but we cannot underestimate the general attitude, implicit in much design education and promulgated through the design media, that creativity is an individual trait.