The self-perceived effects on faculty that result from the experience of serving in a residential college

The purpose of this phenomenological study was to examine the effects that faculty who live in residence with college students perceive result from their experience. This study examined the perspectives from current and recent residential faculty members. Data were gathered through structured interviews with current and former residential faculty who gave firsthand accounts of how they felt that experience impacted them. A pilot study had been previously conducted that enabled the researcher to modify and adjust the dissertation methodology accordingly, based upon the findings of the pilot study. The pilot study, in short, found that residential faculty members felt they gained from the experience in terms of relationships with students and other faculty while facing a few small challenges. Literature consistently showed that faculty-student interaction is very important to the development and success of students (Astin, 1993). Research has clearly demonstrated positive outcomes that result for students; the literature review revealed this information is plentiful. There is a dearth of research, however, regarding this impact on the faculty members themselves. Given the importance of faculty-student interaction outside of the classroom, it is crucial to recruit faculty for these communities. Thus, more information regarding this experience will be valuable. The study was conducted at a mid-sized private university in the Southeastern United States. The reason for this choice was the fact that this school has a 25-year history as a residential college system and utilizes 12–15 residential faculty members yearly. The researcher conducted interviews with 13 faculty members and coded and analyzed the data, then prepared the findings of the study based on the results. The data resulting from the study indicated that faculty perceived great benefits from serving as residential college faculty members. Perceived benefits as described by the participants included increased skill in teaching, feeling a sense of community, stronger relationships with other faculty members and students, and an increased affinity toward the university. While there were some challenges such as lack of training, politics, and loss of privacy all participants in the study felt they gained from the opportunity and would do it again in the same situation. This study enhanced the limited formal knowledge available regarding how faculty experience living in residential colleges with students.

An investigation of twentieth century observant Jewish fine artists

People of the Jewish faith base their belief on the written word of the Torah. Presented in this paper are fine artists that produce work within these laws. The Torah sets guidelines for life and morality. The belief system within this domain is that visual images have an impact on the viewers, and artists are accountable for what they produce. This is in opposition with art education, where freedom of expression takes precedence over morality. The results of this study will form the basis for a curriculum for the community college. The researcher's area of inquiry is directed to painting and sculpture made by artists of the Jewish faith who follow the Torah, meaning those who are observant of their faith and practices. Their skills and perceptions will be presented to educate the viewer about their visions. The research questions were posed to rabbinical authorities and artists in order to establish a clear and defined statement of what the Jewish law is regarding the fine arts. The evidence presented was obtained by questionnaires, personal interviews, articles, and opinions from Jewish scholars. Four rabbis were selected based on their erudition on Torah law, and their strong leadership positions in Jewish educational institutions. The ten artists were selected based on recommendations from art historians, and art and gallery directors. The artists and the rabbis were mailed questionnaires, which was followed by an interview. The conclusion from this study is that fine artists are encouraged to use their talents, this is supported by the Torah text, and rabbinic explanation. The restriction for the Jewish artist is in making a replication of a realistic full-scale figure, making a visual rendition of G-d, a nude, or violent image. Art is made by the observant Jew with the intention of enhancing the world with visions inspired by their belief in the Torah. A crucial belief in Judaism is that there is but one G-d, and all man-made images should reflect the majesty of G-d's creations.

The Role of Art in Computer Game Design

Computer games are significant since they embody our youngsters’ engagement with contemporary culture, including both play and education. These games rely heavily on visuals, systems of sign and expression based on concepts and principles of Art and Architecture. We are researching a new genre of computer games, ‘Educational Immersive Environments’ (EIEs) to provide educational materials suitable for the school classroom. Close collaboration with subject teachers is necessary, but we feel a specific need to engage with the practicing artist, the art theoretician and historian. Our EIEs are loaded with multimedia (but especially visual) signs which act to direct the learner and provide the ‘game-play’ experience forming semiotic systems. We suggest the hypothesis that computer games are a space of deconstruction and reconstruction (DeRe): When players enter the game their physical world and their culture is torn apart; they move in a semiotic system which serves to reconstruct an alternate reality where disbelief is suspended. The semiotic system draws heavily on visuals which direct the players’ interactions and produce motivating gameplay. These can establish a reconstructed culture and emerging game narrative. We have recently tested our hypothesis and have used this in developing design principles for computer game designers. Yet there are outstanding issues concerning the nature of the visuals used in computer games, and so questions for contemporary artists. Currently, the computer game industry employs artists in a ‘classical’ role in production of concept sketches, storyboards and 3D content. But this is based on a specification from the client which restricts the artist in intellectual freedom. Our DeRe hypothesis places the artist at the generative centre, to inform the game designer how art may inform our DeRe semiotic spaces. This must of course begin with the artists’ understanding of DeRe in this time when our ‘identities are becoming increasingly fractured, networked, virtualized and distributed’ We hope to persuade artists to engage with the medium of computer game technology to explore these issues. In particular, we pose several questions to the artist: (i) How can particular ‘periods’ in art history be used to inform the design of computer games? (ii) How can specific artistic elements or devices be used to design ‘signs’ to guide the player through the game? (iii) How can visual material be integrated with other semiotic strata such as text and audio?

The incorporation of violence by women video artists

This paper examines the way in which women video artists embodied violence in their video pieces as a strategy of critique of the patriarchal regime. Since the 1960s several generations of women artists used different strategies of self-harm or explored the physical and mental limits of their bodies to express the anguish of those who are excluded from the patriarchal society on sexist and/or racist grounds. Considering the guiding line that covers three fields – art, gender, and feminist social movements – as well as their key thinkers and scholars in Sociology, Fine Arts and the Humanities, we have built the object of study of this essay, namely, the relationship between women's video art focused on the body, violence and gender along with feminist social movements in the period ranging from 1967 to 2007, in a Western context. The methodology used had as its primary goal to create a link between the micro-sociological level of expressions, body gestures and behaviours in the videos and the macro-sociological level of broader, institutionalized social forces that are at the origin of inequalities, such as dimensions of gender and «race». This study concluded that at least since the 1960s there is the denunciation by women video artists of the general circumstances women live under, while enduring violence of various kinds, such as socio-cultural, psychological and sexual violence against women.

Playing Miami : Afrocuban performance artists negotiating cubanidad

The social scripts that are deeply involved in cultural production by AfroCuban identified artists in Miami, during the late nineties to the present, participate in a climate that is informed by and feeds from the so-called Latin Explosion of this time period. More specifically, varying historical, socioeconomic, and geopolitical trajectories have placed Africa and African-based religion and cultural production (via music and theatre) at the center of Cuban national identity. The purpose of this study is to facilitate a discussion of the experiences of AfroCuban performance artists and the climate for production, given the aforementioned dynamics, in mass media. These experiences are directed by a study of transnational structures for cultural production (including the more recent memory-shadow of hip-hop culture in Cuba) and discourse that engages theories of modernity, authenticity, and resistance. Through the interventions of artists, producers, and distributors via their art and business, the text identifies and resists the pervasive oppression of stereotype, dehumanization (Othering), and essentialism.

here/there/then/now

here/there/then/now was a practice-led research project that brought together 10 independent artists in dance, music, theatre and visual/media arts to create a site-specific program within the walls of the Brisbane Powerhouse. The purpose was to explore how to best conceive flexible performance platforms, theatricalise site-specific work and engage new audiences through forms of promenade experience that could provide open choices on how and where to view it. The sold out season of 6 performances, which took place 14-19 May 2002, presented three discrete performance installations set in intimate parts of the building, each with their own aesthetic and communicative intention, culminating in a fourth in-theatre installation, where memories of the first three coalesced and were reinterrogated. Each site thereby investigated meaning-making via the moving body and its critical relationship with space and objects, in a dramatic re-contextualisation of traditional solo dance forms, now re-articulated through interdisciplinary practices. The benefit of this approach was the creation of a layered and multimodal experience that could be both shared and subsequently critiqued by performers and audience alike.

Different inflections

Australia has often been defined by its landscape – actual, romanticized, imagined – iconic images and experiences taken up by artists in a myriad of ways. This paper examines inter/intra cultural practices of three Australian dance companies and their directors, and how they inflect images of Australia in different ways. Each artist brings perspectives from their particular hybridized cultural and ethnic backgrounds as well as their formative dance experiences. In their practices, notions of landscape embrace physical, metaphorical and spiritual dimensions. Kai Tai Chan, who founded the One Extra Company in 1976, pioneered accessible and confronting intercultural dance theatre in Australia from the 1970s to the 1990s, challenging our notions of what it is to be Australian. A Chinese Malay who came to Australia to study architecture, he stayed to create a significant body of work in which different cultural frameworks became lenses through which to explore stories of ordinary lives and experiences, revealing complexities of the human condition and larger social-political issues. Spiritual connections feature strongly in the practice of another Chinese Malay Australian, Tony Yap. Here the landscape is an inner one influenced by a form of Malaysian trance dance known as the sen-siao (“spirit cloud”) tradition. Yap has forged a unique space in the Australian dance and theatre scene, exploring a movement language informed by psycho-physical research, Asian shamanistic trance dance, Butoh, voice and visual design. Whilst primarily a solo performer, his practice includes collaborations with Asian diasporic as well as Anglo Australian cross-cultural visual and sound artists. His work is situated in a metaphysical rather than socio political context. In contrast, the newest company to emerge on the intercultural Australian stage is Polytoxic, reflecting a Pacific rather than Asian inflection. Key members, Fa’alafi and Efeso Fa’anana (both of Samoan descent) and Leah Shelton (of Anglo-Saxon descent), aim to critique the exoticism and cultural kitsch that often accompanies representations of the Pacific islands, with a pastiche of street dance, cabaret and contemporary techniques, blended with traditional Polynesian vocabulary. A parallel aim is to provide audiences with insights into the traditions and history of Samoa from the perspective of the artists as contemporary Australians. This examination, spanning three decades of inter/intra cultural practices, reveals stylistic, generational and philosophical differences with a commonality of variously inflected notions of landscape, spirituality and identity.

Putting on a show : the theatricality of sport

This exhibition catalogue essay discusses the work of artists in the Basil Sellars Art prize at the Ian Potter Gallery in Melbourne. It considers sport's theatre within parameters such as theatre itself; rules and recursive elements; creases in the cultural fold; transformances; and the performers themselves. The artists' articulation of these themes is discussed in detail.

More than just audiences

The creativity in audience engagement is not simply a delight for marketing or communications teams. New ways of engaging young audiences is now about everything from the actual art-making processes and outcomes to the hype surrounding your venue and your artists. In the process of reviewing and reporting on recent Australian and international research and practice this panel will comment upon the strengths and weakness of different ways of framing engagement: as learning, as social participation, as creative expression, and as co-creation.

Improved sugar cane juice clarification by understanding calcium oxide-phosphate-sucrose systems

It is accepted that the efficiency of sugar cane clarification is closely linked with sugar juice composition (including suspended or insoluble impurities), the inorganic phosphate content, the liming condition and type, and the interactions between the juice components. These interactions are not well understood, particularly those between calcium, phosphate, and sucrose in sugar cane juice. Studies have been conducted on calcium oxide (CaO)/phosphate/sucrose systems in both synthetic and factory juices to provide further information on the defecation process (i.e., simple liming to effect impurity removal) and to identify an effective clarification process that would result in reduced scaling of sugar factory evaporators, pans, and centrifugals. Results have shown that a two-stage process involving the addition of lime saccharate to a set juice pH followed by the addition of sodium hydroxide to a final juice pH or a similar two-stage process where the order of addition of the alkalis is reversed prior to clarification reduces the impurity loading of the clarified juice compared to that of the clarified juice obtained by the conventional defecation process. The treatment process showed reductions in CaO (27% to 50%) and MgO (up to 20%) in clarified juices with no apparent loss in juice clarity or increase in residence time of the mud particles compared to those in the conventional process. There was also a reduction in the SiO2 content. However, the disadvantage of this process is the significant increase in the Na2O content.

Contemporary Australia : women, Queensland Art Gallery/Gallery of Modern Art, Brisbane 21 April–22 July 2012

'Contemporary Australia: Women' is the second in a series of triennial exhibitions at the Gallery of Modern Art in Queensland, providing a survey of contemporary art practices across the country. This exhibition's focus on women artists comes in the wake of a number of high profile international exhibitions looking at women artists in both contemporary and historical contexts. This review situates the exhibition within this field and considers its significance.

All our relations

Summer preview of Sydney's 18th Biennale in 2012. Preview describes the general themes of the Biennale and refers to some of the major artists in the exhibition.

Shift

Shift was an exhibition held in October 2008, and was the culmination of a 10 month artist in residence held at Metro Arts, Brisbane in 2008. A number of works were produced and exhibited, and were a response to the ambient urban landscape of inner city Brisbane. The research component contributes to the discussion of the form and display of digital animation, and builds upon strategies of presentation developed from series of works completed in 2005-2007 as part of an MA (research) at QUT, Brisbane. For the two week exhibition, one interactive kiosk and several large scale digital prints were produced, and also a site specific digital animation sequence was projected onto urban landscape features next to the gallery.

Wicked futures : metadesign, resilience and transformative classrooms

This paper presents an Australian case study entitled “Designing Futures”. It examines a six month multidisciplinary design program offered by a large co-educational, inner-city state school in Queensland in 2011. The program extended an already successful and innovative school-based design curriculum and involved students in Philosophy, Science, Mathematics and English classes, as well those in Art and Design. Additionally, there were 5 full-day workshops where students combined a wide range of skills to brainstorm, design and create sustainable solutions. The design thinking used in this program was based on the concepts of metadesign, design activism and design futuring. “Designing Futures” linked over 700 middle and secondary school students and staff with nine designers-in-residence from diverse disciplines, including bio-ethics. The program aimed to empower students from highly diverse cultural and social backgrounds to engage in authentic, participatory design processes, prepare them for future social and environmental challenges, and increase personal and community resilience. The research results will inform ongoing program development and research in K-12 design education, both within the school and in conjunction with university and community partnerships in Queensland.

It started with a KISS

This is the essay prepared for the exhibition titled 'Hot Chocolate' held at the SASA Gallery, Adelaide, South Australia, 24 October - 29 November, 2012. Below are the words that start the essay and which provide a glimpse of the artworks in the exhibition. By agreeing to work together in this exhibition, the artists in Hot Chocolate delivered across an eclectic assortment of academic enquiry: • the politics of identity • the politics of desire • fetishisation of racial and othered bodies • origin and place • the politics of skin • events, moments, and ephemerality • need We too, talked, laughed, cried and worked through these issues in relation to the artworks submitted, including Pamela’s work, and to the theory and literature we have read and utilised in our words with each other and communities. We begin this piece by reflecting on the writings of bell hooks, whose words kissed us awake and stirred us at the start of our respective formal research journeys. We align her words with some of our activism, advocacy, academic and community work. We will weave the magical lyrics from the 1970s iconic band Hot Chocolate throughout this essay.