Transiting with the environment: an exploration of traveller’s reorientations as creative and collaborative practice

Travellers undertake a process of reorientation and realignment that is particular to each destination. This process intensifies when travelling long distances across borders, cultures and climates, as travellers utilise performative, embodied and creative methods that respond to each new environment. Certain destinations, such as those with unique and extreme natural environments, induce a socio-cultural imaginary that primes travellers for what kind of experience they might have. Large, immersive landscapes and climates congeal with expectations of what each destination requires in order to navigate through it. Common bearings of distance and scale are skewed, as travellers are positioned within areas of vastness. In these moments immersive experiences contrast with daily processes, such as the act of packing a bag, as this heightened sensory awareness exacerbates the subtle material and spatial negotiations. Utilising interviews and photographic documentation of travellers to Iceland and Nepal, this paper develops the proposal that certain destinations intensify our attunement to these moments of reorientation, facilitating situated and creative methods.

As recent developments in the fields of mobilities and tourism draws attention to material interactions during travel, and current ‘new materialism’ movements in theory and practice reveal alternative affective methods of engagement, an exploration of interactions with/in immersive sites is needed in order to evaluate the potential that these kinds of transitions offer everyday experiences of movement. Nigel Thrift’s proposition of Non-Representational Theory provides clarity on the ways in which spatial awareness influences such transitions and environmental experiences. Using his acknowledgement of a more ontologically driven responsiveness to space, this permits a shift away from the presupposed containment of spaces as isolated destinations, toward a relational spatiality that encompasses all actors – including environments – as vital elements in the generative processes of situating our movements.

Creative strategies that afford sensory, aesthetic and embodied performances provide ways to examine these experiences, providing a multitude of possibilities as individual experiences shift towards collective and collaborative performances, as we are immersed within a range of human and non-human actors. This paper explores the transition away from ‘consuming’ environments, and advocates for the need to turn towards a situated collaboration with environments, propelling an awareness of sustainable and creative travel practices. An understanding of affirmative differences is required within travel cultures, rather than expressing transitions as confined within the ‘home’ versus ‘away’ dichotomy that lingers from elite western travel narratives. In order to undertake the many movements required, this paper draws on the theoretical approaches of sustainable nomadism as described by Rosi Braidotti to highlight the linkages of environmental and bodily experiences.

Through multidisciplinary literature, interviews and personal reflections, this paper proposes that certain destinations amplify processes of alignment with the environment, developing affective, embodied and situated experiences that overcome the human/non-human divide.

Blending student technology experiences in formal and informal learning

In this article, we discuss the importance of recognizing students' technology-enhanced informal learning experiences and develop pedagogies to connect students' formal and informal learning experiences, in order to meet the demands of the knowledge society. The Mobile-Blended Collaborative Learning model is proposed as a framework to bridge the gap between formal and informal learning and blend them together to form a portable, flexible, collaborative and creative learning environment. Using this model, three categories of mobile application tools, namely tools for collaboration, tools for coordination and tools for communication, have been identified as pertinent in blending formal and informal learning, and they can be connected seamlessly to provide an effective learning mechanism to support the learning process.

The signature pedagogy in chemistry education

Laboratories are the signature pedagogy in chemistry education. The chemical sciences are based in investigations that are reproducible, and objectively testable. Some investigations might involve testing a hypothesis – does a carbonate produce carbon dioxide gas when reacted with acid? Other activities may not have an obvious hypothesis – how much salt is in this detergent package? Nevertheless, laboratory work is a distinctive part of science generally, and of chemistry in particular.

Laboratory work is a significant part of working in the chemistry profession. The best way for students to learn what scientists do, is to do what scientists do. The only way to conduct a laboratory investigation is to get into a laboratory and to do it!

Learning and doing chemistry in a laboratory is an important and irreplaceable part of a chemistry education.

Souvenirs of the senses: collaborative and cross-artform makings

Souvenir hunters are often limited in their selection of souvenirs to objects that evoke an iconic and/or generic relationship to place. For example, a small-scale replica of the Eiffel Tower might substitute for a whole range of other more personal responses to the sensory experience of being in Paris. This paper reports on a collaborative and cross-artform five-day workshop, “Souvenirs of the Senses”, conducted in Qatar in early 2013 as part of Tasmeem Doha: Hybrid Making, a biennial international art and design conference. Two of the three workshop leaders, Patrick West and Jondi Keane, were Australian-based visitors whereas workshop leader Valerie Jeremijenko is permanently based in Qatar. There were five workshop participants from a diverse range of international and Qatari backgrounds. One of the conference themes, “Made in Qatar”, heightened our attention to what it means to be spending time in, and making things in, one place as opposed to any other place. What did it mean to be making something in a country where so many things have to be imported? Building on this line of thought, the second conference theme, “Hybrid Making”, suggested possibilities for undoing traditional modes of souvenir making as part of the creation of more complex objects that might be sutured to the singular experiences of place that happen when a.) established regimes of tourism are disrupted, and b.) experiences of place are curated via a focused awareness of the operations of the senses as sustained within our collaborative, cross-artform workshop environment. What attracts our attention is how objects ripe for “souveniring”, when they are considered as perceptual systems, suggest new ways of experimenting with the fabrication of objects and of artistic and individual relationships to place, and further, how hybrid souvenirs affect the way in which a place is re-membered (put together) and re-made in memory.

Reading, writing, crafting – Innovations in first year tertiary writing pedagogy

This paper will outline some of the rationale behind, and strategies contributing to, curriculum revision in first-year creative writing at Deakin University in 2012 – delivered in that year and currently running in 2013. The process aimed to produce two consecutive offerings, with distinct but strategically scaffolded preoccupations. This paper deals with the first of these. The design process for this offering, named ‘Writing Craft’, involved addressing two central concerns: (a) the need to unhook the initial encounter with tertiary creative writing pedagogy from a preoccupation with ‘genres’ or the ‘forms’ of creative writing (such as prose fiction, creative nonfiction, script, poetry, and so on) and instead to reorient efforts towards establishing an engagement with craft per se; (b) to address a perceived impoverishment in the range of texts to which students had been exposed prior to commencing study – in other words, to emphasise the practice of reading to facilitate the practice of writing. The curriculum design also involved reimagining assessment, noting the ‘messages about making’ sent to students via the framing of tasks and rubrics. Aiming instead to deemphasise the role of inspiration and ‘work arriving fully formed’, it sought to offer assessment that provided clear – and bounded – prompts for incidents of making and the practice of craft, as well as to provoke conversation with a broad range of texts as a way of courting intertextual inspiration and aesthetic formation.

Dancing in suits: a performer's perspective on the collaborative exchange between self, body, motion capture, animation and audience

The motion capture process places unique demands on performers. The impact of this process on the simultaneously artistic/somatic nature of dance practice is profound. This paper explores, from a performer’s perspective, how the process of performing in an optical motion capture system can impact and limit, but also expand and reconfigure a dancer’s somatic practice. This paper argues that working within motion capture processes affects not only the immediate contexts of capture and interactive performance, but also sets up a dialogue between dance practices within and beyond the motion capture studio.

Teaching history in Australian museums: pedagogy and praxis

This research examines the work of museum educators who teach history to secondary students in ‘formal’ education programs in Australian museums. It challenges the dominant constructivist paradigm and proposes that educators use a history pedagogy model to actively engage students in the dynamic process of learning history in museums.

Examining sports coaching philosophy: implications for policy, pedagogy and practice

This thesis showed that philosophy in coaching lacks the theoretical foundations of other helping professions, with a lack of guidance by formal coach education programs resulting in coaches adopting their own “sport philosophy”, which enabled coaches to operationalize it in ways that assisted their practice (observed through consistent coach behaviour).

Pedagogy of oppressed community engagement : socially inclusive visioning of urban change

It is generally accepted that good practice in policy making and urban change initiatives requires community engagement, where community-based approaches are emphasised as a means of socially inclusive visioning. Communities expect greater transparency, accountability and engagement. This expectation is not always met, with many studies focusing on the perceived tickbox effect - where engagement is a process that has to be undertaken rather than being welcomed and embraced as an integral part of planning for urban change. This paper explores multi-disciplinary concepts and looks at ways these can be linked to community engagement in planning, particularly in larger urban Councils. In this brief glimpse at the wide variety of disciplines that could be drawn on, the paper uses information systems, teaching models, organisational theory and public policy to highlight the potential for altering concepts of community engagement. It concludes that, from these particular examples: the use of double-loop learning could help to empower the community (from organisational theory), collaboration and participation necessitate the co-ordination and exchange of information and knowledge within and between organisations (information systems), the preconception that the authority holds all the knowledge ready to be handed out to the community (teaching models) needs to be challenged, and partnerships are important in empowering people (public policy).