Alien aesthetics

Melbourne was visited by Bruce Sterling, one of the founders of the science fiction genre of cyberpunk, for the very first time. Bruce's work as a future thinker and visionary who has been shaping the forefront of design and technology can be followed at his Wired column, Beyond the Beyond. His public lecture at Deakin Edge on August 18th tackled the bleeding edge of contemporary culture: Alien Aesthetics. The idea of Alien Aesthetics is better known through the work of Ian Bogost. According to Bogost, Alien Aesthetics is not concerned with trying to "satisfy our human drive for art and design, but to fashion design fictions". These kinds of alien design fictions can be seen in the images produced by Google's Inceptionism, which capture the deep dreams of artificial neural networks. Alien Aesthetics is also present in pop culture, as in the work of artist Holly Herndon, whose new album Platform has been heralded as a fusion between critical thinking about technology and creative exploration of what she calls "alien sounds". This kind of cross-pollination between contemporary theory and creative practice also took place at a free parallel event at LOOP Bar on August 17th: Conversations about Alien Aesthetics. This event was organised by a partnership between the School of Communication and Creative Arts at Deakin University and The New Centre of Research & Practice, a global research platform dedicated to transdisciplinary exchanges between art and science, and featured local and virtual speakers from the United Kingdom, United States, Canada and Brazil.

Is it art or knowledge? Deconstructing Australian Aboriginal creative making

Abstract Australian Aboriginal symbols are visual forms of knowledge that express cultural intellect. Being classified by a Western interpretation of “art” devalues thousands of years of generational knowledge systems, where visual information has been respected, appreciated and valued. This article highlights how Aboriginal creativity has little concept of aesthetical value, but is a cultural display of meaning relating to Creational periods, often labelled as The Dreamings. With over 350 different Aboriginal Nations in Australia, this article focuses of the Dharug Nation, located around the northern Sydney area of New South Wales. The Dharug term for the Creational period is Gunyalungalung—traditional ritualized customary lores (laws). These symbols are permanently located within the environment on open rock surfaces, caves and markings on trees. Whilst some symbols are manmade, others are made by Creational ancestral beings and contain deep story lines of information in sacredness. Therefore, creative imagery engraved or painted on rock surfaces are forms of conscious narratives that emphasise deep insight.Keywords: Aboriginal Art; Australia; visual knowledge; culture; traditional; symbols

Creative architectural design with children: a collaborative design project informed by Rhodes's theory

Since the United Nations adopted the Convention on the Rights of the Child in 1989, there has been global consensus that children need to be involved in the planning and design of their environment. There exist various international initiatives that support collaborative design with children, with co-design projects conducted in different areas of the world. Evolving from the global context of co-design, this project explores creativity in relation to architectural design with children. Between October and December 2011, a team of architecture students from Deakin University worked with children from Roslyn Primary School (both institutions located in Victoria, Australia) to design a playground structure. Informed by Rhodes’s (1961) theory, creativity in this co-design project was addressed through the four dimensions of creative designers, creative context, creative process, and creative design outcomes. The findings of this study corroborate Rhodes’s theory of creativity, and suggest that it is useful to engender creative architectural design with children.

Seven seas of memory

Seven Seas of Memory, in partnership with Lembrança Productions and in collaboration with Australian Unity Aged Care Facilities. Artist residency 15 July – 15 September with Performances on 15/9/2015 at Victoria Grange Vermont South

Creative and literary responses to Australian middle-class experiences of financial upheaval

This thesis—comprising a novel, The Company He Keeps, and exegesis—explores the near absence of literary fiction written about the Australian Middle Class and their responses to financial stress (1980 – 2008), finding that the language of global economic reform has triumphed over political discourse and, in particular, silenced women.

Experience and the artist's body : resisting the Uber-artist construct in socially engaged performance

Looking back over the past 20 years of my practice, the vista is littered with ambiguities of process and form within socially engaged performance. Sifting through the debris, one question arises: what have I been doing?; another might be: what have I been making? What feels relevant to me is the aggregate of my experiences; the who I am. With the current sector creep towards instrumentalising arts for social agendas, the value and relevance of experience ebbs. Demands on artists extend well beyond aesthetic skill, process facilitation and project management. In this essay, I critique the risk within socially engaged practice of art becoming subservient to social agendas and consider how the shift towards an uber-artist construct renders the sector unsustainable.

Signs and codes in early childhood: An investigation of young children’s creative approaches to communication

PEOPLE COMMUNICATE AND MAKE meaning through the use of the signs, codes and rules of their community and its language/s. On the way to learning these signs, codes and rules, children often create or invent their own unique and sometimes temporary systems of meaning making. In this paper we use Vygotsky’s concept of semiotic mediation and Bernstein’s code theory to reflect on some examples of children’s creative approaches to communication that involved the creation and use of signs. We will argue that young language learners’ invention of their own languages and creative use of drawing as a form of sign creation are symbolic expressions of their intent to generate and reinforce desired social and cultural situations of learning. We conclude that individuals mediate social and individual functioning in order to make meaning of their world, and argue for a move away from viewing second language learning and emergent writing as static sets of abilities to a more dynamic interpretation.

Failing to see the woods for the trees: in search of critical creative research

Not all examples of creativity can be explained by the functionalist view that creativity is inherent in an artefact and comes about due to a “creative” individual’s efforts within a conducive environment. I build a case for creativity research which overturns assumptions inherent in functionalist research and conceptualises the phenomenon as a context specific, social construction. However, reviewing the limited critical research, I find that there is inconsistency in the theoretical models and the empirical work and ongoing privileging of the individual. It is unsurprising therefore, that, this research has been criticised for causing fragmentation within the field. I argue, to build knowledge, critical creativity research needs to adopt a systemic perspective, focus on social processes and consider collectives.

Copyleft , software livre e Creative Commons: a nova feição dos Direitos Autorais e as Obras Colaborativas Direitos Autorais e as obras colaborativas

Como se sabe, a lei brasileira de direitos autorais, Lei 9.610/98 (doravante designada LDA), é tida pelos especialistas no assunto como uma das mais restritivas de todo o mundo. Ao proibir a cópia integral de obra alheia, condutas que se afiguram corriqueiras no mundo contemporâneo são, a rigor, contrárias à lei. Por exemplo, diante dos termos estritos da LDA, quando uma pessoa adquire um CD numa loja, não pode copiar o conteúdo do CD para seu iPod, o que configura proibição incoerente com o mundo em que vivemos e com as facilidades da tecnologia digital. Dentro de um sistema jurídico que tem a Constituição Federal como filtro interpretativo (como é o nosso caso, no Brasil), é indispensável que as leis infraconstitucionais passem pelas lentes da Constituição. No entanto, nem sempre a reinterpretação das leis infraconstitucionais a partir do prisma constitucional será suficiente para aferir a legitimidade do uso de obras de terceiros, diante dos termos rígidos da LDA. É necessário buscar novos mecanismos para dar segurança jurídica a quem queira se valer de obras alheias. Como exemplo desses mecanismos, podemos mencionar as licenças públicas. O objetivo deste artigo é apresentar soluções que, ainda que incipientes se comparadas à estrutura secular e insatisfatória dos princípios legais do direito autoral vigente, encontram-se já ao alcance de todos e abrangem todos os tipos de obras de arte, indistintamente.

Creative Commons, mídia e as transformações recentes do direito da propriedade intelectual

O presente artigo busca apresentar as licenças gerais públicas desenvolvidas no seio do projeto Creative Commons, contextualizando a razão de ser de regimes alternativos de licenciamento de direitos autorais, em razão das mudanças tecnológicas por que tem passado a comunidade internacional quanto ao tráfego, compartilhamento e utilização de informação.

As imagens do povo e o espaço vazio da arte/educação: (um estudo sobre Antonio Poteiro)

Este trabalho - As imagens do povo e o espaço vazio da arte - educação - é o desenvolvimento de uma reflexãos sobre a arte, suas condições de produção e o seu conteudo, na busca de subsídio para o desenvolvimento da educação artística no contexto da Educação Formal. Esta refleção se fundamenta no pressuposto de que a arte não ê um momento separado da praxis humana, mas que se constitui num objeto de apropriação do real, que ao expressá-lo cria uma realidade humano-social e a ela se integra, estabelecendo uma rede de interações. A metodologia empregada para as verificações concernentes aos pressupostos teóricos, situa-se no que se convencionou denominar "estudo de caso". Analisa-se a produção do artista plástico, Antônio Poteiro, ceramista e pintor, de origem popular, procurando nela instâncias de crítica e renovação social. Do ponto de vista da apresentação, este estudo se constitui de quatro partes. Na primeira parte, introdutória, sao abordados aspectos teóricos da arte em sua relação com a realidade social. Enfatiza-se o problema da fruição nas artes figurativas.A segunda é dedicada à vida do artista. Faz-se transcrição da história de vida, segue-se um comentário evidenciando aspectos da capacidade criadora do artista. A terceira é dedicada a sua obra, pintura e escultura. Procede-se o deciframento de um conjunto de obras, a partir de um tema recorrente. Numa fase final, reunem-se as questões concernentes a produção do artista, para que venham contribuir para a educação, supondo-se que a arte ocupe nos processos educacionais, um espaço que leve ao desenvolvimento da sensibilidade humana.