Toward a new understanding of the social impact of the arts

Australia was pivotal in placing empirical study of the social impact of the arts on the map, and yet, a lack of continued robust research has meant that it no longer holds this place. Despite a general acceptance within the arts and health industries that the arts can have positive social impacts, there is little robust evidence to prove this. This paper reviews existing research, finding three primary debates around meaning, methodology, and mastery. This paper recommends a holistic approach to arts impact studies that juxtapose the social and intrinsic impacts. This paper is part of a larger research project into the impact of the arts that will redeem Australia’s place as leaders in social impact of the arts studies.

On the margins : a study of the representation of the arts in the news pages of the newspaper

The principal objective of this paper is to investigate how the arts are represented in the Australian print media. The research is conducted by means of textual analysis focusing on a number of case studies where arts stories appeared in the news pages of an Australian daily broadsheet newspaper. This paper argues that in these case studies the arts are represented in terms of a limited range of rhetorical frameworks. These frameworks help constitute public knowledge about the arts and their marginalised status in Australia. This paper offers a critique of current arts policy which fails to recognise the role of the media in reinforcing the marginalisation of the arts.

Critical perspectives on refugee policy in Australia : proceedings of the Refugee Rights Symposium hosted by the Institute for Citizenship and Globalisation, Faculty of Arts, Deakin University, December 5, 2002

Keynote addresses: What next for Australia's refugee policy? / Peter Mares -- One year after Tampa: refugees, deportees and TPVs / Chris Sidoti -- Academic papers: The tension of re-other-ing bodies / Snezana Dabic -- Acting for asylum: the nexus of pro-refugee activism in Melbourne / Helen Hintjens & Alison Jarman -- Biopolitics and the 'problem' of the refugee / Matthew Holt -- Temporary protection of refugees: Australian policy and international comparison / Fethi Mansouri & Michael Leach --The not-so-special benefit and non-mutual obligation: refugees on a TPV and income support arrangements / Greg Marston -- Family separation: Somali women in Melbourne / Celia McMichael & Malyun Ahmed -- Embodying exile: protest, performance, trauma and effect in the formation of East Timorese refugee identities / Amanda Wise -- Personal and Community Sector Perspectives -- A personal experience of the TPV policy / Mueen Al-Breihi -- A city of refuge?: protecting the social and cultural rights of refugees in Brisbane / Renae Mann -- Temporary protection visas, recovery from trauma and personal identity / Helen Martin -- All I ask for is protection: young people seeking asylum in Australia / Samira Mohamed.

What does it meme? The Exegesis as valorization of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Creative arts research : a pedagogical perspective

This paper emerges from current work related to a number of research projects across several creative arts disciplines. It poses the following questions: What implication does creative arts research have for extending our understandings of the role of experiential, problem-based learning and multiple intelligences in the production of knowledge? How can the application of such understandings influence policy and enhance opportunities for support of creative arts research in the university and the broader arena? In a previous paper examining the function of the exegesis (Barrett, 2004), I referred to the suggestion made by Lauchlan Chipman that: in a knowledge economy, it is necessary for a large number of people to comprehend the creative output of others in order for such output to be sufficiently taken up for the enhancement of society. This paper is an extension of the previous one in its attempt to promote wider understanding of the value of creative arts research. I will focus on the dialogic relationship between the exegesis and studio practice in painting, creative writing, performance and dance, in order to demonstrate that creative arts enquiry can promote a more profound understanding of how knowledge is revealed, acquired and expressed. Four successful research projects will be examined as 'case studies' to show how creative arts research methodologies may be applied in the development of more critical and innovative pedagogies and to argue that the role of creative arts research is still to be fully realized and acknowledged in the knowledge economy.

Full house theory – a new theory for assessing demand for arts centres

Discusses the Full House Theory, a theory for measuring the demand for new arts centers. Information on the Central Place Theory; Implementation of cultural mapping techniques in assessing the demand for arts centers; Marketing research methodologies.