Paddy Hartley: of faces and facades

Paddy Hartley's work is primarily concerned with the ways in which the human face can be repaired, manipulated and recontextualised, and the questions these processes raise about our concepts of beauty and disfigurement. Incorporating surgical and pharmaceutical equipment as well as steel, scrap metal, digital embroidery and textiles, Hartley sets out a critique of how we think about the face today. Taking as a starting point records of facially injured servicemen of the First World War and the pioneering surgery they underwent, Project Facade examines the impact of disfigurement on the human psyche, as well as tracing the development of early facial reconstructive surgery. His Face Corsets, meanwhile, examines attitudes towards cosmetic surgery and the beauty industry, providing a non-surgical means to brutally mimic the results of cosmetic procedures and beyond. The series gained notoriety and success in a wide variety of popular publications both nationally and internationally, and continue to feature in contemporary textiles and fashion publications. Paddy Hartley: Of Faces and Facades brings together these works in book form for the first time, presenting previously unpublished texts from David Houston Jones and Marjorie Gehrhardt, as well as drawings and photographs which document a remarkable creative process and a history that is still insufficiently explored.

The artist and the computer : understanding the creative user

This paper is focused on understanding the creative computer user for the purposes of informing the design of future creativity support systems and related software. We present an investigation of a successful Australian artist, Jill Lewis, who paints on canvas. In particular, we highlight the interesting part that existing digital technology plays in her creative practice, and we identify and describe in detail two specific uses of this technology. We terml these uses "electronic collaging" and "media switching". We go on to attempt to relate this artist's creative process to two theoretical models of the creative process.

Sublime : process and mediation

The research challenged traditional notions of the transcendental sublime by identifying the material basis of the experience through the practice of painting. Material interaction within the creative process revealed new insights, illuminated through the sublime experience. The sublime was indicated as a materially-based, generative experience mediating between subject and world.

Memory and heritage

The thesis looks at how people use memory and heritage to construct their identity. The conclusion is that memory, heritage and identity are fluid and their construction is dependent on socio-politico-economic circumstances. The thesis therefore calls for the involvement of local stakeholders in the interpretation of heritage places.

Sublime: process and mediation

The Sublime: Process and Mediation expounds on the concept of a 'Material Sublime' as relevant to the development of artistic practice. The author maintains that the creative process is generative, highlighting the connection between nature, the body, and latent forms of knowledge as revealed through material interaction significant in the activity of painting.  She argues for a co-emergence maintaining the sublime experience traverses a liminal space wherein binary oppositions such as the distinction between mind and matter are negotiated.   

Embodying provenance

An interview with choreographer Russell Dumas discussing his dance practice and his work with dancers in the context of the European-Australian dance politics and culture.

Choreography, or framed kinaesthetics

This catalogue essay defines, for a visual art audience, the notion of choreography in dance with an emphasis on modern dance. Intersections with and differences between historical approached to dance-making and approaches in the visual arts are discussed.

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

Study of the innovation management process in the development of a discontinuous product case: Motorola RAZR V3

This study will collaborate by bringing some detailed analysis and findings on a special case study of a discontinuous product development process, trying to answer how the discontinuous product development process takes place and the main factors that influence this process. Additionally, it tried to explore some explanations for the difficulties generally faced by the companies to sustain innovation. The case is about the Motorola cell phone RAZR V3, launched in 2004. RAZR V3 was noted by industry experts as game-changing feat of design and engineering, selling more than 110 million units by end of 2008 and recognized as one of the fastest selling products in the industry. The study uses a single case methodology, which is appropriate given the access to a phenomenon that happened inside corporate dominium and it is not easily accessed for academic studies, besides being a rare case of success in the cellular phone industry. In order to magnify the understanding of the phenomenon, the exploration was extended to contrast the RAZR development process and the standard product development process in Motorola. Additionally, it was integrated a longitudinal reflection of the company product development evolution until the next breakthrough product hitting the cellular phone industry. The result of the analysis shows that discontinuous products do not fit well traditional product development process (in this case, stage-gate). This result reinforces the results obtained on previous studies of discontinuous product development conducted by other authors. Therefore, it is clear that the dynamics of discontinuous product development are different from the continuous product development, requiring different treatment to succeed. Moreover, this study highlighted the importance of the management influence in all the phases of the process as one of the most important factors, suggesting a key component to be carefully observed in future researches. Some other findings of the study that were considered very important for a discontinuous product development process: have champions (who believe and protect the project) and not only one champion; create a right atmosphere to make flow the creative process; question paradigms to create discontinuous products; simple guiding light to focus the team; company culture that accepts and knows how to deal with risks; and undoubtedly, have a company strategy that understands the different dynamics of continuous and discontinuous product development processes and treat them accordingly.

O tema no processo criativo da asmarias companhia de teatro

Seted in the context of the educational actions of Casa Renascer, a non-governmental organization, located in Natal city, which had as its primary purpose the care with children and adolescent girls in vulnerable situations, this research is based on describing and analysis on the topic in the creative process developed by Asmarias Theatre Company from 1993 to 2003, a process that culminated in the assembly of the dramatic text, Mateus e Mateusa, of Qorpo-Santo. In this research is focused on the route of the Theatre Company has done so much theater in its early history (1993), with the practice of reading and dramatic writing in the preparation of didactic material called Primer of Inventions, as in the procedures with theater street and forum theater (1997 to 2000) to the reunion in 2001 of seven teenagers which articulated the last group formation next to the assembly's text Qorpo-Santo (2002- 2003). During the development on this learning, the evolution of the creative process based on institutional theme when asked if one can provide moments of educational experiences through the traditional form of theater, with reference to the issues inherent in the dramatic texts considered classics. The debate on the issue through research and analysis in its descriptions and finds in the interim between his past and present indications that lead to conclusive guises. The methodology, which is guided by research, is based in theatrical archeology (PAVIS, 2005), the evidential paradigm (GINZBURG, 1989) and the second approaches the experiences narrated by Benjamin (1985). We selected documents in formats of written texts, photographic and filmed, and identified in these files, marks and tracks which took us to understand the subject in the creative process of Asmarias Theatre Company during the tests with the dramatic text, Mateus and Mateusa, of Qorpo-Santo. In this theatrical practice, located in the field of the theater pedagogy, it appears that the actions across thematic theater in the Casa Renascer and allowed the formation of critical aesthetic perspective and personal social dimension of the subjects involved. The theme has gained a significant proportion in the theatrical activity as a guiding point of the creative process of Theatre Company, taking in the theatrical art form. In this sense, the creative process with the dramatic and classic texts won the educational dimension to address the issue in the movement of the drama as the focus of individual creation which added to the collective universe of the interactive game

O Comitê pela anistia no Rio Grande do Norte e a Associação Norte-Rio-Grandense de Anistiados Políticos como espaços de história, memória e política(1979-2001)

This work is about a search that takes the Comitê pela Anistia no Rio Grande do Norte and the Associação Norte-Rio-Grandense de Anistiados Políticos as Political Spaces capable of expressing History, Memory and Politic. And has as main objective analyzing the amnesty process in the State from these Spaces of political struggle and of resistance, from the 1970s until the early 2000s. The discussion of amnesty and struggle for rights and remedies are still present today on the political agenda of the country, which demonstrates the importance and the incompleteness of the amnesty. Beyond the oral sources, which are essential for understanding periods of oppression, we also used written sources, such as digital and printed newspapers, laws, meeting minutes, pamphlets of political parties, magazines, theses, dissertations, among others. We made the crossing of oral sources with written guides us as Paul Thompson, highlighting the importance of Memory, especially of Collective Memory in line with the perception of Maurice Halbwachs. Work the concept of history approached by Jacques Le Goff and Politic from the perspective of Hannah Arendt. And consider the space from the approach taken by Doreen Massey

A fábrica de professores e a padronização do conhecimento

This paper concern the general subject of teacher career construction, since the period of the initial formation in the teaching course of pedagogy crossing the first effectives experiences of professional performance, until the reflections about the results of the continuous formation propositions. The specifics subject is the formative quotidian in the teacher s life beyond of the traditional stereotypes about individuals and institutions bring up for discussion a micro sociological approach about the professionals uncertainty and the personal hopes, the teacher displeasures and the pedagogical satisfactions. The epistemological reflection about the different formatives experiences, taking as example the Programa de Formação de Alfabetizadores PROFA (Alphabetizers Formation Program) developed by the Secretaria Municipal de Educação of Natal City, consider the ambiguous tension between the knowledge that the teachers acquire in their formation and the concrete teachers practical since those experiences. The study methodology is based in the qualitative comprehensive research, sustained by observations, impressive reflective accounts, and also in the theoretic analyses with contemporary references to the critical pedagogical through and education sociology. I used the autobiographic reflective account by the writer-researcher in her owner academic and professional way. I propose an image of a teacher s factory in such a way for its conformist aspects to the continuity stands as much the internal contradictions of the system. Gears, pieces and manual instructions are the educational components of this factory as ideological, institutional and technical structures to aim at to limit the critics and the changes. However the teachers thinking and acting with their owner creativity to adapted uncontexted professional knowledge s to their pedagogical lives. Under those analogies I propose the problem of this research the teacher s formation and theirs pedagogical practices- and also examine briefly its theoretic-philosophical and methodological basis. From the analysis and interpretation of my owner experiential life as teacher s educator I put the necessity of re-thinking the teacher s formation in terms to rebound more meaningfully in their pedagogical actuation. I believe an important part of the teacher s formation process is the personal wish to learn more about the office, explicitly connected to human convictions and values such as to a positive professional identity. Thus, the teacher able to reflect about your owner educator life can find the best way to help the students to think critically about their culture and history, valorizing creative exits by themselves to face the conformist social stands connected with school education

Artemídia movente: processos e procedimentos artísticos em animação

Pós-graduação em Artes - IA

A obra artística e as novas mídias de representação: do papel ao digital

Pós-graduação em Artes - IA