Creative Connections Symposium @ BEAP2004 September 4, 2004

Art Network Discussion

Paul Thomas — Tue, 09 Aug 2011 22:01:24 PDT

The Problem of Objectivity and the Artistic Conception of the Participant Observer: thoughts on using Lacan’s psychological model of representation in the documentation of creative arts practice as research

Lindsay Vickery — Tue, 09 Aug 2011 22:01:23 PDT

This paper discusses issues relating to suitability of the artist as a participant observer researcher. It considers the fitness of the artist as a dependable witness in the process of production of their work. The Lacanian concepts of Real/Imaginary /Symbolic (RIS) and the matrix of the four discourses are examined as a potential source of validation for the participant observer model. Comparisons between this approach and the ‘gold standard’ of scientific research are made.

The Bead Research Fellow Online - A Pilot Projet

Stephen Quinton et al. — Tue, 09 Aug 2011 22:01:22 PDT

This project proposes to model the activities and roles of a visiting Research Fellow and an Artist-in-Residence (AIR) with the intention of applying the key educational features and strategies to the online environment. Where feasible, the aim is to replicate the role of a Research Fellow online by enlisting the services of well-known artists to contribute their expertise and creative input to the teaching activities of a University School of Art. The primary purpose is to support and enhance the delivery of quality learning outcomes for the Curtin BA (Art) Online degree. The project also presents an opportunity to establish wider contact with audiences that have an interest in interacting with an online AIR site to access or contribute research materials and participate in the available creative activities. Of equal importance, the project represents an example of how Curtin is able to form unique collaborations between divergent areas of interest. In this instance, the partnership combines the expertise of the Faculty of Built Environment (BEAD), the School of Art and Design, and the Learning Support Network (LSN). The project will support the enhancement of several established Teaching and Learning programmes, namely: • the on-campus Teaching and Learning programmes at the Curtin campus at Bentley in Western Australia • the online Bachelor of Arts (Art) degree delivered through Open Learning Australia (OLA) • the Biennale of Electronic Arts (BEAP) 2004 conference programme.

Talking Arts Research With a British Accent

Lelia Green — Tue, 09 Aug 2011 22:01:21 PDT

This paper reports upon contemporary arts research in Britain, taking as its main focus the research practices in seven Universities judged either ‘excellent’ or ‘internationally excellent’ in the 2001 Research Assessment Exercise (RAE) category Drama, Dance and Cinematics. Visits to academics representing research at Aberystwyth, Brighton, Bristol, Manchester, Nottingham Trent, Royal Holloway and Warwick Universities provided a range of perspectives and information that challenge the manner in which arts research is conceived and funded in Australia. This difference in research cultures partly reflects the workings of the United Kingdom’s RAE quality drivers, and the paper asks whether recent DEST policy initiatives may have positive implications for practice based arts research.

Phillip Adams

Nanette Hassall — Tue, 09 Aug 2011 22:01:20 PDT

This paper explores the importance of narrative in Phillip Adams’ work. Despite the fact that he is seen by the critics as a member of the ‘post moderns’ in dance in Australia there are significant ways in which we see him depart from the traditional understandings of those terms in order to develop a more idiosyncratic and personal style.

Lego MindStorms as a Training Tool for Software Development Methodology in Multimedia Education.

Elias Wyber — Tue, 09 Aug 2011 22:01:19 PDT

This paper outlines an approach to educating multimedia practitioners utilizing Lego MindStorms® which evolved out of a desire to bridge the technical and aesthetic worldviews. The approach focuses on three aspects of the development process. First, it examines the linguistic model of code production. In order to convey the act of writing code as a linguistic task, the students are introduced to several aspects of linguistic theory, with examples illustrating their application in spoken, programmed and Lego MindStorms® based languages. The second area of focus is object theory. Adopting a similar approach to the previous section, but giving only Lego based examples. Finally, the focus shifts to prototyping, discussing how Lego MindStorms® can be used to nurture an iterative development style. The conclusion then discusses the results of this approach, as it was applied at the Hypermedia Research Centre (HRC) in the University of Westminster between 1999 and 2002.

Dis-Patch: Practice as. . . Practice and Research

Jonathan Mustard et al. — Tue, 09 Aug 2011 22:01:18 PDT

Dis-Patch is the title of a dance work that was partly the outcome of research into ways in which movement in space might successfully correlate to the parameters of sound. The process of making the work in workshops, rehearsals and performance both altered our view of, and added to the background research. It became evident in this process that certain outcomes, whilst alien to musically conventional ears, were nevertheless valid and interesting sonic translations of the choreography. The performance demonstrated how issues within and between disciplines can be re-problematised through the creative and innovative use of technology. It is our contention that in this work is evidence for a disseminable “knowledge increase” that is intrinsic to “The Work”, a primary assessable criteria in traditional textbased research (Biggs. 2002, Melrose. 2002). The question that is central to any assessment of intrinsic knowledge in a work of art is how the work demonstrates or explains this knowledge. And this question is examined in light of our reading of Dis- Patch. Extrinsic to Dis-Patch were a number of other contextualising influences by which spectators were able to inform their interpretation of the work. Program notes, an informal verbal explanation of some of the enabling technology, the venue and its attendant architecture, ritual, expectation and the broader cultural context of performance/concert-going.

Toward a model of theatrical curation

Lisa Scott-Murphy — Tue, 09 Aug 2011 22:01:17 PDT

Our two main areas of investigation raise these questions: Can immersion theatre be used to expand currently available models of ‘experiential’ exhibition making in a museum context? Could such a theatrical curatorial approach be used to address contemporary debates about the relationship between the past and the present in Australian history?