ARDC Research Data Australia
Not a member yet
438125 research outputs found
Sort by
Potential Objects
No full textBackground 'Potential Objects' is a collection of mixed media artworks, inspired by my experiences at the Australian Synchrotron, CERN, and the RMIT High-Voltage lab. Through charged and unexpected combinations of everyday objects with scientific and technical devices, the artworks play with energy, materiality and society's relationships with technology. The exhibition is sculptural and has an element of pop art, paying homage to the readymade and assemblage, but which builds upon these traditions through the incorporation of contemporary experimental physics. Contribution The works explore the relationship between energy, data, knowledge and their potential material manifestations. The is unique in that it gives physical or sonic form to aspects of research in particle physics, such as entanglement, dark matter, Higgs resonance, baryonic acoustic oscillations. For example, 'Cosmic Tea Party' is a sound sculpture installation that utilizes cosmic particle detectors connected to synthesizers and resonant plate speakers attached to various household items. When a cosmic particle passes through a detector near the objects, they vibrate and emit acoustic pulses and resonating tones. The overall effect is a kind of energetic connection made between the objects, the viewer, and the cosmos. As the physics and my work are both experimental in nature, in terms of the incorporation of devices and data, this strengthens the connections between art and science on both heuristic and conceptual levels. Significance The show had several hundred visitors attend, including an artist talk on Saturday 18 April, and an interview with extracts of the aural components was broadcast on 3CR radio (aired on Friday April 17, 2015). I presented the works to an international group of peers at the 'Energies in the Arts' conference, co-presented by the Museum of Contemporary Art Australia (MCA) and the National Institute for Experimental Arts (NIEA), UNSW Art & Design, 13 - 15 August 2015
Jewell Portal
No full textBackground Sanctioned and contested public spaces are now both increasingly becoming screen space opportunities for artists working with projection. First developed by artists such as Krzysztof Wodiczko, and more recently occupied by digital artists such as Rafael Rozendaal, public projection has been utilized both as a form of political and social protest, as well as issues of audience accessibility and engagement. Contribution The animated projection Jewell Portal was part of a one night public event curated by Camilla Hannan, occupying various train stations along the Moreland train-line in which artists were able to 'reclaim' these comparatively antisocial public spaces and make them a site of engagement and interaction. My work positioned on the eastern side of Jewell train station building adjacent to Upfield Bike Path, consisted of an animated projected portal sequence, directed on the ground to trap the computer as they walk, run or ride along the busy station thoroughfare. The portal sequence uses very simple and stylised graphic animation predominantly black and white, this conditional illusion contrasting against the external environment, further added humour to the experience of the work as a metaphor for transportation. Significance This project was part of MoreArts 2014, a public art event funded and commissioned by the Moreland City Council. Due to the success of this artwork, Moreland Council have now commissioned sound artist Camilla Hannon and myself for an additional projection installation at Jewell station later this year for the sum of $3,000
Lost Tablets
No full textBACKGROUND: <br>This research investigates the language between art and architecture. The resulting artworks can be contextualised within the work of contemporary arts practitioners who traverse the fields of visual arts, architecture and design. They join the works of Australian artists such as Justin Trendall and David Umemoto who reference the language of architecture in their visual art. The practice similarly references the debates represented in the writing and works of Sean Griffiths and Adam Nathaniel Furman as cross disciplinary architects, artists and academics, examining the intersections of architecture, design and art. <br>CONTRIBUTION: <br>Lost Tablets is a series of sculptures which express a tension between a universally recognisable children’s toy and the grammar of architectural symbols. Made from reconfigured Lego, each Lost Tablet (24x20x3cm) is named after a ghost ship or lost satellite. They join the work of practitioners pushing for a more inclusive architectural meaning in response to popular culture. <br>SIGNIFICANCE: <br>Lost Tablets have been exhibited widely since 2020. ‘Ryou-Un-Maru’ was selected for the McClelland National Small Sculpture Prize 2020 and received a Special Mention for the AA Prize for Unbuilt Work 2021. In 2021, the Lost Tablets were shown at the 17th Venice Architecture Biennale – Italian Virtual Pavilion. They were also exhibited at Charles Nodrum Gallery, Sarah Scout Presents and Neon Parc. They were featured on broadcast television The Project, Channel 10, and reviewed in The Age by Karl Quinn as well as a radio interview on ABC Perth. In 2022, van Schaik discussed the works as a panellist in ‘Developments in Web3 for the Creative Industries’ for the Australia Council for the Arts. The works also featured in the Research Report for the Council by Ellie Rennie and Indigo Holcombe-James. Van Schaik released a book by Uro Publications (which he edited) in 2022. Lost Tablets will continue to be shown throughout 2023.<p></p>
Portfolio of visual artworks: Pinkwashing
No full textBackground: <br>‘Pinkwashing’ is positioned within a fine art discourse focusing on reproductive technologies to research how alternative printing substrates can assist the distribution of information and images to the public domain. By referencing historic associations of process and matrix, appropriated news images mingle the opening ceremony of the 2018 Veduchi ski resort in Chechnya with footage of targeted attacks of gay, lesbian and trans people now known as the ‘gay purge’ as a form of ongoing protest. <br><br>Contribution: <br>This project produced multiple artworks, reconstituting still images from a news report as protest placards printed on the substrates of paper and vinyl in hot pink activating the portmanteau title of ‘pinkwashing’. The project moves from paper and ink inside the gallery to the public space of gallery entrance doors and windows utilising electrostatic decals. These site-specific installations rescaled and rearranged SBS/BBC news images of celebration and oppression to highlight the sublimated and ongoing global crisis of LGBTIQ communities, their visibility and their lack of safety around the world. <br><br>Significance: <br>‘Pinkwashing’ has been presented in five different iterations and venues: (1) c3 contemporary art space (2018, Melbourne) as part of The News Network Project; (2) Bundoora Homestead Art Centre (2019) as part of the Midsumma Visual Art Program; (3) L8 Gallery at the Jockey Club Creative Arts Centre (2019, Hong Kong) as part of the Matrix 2.0 exhibition co-curated by HK Open Printshop and RMIT Print Studio; (4) Swan Hill Print and Drawing Awards (2020) finalist exhibition; and (5) Forrester Gallery, Oamaru, New Zealand. ‘Pinkwashing’ was featured as an ‘In Conversation’ post with Andrew Stephens the Editor of IMPRINT Magazine on the Print Council of Australia’s blog in February 2019
Neuroligin-3R451C mice expressing the an autism-associated gene variant have altered mucus density and spatial distribution of bacteria in the gastrointestinal tract
No full text<p dir="ltr">These data describe changes in mucus density and spatial distribution of bacteria in the gastrointestinal tract of a mouse model of autism. <b>doi:</b> https://doi.org/10.1101/2022.06.27.497808</p>
Anti-Memorial for Heroin Overdose Victims
No full textRESEARCH BACKGROUND<br>This Anti-Memorial was a temporary public event undertaken as part of the Melbourne Festival. It comprised three types of objects located in St Kilda: red text stencilled on the pavement taken from personal statements about the victims; planter boxes filled with poppies and illuminated resin plaques attached to the planters, incorporating personal items of the victims.<br>The project sought to raise social consciousness and political awareness regarding typically unquestioned decisions of appropriate memorialisation in public spaces. It highlighted the possible meanings of conventional symbols and iconic landscapes and attempted to subvert prevailing sentiments. <br><br>RESEARCH CONTRIBUTION <br>Anti-Memorial questioned the nature and purpose of memorials, attempting to realise one as a physical catalyst for social change. The temporal nature of the project challenged traditional pre-conceptions regarding the permanence of memorial objects. Like many traditional memorials, it was deeply connected with the landscape but in a specific and intimate way that forced people to confront a social problem (heroin use) affecting their own locality. <br>The work provoked a variety of reactions, from supportive to scathing, throughout its duration. Unexpectedly, the public interacted heavily with the sites. During the three-week installation period, people left notes, cards, flowers, and wrote messages in chalk on the footpaths adjacent to the work. Often people would not walk on the stencilled text, out of respect for the victims. <br><br>RESEARCH SIGNIFICANCE<br>The project was exhibited in 2008 in the Shanghai Art and Architecture Exhibition. It was won in a competitive selection process for the Melbourne Festival and received the Project Award for Landscape Art from the Australian Institute of Landscape Architects in 2002
un Magazine 5.1, from portfolio of independent art periodical design: un Magazine 2010-2013
No full textNo description availabl
The Digital Fashion Futures project
No full textContribution: The work consists of 3d 1/16 scaled bodies and digitally printed fabric swatches. Both are generated through the exploration of the 3D and parametric modelling tools, and challenges the fashion and textile design industry to move away from 2D static models to adopt a systems orientated approach. Kennedy works with 3D body scanning data to examine the future of garment design by first understanding more about the body itself. Using actual body data, captured from hundreds of body scans, a series of 1/16 scale model bodies are 3D printed. Seeing the range of body sizes and shapes helps to re-think cultural, age and gender stereotypes and to question the ongoing use of the 'average'. Underwood works with 3d and parametric modelling tools to explore integrated and scalable approaches to the design and production of fabric. The Hexagonal Colour Play fabric series of fabric swatches are developed from a parametric pattern generation system and demonstrates the potential for working creatively and efficiently with greater complexity and diversity. Significance: The Future Is Here is a touring exhibition created by the Design Museum, London. When on show at RMIT Design Hub (28 Aug-11 Oct 2014), the exhibition included additional local design research projects that demonstrate the importance of speculation and prototyping to innovation and design. Curated by Kate Rhodes and Fleur Watson, the works were shown, accompanied by short film on the selected projects. The contributing participants included Roland Snooks, Mark Burry, Floyd Muller, Richard Blythe, Tom Kovac, Lucy McRae
Bungarribee Parklands Plan ideogram
No full textRESEARCH BACKGROUND: The Royal British Institute of Architects (RIBA) Journal's Eye Line drawing competition is an annual international competition open to students and practitioners. It rewards the 'pure art of architecture' and recognises architectural drawing skills. Anton James entered three drawings that charted the early design phases for Bungarribee, a new 345 hectare parkland in Western Sydney. RESEARCH CONTRIBUTION: The drawings are simple, beautiful ways to communicate complex design ideas and design research. James' ink and watercolour Bungarribee ideogram was a means of conceptualizing the structure and the key elements of the park. The red heart is an existing area of endangered grasslands that is to remain untouched and largely inaccessible. The orange rectangle is a 1 km disused WW2 runway that cuts through the park and the yellow loop is the circulation spine, a loop that protects the centre. The runway will be planted with 6000 redgums. His Bungarribee Parklands southern bridges pencil, water colour and gouache drawing was part of a series of studies for a pedestrian route through an area of swamp. The drawing marks the arrival at a decision to replace the idea of a single structure with a series of smaller islands and bridges. The final drawing and collage brings together all the design elements for the site. RESEARCH SIGNIFICANCE: James was one of five commended entries in a prestigious international competiton run by the 120-year-old RIBA Journal. Other commended entries came from researchers at Harvard University, The Bartlett School of Architecture and Royal College of Art in London. RIBA editor Hugh Pearman was one of the judges. He described James' work as "unlike any other we received, using a loose, intuitive style to communicate ideas for a large site very beautiflully and clearly". Top entries were published in RIBA Journal August 2015, Jan-Carlos Kucharek 'The Power of Suggestion' 54-66 and exhibited at October Gallery, London
Composite Wing
No full textRESEARCH BACKGROUND: Composite Wing is a large-scale composite fibre installation developed by Snooks, exploring the relationship between robotic fabrication, composite materials and algorithmic design. It is part of Snooks' larger research trajectory to develop and articulate a behavioural approach to architectural design that draws from the logic of swarm intelligence and operates through multi-agent algorithms. RESEARCH CONTRIBUTION: This work is an experiment on the compression of surface, structure and ornament into a single irreducible form. It develops collaborative robotic strategies, where multiple robots work together on the fabrication of a complex form. The complexity of the composite fibre installation is made possible through innovative robotic fabrication techniques. It comprises an intricate network of veins embedded within its thin translucent fiber-composite surface called 'agentBodies,' designed through multi-agent algorithms and the logic of swarm intelligence, and which operates as structural beams within the surface. This project enables a reconceptualisation of matter within the design process, a shift from form being imposed upon inert matter, to matter playing an active role in the emergence of form and organisation. RESEARCH SIGNIFICANCE: The significance of this work is attested to through its inclusion in the 'Robotic Future' exhibition at Minsheng Art Museum in Shanghai, alongside a small selection of 18 works by leading international architects engaged in innovative robotic fabrication research. 'Robotic Future' was part of 10th Shanghai Biennale's City Pavilions program, and was curated by the scholar, critic and independent curator Zhu Ye. The exhibition, and Snooks' project, was reviewed in Global Times (China). The work was also presented, in a different context, at 'The Future is Here' (RMIT Design Hub, 2014) - a touring exhibition from London Design Museum - where it featured as a vital part of the exhibition design