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No full text<p>data required to replicate koala landscape ecology paper</p>
FAIR and Open Non-Traditional Research Outputs: Researcher interview transcripts
No full text<p dir="ltr">This file contains the unedited and redacted interviews of Researchers for the "FAIR and Open Non-Traditional Research Outputs" project, sponsored by the Council of Australian University Librarians. The interviews were collected between March and July 2022.</p><p dir="ltr">This exploratory project investigates how current academic library practice related to FAIR principles are applied to research outputs such as software and other NTROs (e.g. film, creative writing, website design), including areas where there are opportunities to improve or expand practice related to the application of the FAIR principles to NTROs. The project also explores how the CARE principles should be applied to these outputs. The project situates the role of the academic library in the broader Open Research landscape and explores how the library’s work relates to the work of other bodies both within and beyond the researcher’s institution. The project also produces a framework that provides guidance for CAUL Member institutions about how to increase the proportion of NTROs by Australian university researchers that are appropriately described, archived, preserved and made accessible.</p>
Global Healthy and Sustainable City Indicators open science toolkit - software development participant requirements survey de-identified responses
No full text<p dir="ltr">These data were collected as part of a baseline survey of participant co-researchers involved in an action research study informing development of an open science toolkit for planning, analysis and reporting on policy and spatial indicators for healthy and sustainable cities in diverse urban contexts. Specifically, the toolkit was designed to support participation in the Global Observatory of Healthy and Sustainable Cities' 1000 Cities Challenge.</p><p><br></p>
He must not cry
No full textAn inaugural partnership between ACMI and Asialink, the exhibition, "I Thought I Knew but I was Wrong", curated by Alexie Glass and Sarah Tutton, travelled to Bangkok, Singapore and Seoul with Australia Council, DFAT and Arts Victoria support. It was reviewed in Real Time 2004 and a number of Asian language papers. He Must Not Cry, commissioned for that exhibition, continues Jones' 30 year critical contribution to new knowledge in feminist analysis by rendering gender-based generalisations more layered and more complex. With references to both the close-up of cinema and the face as subject in painting, this single screen video work directly addresses emotion as art through the intimate presentation of white, middle class males struggling with strong emotion as part of Jones' series, Tears for What was Done. As with all of Jones's research through art, she is here proposing an alternative social model in western culture (that men can cry publicly) - not providing answers but experiences of different ways of being. This propositional mode as here demonstrated is a further example of the social role of art.Jones succeeds in forming an eloquent portrait of familiarity and strangeness, her portrait is not of individuals or behavioural norms, but of emotional authenticity itself (Face Value: catalogue by curators Rilka Oakley, Annabel Pegasus). An upswell of sympathy and pathos cemented this as formidable yet unpretentious experience,' (www.tautai.org July 2005).This work was also exhibited in: 'Videola: Australian Video Art from the Seventies through to Today', Australian Centre for Photography, Sydney and Kings Gallery, Melbourne (05); 'Face Value: Video Portraiture from the Pacific', UNSW College ofFine Arts touring exhibition and catalogue (05-07); Shanghai International Science and Art Exposition (05) and in What Is..Sub-urban Video Lounge, Rotterdam; Director's Lounge Video Festival, Berlin and FABS Warsaw (07)
Anthropocite
No full textBACKGROUND Anthropocite is a public sculpture developed by collaborative group Open Spatial Workshop (OSW) comprising Scott Mitchell, Terri Bird and Bianca Hester. The work was commissioned for the Monash University Earth Sciences Garden and is part of the Monash University Museum of Art permanent collection. CONTRIBUTION Anthropocite responds to recent critical discussions surrounding the accumulated effects of human activity that are driving planetary transformations. Developed in conversation with Monash geological scientists, design practice RushWright Associates and Dermot Henry, Manager of the Natural Science Collections at Museum Victoria, the resulting public work manifests as a new rock type called 'anthropocite' and an associated video narrative: http://anthropocite.com. Innovative low-energy bluetooth beacons link the sculptural work to the video narrative. SIGNIFICANCE OSW was formed in 2002 and won the Melbourne Prize for urban sculpture in 2005. The group is significant in the arts industry for both its longevity and high quality of output
sal DE SAL (CIRCULATION #7)
No full textBACKGROUND: The CIRCULATIONS series of new performance installations were developed for regional cluster events of 'Fluid States: Performances of Unknowing', the Performance Studies international globally distributed 2015 program. Employing salt as material and performative medium, CIRCULATIONS explores the dynamics of local specificities and global connectedness of cultural and ecological systems. Salt is a material in cyclical movement and transformation - through bodies of water, through the bodies of living organisms, through land; a material that elicits awareness of the porosity of entities and raises questions of equilibrium and change. 'sal de sal' (CIRCULATION #7) is a two-part work activating two gallery sites through which the human body can register regional salination issues, one employing salt, one de-salinated water. CONTRIBUTION: 'sal DE SAL' creates a pool of water in a gallery, referring to the regional Wonthaggi desalination plant built to meet metropolitan Melbourne's water demands. The water surface reflects video of a man trying to float whilst balancing salt on his chest, providing audiences with a meditation problematising human tendencies to seek technological solutions to sustain increasing human demands for natural resources. This work contributes a post-humanist example of a performative creative practice investigation into human-ecological relations. Our attention is directed to the range of human negotiations with natural systems and resources - commonly containing and capitalising - whilst circulations of salt continue to exceed control. SIGNIFICANCE: The work was encountered by estimated 2000 gallery attendees, and reviewed by PSi President Maaike Bleeker in the Performing Mobilities catalogue.). The CIRCULATIONS series was selected for showing in 2015 in Bahamas, Rarotonga, Tohoku, Melbourne and Manila, and featured in Mick Douglas & Sam Trubridge, 'Concurrent Practices', Performance Research, vol 21: issue 2, 2016, pp96-107
Untitled [5 weeks]
No full textResearch background: 'Untitled [five weeks]' by James Carey was a durational, site-specific work exhibited as part of 'Beginning in incompleteness: works in formation' held at Project Space / Spare Room at RMIT University. Carey presented this new work alongside three other practice-based researchers: Saskia Schut, Louisa King and Phoebe Whitman. Research contribution: Carey's creative work responded to a specific aspect of 'Project Space', drawing attention to the site's spatial, temporal and immaterial qualities. It demonstrated responsiveness, openness and reflexivity, tested over the duration of the exhibition. Together with the practitioners, Carey explored notions of autonomy, authorship, collaboration and the intermingling of interior and landscape architecture practices. Designed as a live research process, the works further tested an innovative approach as to what constitutes an 'exhibition;' being incomplete, the works were subject to change and open to new research. This work extends Carey's research practice, which forms new understandings of material engagement with site, and ways of reconstructing, observing, occupying and honouring interiors, especially sites in transition. Research significance: The significance of Carey's work is evidenced by its selection for exhibition at RMIT Project Space. Project Space is a gallery that links prominent exemplars of practice-based research with Melbourne's creative communities through a dynamic program of contemporary art projects. The proposal was reviewed by an academic selection committee. The exhibition catalogue included an essay by prominent art critic and writer, Phip Murray
Common Garden, House to Studio, Fitzroy
No full textBACKGROUND The exhibition examines contemporary art forms that explore the matrix, "triggering concepts of reproduction through notions of original and copy, sameness and difference, real and virtual" (Richards Harding, curator p. 3 catalogue essay). Traditional functions of the matrix in print practice are upturned in various ways by practitioners in this exhibition. All works, along with the catalogue essay, engage in a discursive dialogue that reactivates print-informed practice and places this practice as a key element of contemporary art practice. Artists selected are key Melbourne educators in Printmaking (Monash University, VCA as well as RMIT). CONTRIBUTION Specifically in my work the matrix is destroyed as I produce a print for Common Garden, challenging and contra to the conventional notion of the matrix being retained for further iterative replications. This is new work, not previously exhibited. SIGNIFICANCE The catalogue essay refers to art theorist Boris Groys' The Politics of Installation 2009 and Jean Baudrillard's Simulation and Simulacra 1981, key theoretical references that are part of the discourse of the selected contemporary practitioners in the exhibition. The catalogue specifically captures work in situ at RMIT Gallery, focusing on the specific architectural and thematic context of space, visual and conceptual relationships between works, and is an archival reference for new ways of delivering print media. The panel discussions, floor talks and catalogue add to the live and contentious debate occurring through the national print organization and journal Imprint
a place for gathering
No full textBACKGROUND The City of Greater Dandenong commissioned Fiona Hillary and Sarah Haq to create 'a place for gathering' in 2011. The commission was a competitive expression of interest with six artists selected to develop concepts. The brief was to create a work as a part of a civic space re-development in Douglas Street, Noble Park. The artists were to respond to the nuances of the redeveloped civic site and engage the local community in the development of the work. The result is a 16m strung neon text piece. The text was selected from a series of public engagement processes including a postcard project that asked people to identify what a place for gathering meant to them in their own language or any language of choice. Fiona and Sarah collaborated with Hugo Cran to develop a sound piece that creates a reflective, ambient element to the work. 'a place for gathering' was installed and launched in October 2013 and is a permanent part of the City of Greater Dandenong's public art collection. CONTRIBUTION 'a place for gathering' was created through an interdisciplinary collaboration ; visual artist, landscape architect and sound artist, that was selected through a competitive EOI process and actively engaged the local Noble Park community in the realization and development of the work. SIGNIFICANCE 'a place for gathering' frames the civic space in Douglas Street, Noble Park and through the sound work has the capacity to continue to engage the community through the re-commissioning of sound works
Micah. Lilia. Girlie Werewolf Suits.
No full textBACKGROUND Out of the Matrix examines contemporary practices that challenge traditional functions of the printmaking matrix and inherent notions of reproducibility. Supported by the catalogue essay, all works engage in a discursive dialogue that reactivates print-informed practice as a key element of contemporary art enquiry. The catalogue specifically captures work in situ at RMIT Gallery, focusing on the architectural and thematic context of space, visual and conceptual relationships between works. CONTRIBUTION My own work is grounded in the reduction linocut medium (in which the matrix is progressively destroyed), further extended through construction into wearable art, or represented as large scale one-off digital iterations on cloth banners. The work sits within discourses surrounding art theorist Boris Groys' The Politics of Installation 2009 and Jean Baudrillard's Simulation and Simulacra 1981, referenced in the catalogue essay. I ask, "How might shifting iterations of a medium The uniqueness of the cloth banners challenges and subverts conventional print hierarchies by employing digital printing - usually associated with infinite reproducibility - to create a unique work that is ironically more limited than the hand produced reduction linocut 'original'. The banners are new work, not previously submitted to ERA. I also chaired the panel discussion, "The expanding print", interrogating contemporary print practitioners' shifting relationship to the matrix and the multiple. SIGNIFICANCE Artists are key educators in Printmaking from Monash University, VCA and RMIT. The panel discussions, floor talks and catalogue add to the live and contentious debate occurring through the national print journal Imprint and as part of the Print Council of Australia's Year of Print