CREO SAE University College
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Sweet Talk Switch On
No full text“Switch On” is the debut album by Melbourne’s Sweet Talk. Founded in 2018 by D. M. Turner and Soren Walker, Sweet Talk was created as a means to explore their love of American music of the mid to late 20th century through a uniquely Australian lens. Australia and the United States have a close relationship stretching back over 100 years. This bond continues to be expressed geopolitically and is prevalent in the cross-cultural exchange found in contemporary music. Sharing a British and Irish heritage, the countries have developed several musical styles in parallel including country music and rock n roll.
“Switch On” was written over several years and the songs reflect the writer’s Australian perspective and incorporating styles and sounds found in the cross-cultural exchange between Australia and the US.
The album was supported by Creative Australia and the band worked with United States based production team including Producer Robert Ellis (Texas), Grammy Winner Trina Shoemaker (Alabama) and mastering engineer Jordan Richardons (Texas) further establishing an export model for the band
We Were Children Once: Crafting Narrative and Emotional Immersion through XR Soundscapes
No full textSound design is an under-researched and crucial aspect of extended reality (XR) where little is currently known about best practice. XR is a unique medium, positioned between several better-explored media forms—cinema, games and theatre. Although these well-known disciplines may have much practical wisdom to offer sound designers in XR, there is scant literature available to guide practitioners about how to best adapt their skills and experience to this new format. In the quest for a new language of sound in XR, this paper explores how sound practices from the disciplines of cinema, games, and theatre can contribute to sound for extended reality.
The findings discussed were gained from the production of a 15-minute virtual reality film entitled ‘We Were Children Once’. The paper is supported by a literature review and unpublished interviews with leading sound designers who have backgrounds in cinema, games, or theatre, and who are currently working in XR. These findings detail the practical considerations of on-set sound recording, the meticulous requirements of an XR dialogue edit (and the AI tools making it easier), the software advances in spatial sound plugins, the use of generative AI voices in documentary, the problematic lack of bass in headphone playback, and the designers’ differing approaches to creative sound design in the studio.
This paper will also contribute the directorial perspective, exploring the process of how sound becomes an essential tool for shaping both narrative and emotional immersion of a particular project. It will be argued that in virtual reality and other forms of immersive mediums, sound does more than accompany images — it anchors the viewer, directing their attention and helping them orient themselves within the story world but more importantly grounding them in reality of the environment. This process requires not only technical precision but a deep understanding of how sound can evoke memory, shift mood, and give voice and meaning to environments and characters. The paper will explore the creative collaboration between director and sound designer detailing how sound is amplified in XR, where the boundaries between sound, space, and story constantly blur.
The creative practices developed in this research project could be used by sound designers and directors in the creative design and development of XR soundscapes to create more engaging and impactful virtual reality experiences
Campus Community Connections: Crew Callouts Encouraging Collaboration
No full textCreating the conditions that foster student engagement and success remains a key issue for SAE University College. As demonstrated by the “Student Surveys” and their focus on student satisfaction - I will reflect on an alternative approach that uses a more expansive, holistic, and ontological perspective that considers who and what students want to be, and are becoming. This paper presents ‘Crew Connect,’ an event on the Brisbane campus that works as a pedagogical intervention designed to address this gap by fostering curiosity-driven inquiry and collaboration. The event functions as an open-ended challenge, inviting students to soft-pitch creative projects to their peers and crew on each other’s work. By also acting as an icebreaker, the event stimulates affective and social engagement across the stages and disciplines of the degree, to build a pseudo professional community among the students. The soft-pitching process compels critical inquiry, and the act of crewing on projects channels in-class projects into more active social (i.e. transferrable skills) engagement in their projects and therefore more project-based learning. A post-event survey provides a feedback loop that serves as a tool for reflective practice. This event and the collaboration and community it aims to build a link between collaborative pedagogy and the development of students’ professional identity
DDX323.1 Speculative Futures Example 8
No full textA branding project for an imaginary clothing company that uses fungi derived fabrics
DDX170 Project 1 Example 2
No full textProject 1 involves the creation of a motif and patter that has been developed from a historical design movement. The project includes the motif design, motif pattern, visual report, rationale and project reflection
GAD170.3 Game Scripting: Game States and Interactions Example 2
No full textA high quality example of GAD170 project 3
DDX219.2 Social Media Content Creation Example 4
No full textThis project involved creating a cohesive suite of social media content tailored to the student’s chosen creative project. The work is exemplary for its consistent visual style, platform-specific content design, and alignment with the strategic goals defined earlier. Additionally, the student demonstrated strong collaborative skills by providing thoughtful, constructive feedback to peers, reflecting both creative and professional growth
Using digital archaeology and machine learning to determine sex in finger flutings
No full textOne of the earliest and most enigmatic forms of rock art are finger flutings and previous methods of studying them relied on biometric finger ratios from modern populations to make assumptions about the people who left the flutings, which is theoretically and methodologically problematic. This work is a proof-of-concept for a paradigm shift away from error-prone human measurements and controversial theories to computational digital archaeology methods for an innovative experimental design using a tactile, virtual, and machine learning approach. We propose a digital archaeology experiment using a tactile and virtual approach based on multiple samples from 96 participants. We trained a machine learning model on the known data to determine the sex of the person who made the fluting. While the virtual dataset did not provide sufficiently distinct features for reliable sex classification, the tactile experiment results showed potential for the identification of the sex of fluting artists, but more samples are needed to make any generalization. The significant contribution of this study is the development of a foundational set of methods and materials. We provide a novel digital archaeology approach for data creation, data collection, and analysis that makes the experiment replicable, scalable, and quantifiable