CREO SAE University College
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Proxima Divide
No full textProxima Divide is a solo-developed sci-fi survival game that blends immersive environmental storytelling with systems-driven gameplay. Set on a hostile alien world, players must explore, craft, and survive while uncovering the mystery behind a silent research outpost. This vertical slice, developed as part of the CIM330 capstone project, includes 30–60 minutes of gameplay featuring a tutorial, mission-based progression, and a complete gameplay loop. Audience testing informed key improvements in accessibility, onboarding, and UI clarity. Subtitles were added, softlocks resolved, and feedback systems refined to support a smoother player experience. The project is now positioned for exhibition and Early Access release, with a clear roadmap for future development. This submission represents the state of the game at the time of completing the capstone and demonstrates proficiency in Unreal Engine development, narrative design, and solo production workflows
Guns, Gynoids and Humanity\u27s End
No full textMajor Project submission for CIM330. Short cyberpunk themed animation made in Unreal Engine 5 by Ben and Ty
The Volkhart
No full textThis .zip Folder is of our Major Work. It consists of a Unity Build for our demo for our game The Volkhart where the player must escape from the Volkhart while fending off against an unknown alien race. It was made on Unity Version 6 (6000.0.33f1)
DDX181.1 Visual Identity Design Example 2
No full textDDX181 Project 1 work from 24T2. Student exemplar
GAD178.2 2D Asset Design for Games: Part 2
No full textThis submission acts as an exemplar for receiving a high distinction for GAD178 Project 2 at SAE University Colleg
Scaling Up: Teaching Contemporary Music through Repertoire Structures
No full textSean Foran, Jade O’Regan, Vincent Perry, and Tom O’Halloran discuss a study on popular music repertoire and ensembles conducted at three Australian universities. Foran et al. encouraged students to blend historical analysis of popular music to reimagine cover material, compose original works, and consider factors including performance skills, staging, technology, music cognition, and group dynamics.
The authors consider the broader aims of ensemble pedagogy, namely guiding students towards autonomy, improved communication, and advocating for a more profound conception of repertoire built on creativity and collaboration
Barbie As Cultural Moment
No full textBarbie Unboxed: femmephobia on the big screen.
The 2023 debut of Barbie sparked extensive debate within and beyond the film industry, with characters such as Weird Barbie and the protagonist Barbie (un)intentionally emphasising the need for broader representation of women in cinema. This paper delves into how these debates reveal persistent challenges in portraying women on screen and how entrenched masculine attitudes and narratives hinder the portrayal of strong female characters, ultimately reinforcing patriarchal ideals and norms.
To explore these issues, we employ duoethnography, a collaborative research methodology where researchers juxtapose their life histories (Norris & Sawyer, 2012, p. 9). Duoethnography invites collaborative writing in play script format to explore and reshape meaning (Given, 2012, p. 8). Through this process, we delve into the popular and social media discourse around Barbie, and seek to unbox what the film, and its reception tell us about existing tensions involving gender, sexuality, and power in this cultural moment. Following Agamben (1993, p.58) we utilise the figure of a childhood toy to probe fundamental issues surrounding subjectivity and objecthood.
Our presentation contributes to this ongoing discourse, highlighting the importance of addressing cultural resistance to promote gender equality in the film industry
Residual Memory
No full textThis composition offers perspectives on collaborative, networked, multi-phonic technologies in production, reproduction and composition by harnessing contemporary mobile music-making technologies and traditions of 20th-century serialism and algorithmic music composition.
Mobile music-making platforms and devices have become commonplace within the contemporary musical landscape and represent innovation in the way in which musicians generate and interact with the raw compositional material. These devices are natively configured to be ‘network-ready’ which presents a new set of collaborative affordances unavailable to more traditional music-making platforms.
Residual Memory is a multichannel surround composition which we created using an iPad running mobile music-making apps and a laptop running a Pure Data patch generating serialised control data. The work is inspired by integral serialism, a brand of serialism that applies numerical organisation not only to pitch, but also to elements such as duration, dynamics, and timbre. The work of Gottfried Michael Koenig in particular has had an influence on this project as it represents an ideological bridge between early dodecaphonic music and the later, computer-assisted implementation of the serial method. Using integral serialism as the point of departure, a computer running a Pure Data patch communicates the output of a serial algorithm via Bluetooth to the iPad. The iPad music app host AUM, receives the serialised control data via MIDI and routes the control change information to the various synthesis parameters which are hosted within AUM. The multi-gesture interactivity of mobile music apps allows for further control in live performance.
We hope that this work represents the expression of tensions found at the intersection between tradition and innovation within electronic music composition and performance
Reframing & creatively handling history through music
No full textReparative research has the capacity to reveal to us other ways of thinking about the past, within the present, whilst also opening up possible futures. It might, for example, recover composers who were previously overlooked or erased from music history, which impacts our understanding and behaviours today, and may serve as a call to action for the future. By its nature, artistic research draws on imaginative, personal, intimate, embodied and sensorial perspectives. When combined, artistic reparative research can deeply reconsider, reclaim or reimagine history whilst also allowing for the potential to shift the focus beyond purely academic contexts and into broader discussions and felt experiences.My recent research explored the works and worlds of two baroque composers, Francesca Caccini (1587- c.1645) and Barbara Strozzi (1619-1677), approaching their surviving traces creatively whilst investigating temporality and subjective modes of knowledge production. Caccini and Strozzi were both celebrated and prolific composers in their own times, but as women composers, they were later disappeared through layers of biassed histories. It was not until late last century that they began to be recovered by feminist musicologists, yet still they are unknown outside academia and select early music programming. My project researched how a contemporary composer might work with creative methods (conceptual, tactile and historic devices) and the historic traces of these two somewhat lost role models, as a means to explore what they might have to say to contemporary practice. In turn, I explored what contemporary practice might offer to our understanding of the earlier work and context. The project drew together sense-oriented frameworks from artistic practice-led research, the Baroque era and sound studies, with a focus on listening (and all its metaphoric, sensual and technical applications). In doing so, the research modelled how a contemporary self-producing multisensory composer might interact with the past to create new work, and demonstrated artistic praxis as a critical approach for working with music history.This presentation will unpack some of the findings of this project, with a focus on how contemporary composers might consider composition as a location and act to creatively handle history and explore a personalised experience and understanding of the past
Nost
No full textNoah Hayes, a young, introverted and anxious highschooler, is a poet. As his OCD and disassociation worsens, his tics becoming increasingly more obvious, he feels more and more isolated from those close to him, except for his grandfather, Connie. Having spent his childhood growing up with him, he feels Connie is the only person in his life who truly understands him. As Connie’s dementia worsens, Noah delves further into his poetry, eventually bringing it to a spaced-out, senseless Connie in his nursing home. Feeling further isolated, Noah slowly breaks down the walls between them with his poetry, persisting with writing and showing it to Connie, and ensuring a lasting connection between them, even though time is not on their side