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Mid-Fi production of \u27Here Comes The Afternoon\u27 by Monnone Alone
No full textThis 11-track album by the Melbourne-based indie-pop band Monnone Alone employs saturation, distortion, and other techniques to evoke the sonic character of 8-track cassette-based DIY recordings. Here Comes the Afternoon is the band\u27s fourth album and is an international co-release through four independent labels: Lost and Lonesome (Australia), Meritorio Records (Europe), Safe Suburban Home (UK), and Repeating Cloud (USA).
The role of the music producer has shifted significantly in the post-digital era, shaped by the increasing democratisation of music-making and widespread access to affordable recording technology. This project reflects those changes through the production of \u27Here Comes the Afternoon\u27 by Monnone Alone, a four-piece indie-pop band led by songwriter and former Lucksmiths bassist, Mark Monnone.
Initial recordings were made on a Tascam Portastudio 8-track cassette recorder in Monnone’s backyard studio, “Stock Cube.” This process aligns with the band\u27s DIY ethos and intentionally resists the polished, overproduced aesthetic that contemporary digital tools often facilitate.
As producer, Gareth Parton transferred the cassette-based recordings into a digital audio workstation (DAW) for further editing and production. This involved correcting pitch and timing, replacing drum sounds, enhancing vocal production, and capturing additional parts. A key technical challenge of the project was the inherent instability of cassette tape playback, which introduced variable pitch and timing inconsistencies across recordings. Since individual tracks were spread across multiple cassettes, extensive time-alignment and elastic audio correction were required before mixing.
The production approach, merging analogue imperfections with modern digital enhancements, represents a hybrid aesthetic that might be described as Mid-Fi, a term playfully coined by the producer to characterise a sonic space that lies between lo-fi charm and hi-fi precision
Increasing understanding with Multiple Means of Representation: Interactive workshop for teaching staff
No full textUniversal Design for Learning (UDL) is an educational framework aimed at optimising knowledge acquisition for all types of learners, recognising the uniqueness of each.Within this framework, Multiple Means of Representation (MMR)—providing resources in varieties of forms—maximises access to content processing.This forum presentation gave an overview of Universal Design for Learning concepts to lecturing staff at SAE University College, exploring some strategies used to diversify content and engage learning. It also used Padlet to engage attendees in a set of active learning exercises to examine manageable ways of incorporating multiple resources.
This National Forum workshop included collaborative, eLearning, active learning activities, using Padlet to scaffold participants through processes of introducing diverse representations within their course incrementally
Creating with industry: integrating industry projects within a tertiary music curriculum
No full textAustralian tertiary contemporary music courses often feature a curriculum that includes aspects of songwriting, music production, music industry, cultural studies, collaborative entrepreneurship and individual creative practice. Research shows that graduates from these programs commonly move into the often-cited \u27portfolio career\u27, which integrates diverse aspects of musical practice such as performance, recording, teaching, community engagement, and a digital creative presence.At SAE University College, the institution is driven by structures and frameworks to ensure that student learning is authentic, collaborative, feedback-focused, and future-oriented. Learning opportunities include real-world tasks, projects and simulations that enable growth through experiential and experimental activities. Learning happens through engaged participation, teamwork and interdisciplinarity with projects designed to spark curiosity, creativity and the awareness of industry trends, changes and challenges.This research reports on two industry activation projects embedded within the Bachelor of Music curriculum at SAE during 2025.1. “Rainbow Bop” - Children\u27s Youtube Series. In this multidisciplinary project, students leverage their portfolio driven skill set to contribute to a range of elements within the production including - songwriting and arranging to a brief, music production, social media content creation, and project management.2. Brisbane Festival - Content Creation. With the festival acting as a client, students produce musical work across multiple genres for use in the Brisbane Festival social media content suite.By engaging students with two distinct industry partners across multiple units of study, students can contribute music to projects that are vibrant and present within the community - with client feedback and tangible folio development. The range of output developed by students enables them to learn how to be adaptable in their creative practice and how to utilise their creative and industry skills for diverse musical projects and audiences
HEARTROOT
No full textThis project is a game manual created for my original fantasy game Heartroot. Drawing inspiration from both modern and retro (SNES-era) manuals, it goes beyond being a simple “how-to” guide by focusing on worldbuilding and lore to immerse the player in the setting.
While traditional manuals have largely disappeared in today’s digital marketplace, this work aims to capture the nostalgic charm of physical manuals while reimagining their role as narrative artifacts that enrich the overall game experience
Dreamless
No full textdreamless is a short film that reflects on isolation, depression, and the weight of growing up in an abusive family. told in a slow, deliberate way, it uses artful imagery to explore how dreams become both a safe escape and a way of coping with reality. at its heart, the film is about trying to survive in the real world while yearning to avoid it
Passive Listening: Exploring Interpassivity in Ambient Music
No full textThe landscape of ambient music presents unique challenges for critique and classification due to its wide range of subgenres, functions and goals. Often defined by its atmospheric and immersive qualities, ambient music is traditionally seen as providing a backdrop for relaxation or as a means to block out the harsh reality of the outside world. This dominant theory, while valuable in certain contexts, tends to oversimplify the multifaceted nature of ambient music and ignores the potential for more nuanced listening experiences. The proposed alternative theory of interpassivity challenges existing understandings of ambient music production and consumption modes. Drawing on psychoanalytic theory, aesthetics and media studies, interpassivity suggests that, under certain circumstances, audiences can choose to delegate the experience of enjoyment to the music itself. This delegation involves a passive surrender of agency that allows the music to shape the listener’s experience without direct, conscious participation. To illustrate this, we contrast ambient music with more conventional music styles. Exploring both compositional and audience perspectives, we examine how ambient music’s intentional lack of participation distinguishes it from active and attentive music listening practices. By understanding the interplay between the compositional choices of musicians and the passive role assumed by the audience, we may gain a deeper understanding of the various expressions of the genre. We examine the modes of listening commonly associated with ambient music as a means for interrogating the interpassive nature of the genre. Scholars argue that ambience in the arts is an active and complex force that shapes our perception and understanding of sound and that it should not be dismissed as passive or inconsequential, but rather be seen as a dynamic element that demands critical engagement. In contrast to an emphasis on active engagement, our perspective accommodates instances where listeners engage in a more passive experience. We advocate for an expanded view of the listener’s role in ambient music, recognising the potential for aesthetic experiences that may emerge from the intentional relinquishment of involvement. This nuanced perspective aligns with the complexities inherent in the genre and enriches the discourse surrounding ambient music, offering a broader framework for its classification and appreciation
Automatonophobia
No full textThese artworks were created as a direct result of my teaching the ANI216 Animation Studio. In the process of devising ways to incorporate photographic imagery into an animation, I developed a multi-plane system where I could create layers in Adobe Photoshop and combine them with original cartoon characters in After Effects and then animate them.
These artworks for an exhibition at the Garden Gallery (Royal Botanic Gardens, Sydney) are imaginary stills inspired by the actual animation. All three were sold
A Burlesque: The Shimmering Body of Revealing
No full textA Burlesque: The Shimmer Manuscript is a hybrid critical–creative work that examines burlesque as an embodied methodology and a mode of knowledge production. Drawing from my two decades as a performer–scholar, the work reframes glamour, desire, and adornment as epistemological practices rather than theatrical ornamentation. The project is significant in that it expands understandings of performance studies, autotheory, and feminist aesthetics by foregrounding the performer’s body as an intelligent, sensing, world-making apparatus.
The methodology is creative practice research and archive-driven, integrating backstage documentation, AI-assisted photomontage, and theoretical reflection. The work draws from poststructuralist and feminist frameworks (Irigaray, Deleuze & Guattari, Bakhtin’s carnivalesque) to analyse how performance gestures, costume, and glamour operate as forms of divination, relationality, and creative thought. AI is employed not as a generative shortcut but as a divinatory visual collaborator, extending the “shimmer” — a concept describing moments of perceptual rupture and heightened meaning.
The main outcomes include a complete manuscript structured across four sections: lineage, method, performance, and aftermath. Key findings reveal that burlesque performance generates its own epistemic field, where embodiment, ornament, and affect exceed representational logic. The work demonstrates how glamour and desire function as productive forces that reorganise habitus, identity, and artistic process
DDX171 Fundamentals of Image Making Project 2 Example 3
No full textDDX171 Project 2- Comic Illustratio
CST110.1 Analysing Everyday Interfaces Example 1
No full textA Case Study on MyTime Interface analysing the usability of it