Creative Lab...2 QUT CREATIVE LAB – 2017 ANNUAL REPORT 1.0 DIRECTOR'S REPORT Welcome Established...

ANNUAL REPORT

2017

Creative Lab

ANNUAL REPORT

Creative Lab Queensland University of Technology Kelvin Grove, QLD, 4059

Cover page image: Tasting Words project. Credit: B.Crawford

Creative Lab

CONTENTS

2-3 1.0 DIRECTOR'S REPORT

3-11 2.0 LAB STRUCTURE AND MEMBERSHIP

11 3.0 RESEARCH TRAINING

12 4.0 RESEARCH INFRASTRUCTURE

12-14 5.0 RESEARCH HIGHLIGHTS

15 6.0 COMMUNICATION AND MEDIA ENGAGEMENT

16-18 7.0 EVENT HIGHLIGHTS

19-21 8.0 LAB RESEARCH FUNDING SUPPORT

22-24 9.0 PERFORMANCE AGAINST KEY

PERFORMANCE INDICATORS – GRANTS

25 10.0 PERFORMANCE AGAINST KEY PERFORMANCE

INDICATORS – STUDENT COMPLETIONS

26-29 11.0 PERFORMANCE AGAINST KEY PERFORMANCE

INDICATORS – PUBLICATIONS

2 QUT CREATIVE LAB – 2017 ANNUAL REPORT

1.0 DIRECTOR'S REPORT

WelcomeEstablished in September 2016, the QUT Creative Lab is now in its second year of operation. The last year has seen the lab focus on consolidating its research programs and working to build technical capabilities. In looking towards the future, the lab continues to recognise and champion the value of culture and creativity both in contributing to the economy and more importantly as the foundation for a vibrant and inclusive society. Through our work, the lab aims to foster the vision and innovation required to address pressing global problems in education, health, science, technology, politics, and other fields.

Operating out of the new $80m Creative Industries Precinct, the Creative Lab is the site for a vibrant research culture in which artists, researchers, and industry work together to:

• Conduct world-leading research in live performance, virtual performance, screen, animation, motion capture, interaction design, electronic arts, hybrid media arts, and related areas.

• Collaborate with industry, government, and community partners in education, health, science, technology, and other sectors to undertake transformational transdisciplinary research that addresses the challenges of contemporary society, and

• Cultivate leading researchers of the future through Higher Degree Research (HDR) programs.

Creative practice plays a crucial role in building understanding of complex social, cultural, economic, and environmental conditions. It empowers end users to engage with the challenges of our era in new ways, to develop the confidence to express themselves, advocate for their interests, and engage others in meaningful conversations about the future.

The first two years of activity in the Creative Lab have focused on continuing to grow the research culture in the Creative and Performing Arts at QUT. This has been concentrated around four thematic programs that cut across disciplinary fields of research:

• Experimental Creative Practice investigates innovation in the creative, performing and screen arts, and the application of experimental practices in domains beyond the traditional arts.

• Disruptive Technology and Creative Practice is concerned with digital disruption of traditional creative, performing and screen arts, and investigates new forms such as immersive theatre; augmented and virtual reality; transmedia storytelling; and new platforms for content streaming.

• Socially and Ecologically Engaged Practice explores the use of participatory creative processes to foster personal, social, political, and ecological transformation, empowering communities to retell the past, respond to challenges of the present and imagine alternative futures.

• Creative Learning and Creative Workforce examines how creative education can enrich and build capacity within individuals, communities and organisations, and how the creative workforce of the future can best be developed through primary, secondary, tertiary, corporate, and other settings.

Associate Professor Michael Whelan with the orchestra from Super Conductor and the Big Game Orchestra project

QUT CREATIVE LAB – 2017 ANNUAL REPORT 3

2017 was a busy year for the Creative Lab, and saw researchers secure a range of new funding, build new partnerships and the installation of new research infrastructure.

Professor Greg Hearn is a CI on the successful ARC linkage Australian cultural and creative hotspots: a population hotpot analysis which investigates the dynamics of cultural and creative activity in Australia with major partners including Arts Queensland, Creative Victoria, Arts NSW, Arts SA, and the Department of Culture and the Arts. Dr Donna Hancox won an Advance Queensland Smithsonian Fellowship to continue her work in the development of regional arts programs. Charles Robb and Associate Professor Sarah Holland-Batt were commissioned to produce a major public artwork of General Sir John Monash for the Australian War Memorial, Dr Keith Armstrong was supported by the Australia Council to present a work at Ars Electronica, Dr Mark Ryan won an AFIRC Research Fellowship, Dr Chris Carter secured an Innovation Connections grant with Logemas on the development of a new photogrammetry system and Professor Gene Moyle secured Advance Queensland Knowledge Transfer Project funding to investigate the benefits of dance for older adults with Queensland Ballet.

Throughout 2017 the lab continued partnership engagement and development of critical academic networks. This has been achieved through participation in two successful Australian Research Council Linkage Infrastructure, Equipment and Facilities (ARC LIEF) grants, including the AusStage Consortium and the Collaborative Embodied Movement Design Network. The lab also established new commercial research engagements, with local firms and organisations such as Logemas, Queensland Ballet and the Australian Performing Arts Market, and Urban Art Projects (UAP). This is in addition to international engagements including Ars Electronica, the Centre for Expressive Technologies at California Polytechnic and the Bristol-based Pervasive Media Studio.

Research is a team sport, and there are many people involved in creating a vibrant research environment. So, I would like to take this opportunity to thank all of the Creative Lab members sincerely, HDR students and partners for their contribution to the lab and its programs over the last year.

Gavin Sade, Interim Director, QUT Creative Lab

2.0 LAB STRUCTURE AND MEMBERSHIP

The Creative Lab is based in the School of Creative Practice within the QUT Creative Industries Faculty.

During 2017, the structure and membership of the Lab included the Director, Associate Directors, leaders of the four research programs, technical and professional staff, together with members in five categories:

• Executive Committee

• Centre Members (including Chief Investigators)

• Affiliated Researchers

• Visiting Researchers

• Higher Degree Research (HDR) students (who are supervised by Creative Lab members)

Leadership Team

Professor Greg Hearn was the Interim Director of the QUT Creative Lab from 2016 until early 2018. Greg is an expert in new media innovation and creative work and creative careers. His co-authored books include Creative graduate pathways within and beyond the creative industries (2017: Routledge); Creative work beyond the creative

industries (2014: Edward Elgar); Eat Cook Grow: Mixing human-computer interactions with human-food Interactions (2013: MIT Press); The knowledge economy handbook (2005 and 2012: Edward Elgar); Knowledge policy: Challenges for the 21st century (2008: Edward Elgar); and Action research and new media (2008: Hampton Press).

Professor Gavin Sade is the current Interim Director of the QUT Creative Lab and is an internationally recognised artist and designer working in the field of electronic arts and Interaction Design. He has been commissioned to produce creative works for international biennials and festivals, art galleries and public institutions, as well as

private companies including large scale permanent public artworks, to temporary interactive art at international exhibitions and festivals. Gavin has been commissioned to produce large permanent illuminated public artworks including: Grateful fateful sunshine rain South Brisbane, and Acacia Place Light Wall Melbourne.


In January 2017, Dr Keith Armstrong was appointed to one of the Associate Director roles within the Creative Lab. Keith has been a freelance new media artist for more than 20 years, and is internationally renowned for his interactive, site specific, and networked performances and installations, which have been shown extensively both in Australia and

internationally. He is a visiting research fellow at the University Free State, South Africa, working on projects at the intersection of International Development and media arts. His recent artworks have featured in ISEA, Durban and Ars Electronica, Austria.

Associate Professor Bree Hadley was also appointed to the role of Associate Director of the Creative Lab in January 2017. Bree’s research expertise lies in contemporary, community, and public space performance, in live and online contexts, and her sole-authored books in this field include Theatre, Social Media, and Meaning Making (Palgrave

2017), and Disability, Public Space Performance and Spectatorship (Palgrave 2014).

Dr Lee McGowan works across the Creative Lab and the School of Creative Practice and was appointed to the position of Research Training Coordinator in January 2017. Lee runs collaborative research activities and supports HDR students and Early Career Researchers in developing research skills and strategies. His expertise is in critical research in football

(soccer) studies, primarily in its fiction and the women’s game. Lee is a practice-led researcher whose work has been published in academic journals such as Soccer & Society and the Routledge Handbook of Football Studies (Hughson et al 2017).

During 2017, the Lab also welcomed a new Centre Coordinator, Tess McGlone. Tess has previously worked in the QUT Business School and in her new role works to support both the Creative Lab and the Digital Media Research Centre within the Creative Industries Faculty.

Executive CommitteeThe Creative Lab Executive Committee includes QUT researchers who are primarily and actively engaged in the Creative Lab’s projects and programs. In 2017, the Executive Committee members were:

• Dr Keith Armstrong

• Dr Chris Carter

• Associate Professor Sandra Gattenhof

• Associate Professor Bree Hadley

• Dr Donna Hancox

• Dr Rachael Haynes

• Professor Greg Hearn

• Associate Professor Sarah Holland-Batt

• Dr Stephanie Hutchison

• Dr Kristina Kelman

• Dr Leah King-Smith

• Dr Lee McGowan

• Professor Gene Moyle

• Dr Mark Ryan

Lab Members and Research StaffThe members of the Creative Lab are QUT researchers who are primarily and actively engaged in the lab’s projects and programs.

In 2017, the members of the Creative Lab were:

• Dr Keith Armstrong

• Mr Trendt Boe

• Mr Yanto Browning

• Mr Craig Bolland

• Dr Gavin Carfoot

• Dr Chris Carter

• Dr Charles daCosta

• Dr Chris Denaro

• Dr Ruari Elkington

• Dr Victoria Garnons-Williams

• Associate Professor Sandra Gattenhof

• Associate Professor Kari Gislason

• Associate Professor Bree Hadley

• Dr Donna Hancox

• Dr Phoebe Hart

• Dr Rachael Haynes

• Professor Greg Hearn

• Dr Caroline Heim

• Associate Professor Sarah Holland-Batt

• Ms Avril Huddy

• Dr Stephanie Hutchison

• Dr Kristina Kelman

• Dr Leah King-Smith

• Professor Helen Klaebe

• Dr Sean Maher

• Dr Lee McGowan

• Dr Daniel McKewen

• Professor Andrew McNamara

• Dr David Megarrity

• Professor Gene Moyle

• Dr Jeremy Neideck

• Mr Sorin Oancea

• Dr Courtney Pedersen

• Dr Mark Pennings

• Mr Charles Robb

• Dr Mark Ryan

• Associate Professor Michael Whelan

• Dr Rohan Wilson

• Dr John Willsteed


In 2017, staff employed on Creative Lab projects included:

• Mr Trendt Boe (Photogrammetry Research Assistant)

• Mr Matt Davis (Interaction Designer)

• Mr Luke Lickfold (Interactive Sound Artist)

• Dr Donna McDonald (Disability Arts Senior Research Assistant)

• Mr Nathan Sibthorpe (Research Assistant)

Professional StaffIn 2017, the Creative Lab was supported by a small team of professional and technical staff, including:

• Mrs Tess McGlone, Research Centres Coordinator

• Dr Daniel Nel, Technical Services Manager

• Ms Gillian Ridsdale, Engagement Programs Coordinator

• Dr Cori Stewart, Business Development Manager

• Mr Matt Strachan, Technical Systems Specialist

Affiliated ResearchersAffiliated Researchers are QUT, external academic and industry researchers who are actively engaged in collaborative research with the Creative Lab. While not necessarily integrated or fully aligned to the lab, they do have complementary research profiles.

• Dr Jennifer Alford (Faculty of Education)

• Professor Ruth Bridgstock (currently Teaching and Curriculum Transformation, Learning Futures, Griffith University)

• Dr Hugh Brown (School of Communication)

• Dr Gretchen Coombs (School of Design)

• Associate Professor Michael Dezuanni (School of Communication/Associate Director of QUT Digital Media Research Centre)

• Dr Clare Dyson (School of Creative Practice)

• Dr Lesley Hawkes (School of Communication)

• Mr Greg Jenkins (School of Creative Practice)

• Professor Graham Kerr (Faculty of Health)

• Dr Linda Knight (Faculty of Education)

• Ms Jacina Leong (Robotronica, QUT)

• Mr Thomas Mai (Film producer)

• Associate Professor Evonne Miller (School of Design/Director of QUT Design Lab)

• Mr Paul Van Opdenbosch (School of Creative Practice)

• Dr Sandra Phillips (School of Communication)

• Dr Deb Polson (School of Design)

• Dr David Pyle (David Pyle Creative)

• Dr Mark Radvan (School of Creative Practice)

• Dr Janice Reiger (School of Design)

• Dr Jenny Roche (School of Creative Practice)

• Dr Shannon Satherley (School of Design)

• Dr Jen Seevinck (School of Design)

• Dr Verena Thomas (School of Design)

Lab VisitorsWithin its second year of operation, the Creative Lab hosted a number of local and international visitors, including:

• Mr Maurice Benayoun, Independent New Media Artist

• Professor Simon Biggs, South Australian School of Art

• Dr Scott deLahunta, Deakin University

• Professor Ross Harley, UNSW

• Professor Horst Hörtner, Director, Ars Electronica Futurelab

• Professor Andrew Hugill, University of Leicester

• Kristefan Minski, Ars Electronica Futurelab

• Dr Sarah Jane Pell, Australia Council Fellow

• Professor Kate Pullinger, Bath Spa University

• Mr Bill Shannon, Artist and Performer

• Professor Richard Vella, University of Newcastle

• Professor Sarah Whatley, Coventry University

Advisory BoardThe Creative Lab Advisory Board will be appointed by the end of 2018. The Advisory Board will consist of the Creative Industries Faculty Assistant Dean (Research), the Creative Lab leadership team, and several key local and international academic and industry experts. The Board will meet twice per year during the Creative Lab’s operational period and will provide strategic advice to the Executive Committee.

Program LeadersIn 2017, the four Creative Lab programs and their leaders were:

• Program 1 – Experimental Creative Practice – Dr Chris Carter and Dr Stephanie Hutchison

• Program 2 – Disruptive Technology and Creative Practice – Dr Donna Hancox and Dr Mark Ryan

• Program 3 – Socially and Ecologically Engaged Practice – Dr Rachael Haynes and Associate Professor Sarah Holland-Batt

• Program 4 – Creative Learning and Creative Workforce – Associate Professor Sandra Gattenhof and Dr Kristina Kelman


HDR Students HDR students are higher degree research students with research projects directly aligned to the Creative Lab. They are supervised by one or more Creative Lab members or affiliated researchers. HDR students are expected to actively participate in research training programs and public engagement activities.

The following table lists the 2017 School of Creative Practice HDR students.

Name Thesis title

Aggs, Anthony Ways to make a sustainable income in the music industry in 2015/2016

Anderson, Claudine A balancing act: Identifying, influencing and manufacturing emotions for dancers and actors in an effective and reliable way within the performance and training environment

Andrew, Paul Artists as living A(na)rchivists: An examination of living archives as participatory media for the artist- run sector

Ashworth, Karike I am uncomfortable: The strategic use of social discomfort in contemporary art practice

Baldock, Jenna The evolving ARI Model and its effect on arts practice

Barry, Julia What are the effects on student well-being, achievement and future career development in the existing range of dance training and education pathways available to high school age aspiring dance professionals?

Batch, Morgan Constructions of dementia in postdramatic theatre: An assessment of the western cultural portrait of dementia in postdramatic performance

Beetson, Alethea Always was, always will be: Continuing ancestral connectivity through performance

Bennett, Joel The immersive digital volume: Improving the perceptual awareness of actors in virtual production

Bertram, Frida Rocking the moss garden: Bringing koto and its accompanying aesthetics to the glam rock stage via a shared path of western and Japanese nostalgia

Blacklock, Naomi Conjuring alterity: Refiguring the witch and the female scream in contemporary art

Boe, Trendt Designing reality-acquiring tools and techniques for traditional creative practice in virtual production

School of Creative Practice student, Annie Macindoe


Bonson, Stephanie The creative identity: Development, negotiation and relationship with career success

Booth, Anastasia Playing with me: Feminine perspectives in fetishism and contemporary art

Borland-Sentinella, Deanna Applied theatre as embodiment of possible futures

Boughen, Sheena Remarkable futures - A practice led research project presenting the story of the parallel transformation in my role as co-curator alongside the transformation of Four Winds Festival (FWF) to Four Seasons Music Organisation (FSMO)

Breen, India Miniature thunder: Inscribing the self in ekphrastic poetry

Browne, David Perceptually motivated control for generic sound synthesis models of everyday sounds

Browning, Yanto Theorising the music city: Play, political economy, and music production

Bruel, Stephen Remastering nostalgia: The culture and practice of remastering music in the digital age

Brumpton, Tony Aural scenography: Towards an environmentally aware sonic arts praxis

Burton, David Writing musicals for a hundred people and their thousand friends: Crafting epic community theatre

Butt, Aaron Missed encounter: Disavowal, apophenia, abscenity and reenactment in contemporary art

Byrom, Dane Music co-creation: An exploration and development of producer-consumer collaborations in music

Cake, Sue Narrative comedy screenwriting: Facilitating self-directed, transformative learning

Carattini, Carolyn How can sports and educational psychology be incorporated into classical ballet training in a way that studio teachers can embrace, in order to reach the needs of the twenty-first century student in dance?

Carmody, Jessica Vulnerability and affect: Public and private responses to participatory art

Carter, Danielle Envisaged, invited and actual audiences: A new model to approach audiences in Australian community - engaged performance projects

Carter, Joe Extreme sports as entertainment: Understanding aesthetic form, style and characteristics of extreme sports films

Caughey, Lara Vovka's Vodka

Chance, Sally The art of relational knowing: An analysis of the roles and relationships between the people - performers, carers and babies - involved in the very early years dance theatre space.

Chapple, Jade Dinosaurs eat man, woman inherits the earth: Female fanfiction authors (Re)writing male-dominated narratives

Cheers, Rebecca Poetic biography as a site of feminist resistance

Clark, Dion The plausible impossible: Examining the production of dialogue for animated film

Clarke, Heather Social dance and early Australian settlement

Clark-Fookes, Tricia Exquisite pressure: Power at the intersection of artistry, pedagogy and digital media: An exposition of the teaching artist's philosophies and practice in the digital context

Clayton, Katherine The miniature and the meaningful: Affect and embodiment explored through small-scale visual artworks

Collyer, Sarah Yoga for singers - A holistic practice tool

Crawfoot, Dylan The role of the album in popular music production

Darroch, Fiona Arts and leadership: Discovering leadership through dance and equine assisted learning

Davidson, Katina Dissolving dichotomies: The rise of the undertheorised Indigenous Australian artist-curator

Daynes, Rebecca Now you see her: A study of sincerity in contemporary visual art

Dillon, James Can a large, complex non-media organisation create a workspace that generates innovative, high quality content on a regular basis?

Duffy, Ana One day ahead: The social effects of technological progress

Dyball, Jessica Stitched embodiment: Delegation and narrating the body through thread

El Sayed, Sara Ehki: The stories of Egyptian women, from oral to digital narrative

Ellis, Hele Decentering the subjective: The transcendent experience of formlessness in an abstract expressionist painting practice

Elmosnino, Stephane Pedagogical considerations for writing an audio engineering teaching and learning resource


English, Lawrence The listener's listening

Eslick, Belinda Understanding women's ways of doing politics: Exploring the campaign against domestic violence in the Australian 'female political sphere'

Frost, Zenobia Poetics of urbanism

Fuller, Melanie Training related risk factors and end-user perceptions: guiding load management injury prevention in dance

Gaze, Tim Surf, sun, and sound: the role of surf music in the development of Australian popular culture

Glikson, Miranda Movement in places: Space and indeterminacy in the built environment

Goold, Lachlan Space, time, creativity, and the changing character of the recording studio: Spatiotemporal attitudes toward 'DIY' recording

Gordon, Kenneth A painting research into my personal recognition of the visual borderland between figurative and abstract forms created within bounded space

Grantham, Richard A practice-led expansion of the expressive tone-colour capabilities of Western orchestral string instruments

Grodecki, Andrew Understanding what develops cultural infrastructure - bringing forth the science-art-culture of Brisbane's Knowledge Corridor

Groenningsaeter, Anders Kile

Musical bedroom: Models of creative collaboration in the bedroom recording studio

Grogan, Jayden What is the role of a co-creator in experimental creative practice when integrating an embodied experience with live digital and interactive technology

Guglielmino, Edward The interplay between cultural and financial capital in independent music businesses

Gustafson, Leah Digital visualisation of ecoacoustics data: Visualising soundscapes from wild places in Australia

Hague, Kaitlin Chasing dreams: Investigating talent identification and development in ballet

Haining, Margaret Writing women: A feminist study of playwrights' construction of female protagonists in selected mainstream Australian plays of the twenty-first century

Hair, Madge Writing on Gumbaynggirr country for co-created theatre as decolonising practice

Hamilton, Scott James Revisionist fairy tale cinema: Assessing the transformation and updating of traditional story archetypes and intrinsic narrative elements due to modern cultural and societal influences

Handran, Christopher Thinking outside the black box: The apparatus between art and science

Hawley, Keith The multi-dimensional dancer: An exploration into the depth of fulltime dance training within the Australian entertainment landscape

Hearn, Lucinda Wild release: Making albums for audiences in a short-form economy

Hill, Hamish Into the archive: A cultural history through the Yorke Collection

Hoffmann, Maria Adapting Rudolf Steiner's Zwoelf Stimmungen (Twelve Moods): Insights from reworking a group eurythmy to a solo performance

Hosking, Brad A critical study on the use of "pre-production" in making recorded commercial music

Hourigan, Paul Can ballet, when used in a narrative of a 21st century film that addresses the nuances of the fragile human psyche and current societal issues, be convincingly utilized as a pre-cursor to a positive, rather than negative denouement to the film's story

Howlett, Chris Mapping the techno-stice: Dissensual territories in-between technology and contemporary art

Hsu, Matthew Indie-FolkTM: Vintage 'frontier spirit' sensibilities in the 21st Century

Hulme, Alexander Contextualising compositional elements of commercially successful swing era songs in contemporary electronic dance music

Hume, Lindy The Candelo Project: Toward a counter urban theatre-making practice

Hunter, Esther Can composition be used as an effective means of vocal training for children?

Irvine, Lesley Learning from the professionals: Identifying, understanding and managing public speaking anxiety

Jacobson, Anna Besamim: Exploring Jewish identity, mental Illness and gender in poetry

James, Robin Clash of cultures? A political economic perspective on why Australian audiences prefer American films


Jarrett, Cody Externalising the internal: An examination of how mainstream cinema represents women's experiences of cyclical depression in narrative form

Jeffrey, Erica Dance in peacebuilding: Space, relationships, and embodied interactions

Jong, Sze Joon A structured digitisation framework for the conservation and archiving of traditional Iban dance using motion capture

Kaspari, Joanne How first principles can be maintained in the long term evolution of a grass roots arts and environment organisation: A case for small and fluid

Kearney, Hemma Celebrity culture

Kingman, Joey Writing a medical humanities 'recoverography': An addict's narrative of naltrexone implant treatment for alcoholism

King-Smith, Duncan The immense amplification of the Silent Valley: A soundscape project

Kirkham, Sarah What will the future company look like? Born to conform or not, what future revelations empower creative environments to service physical expression in response to social and public contexts and drive creative capital?

Krauth, Alinta Geomorphic storytellers of the anthropocene: Human/non-human interactions through mixed reality interfaces

Kwok, Joon-Yee Creative placemaking for cultural diversity: Designing multicultural event experiences in public spaces

Larin, Genine Empathic gestures: exploring affect and gesture as emergent phenomena within the presence of potential

Laube, Jacob Understanding artist development: How do producers support the development of artists through the production process?

Lee, Michael NBA memes: The role of fan image macros within the online NBA fan community

Lobwein, Guy Simulating conflict: Virtual reality and war in contemporary art

Locke, Belinda Postdramatic narratives: Magical realism in visual theatre

Luttrell, Briony A cultural semantics of string arrangement for recorded popular music: A model for analysis and practice

Lynch, Daniel Holding transmedia: Narrative at the intersection of print and digital creative writing

Macindoe, Annie Melancholy and the memorial: Representing loss, grief and affect in contemporary visual art

Mafe-Keane, Vanessa Writing the dance score in the Twenty-first Century: An approach for the independent choreographer

Mai, Thomas The rise and rise of crowdfunding: can crowdfunding empower filmmakers to understand and develop new audiences in Australia?

Maloney, Kristen Principles of theatre-making for the merging of augmented reality into live performance

Markland, Jason Strategic use of transmedia strategies that can be applied to social change documentary

Mason, Jen Creating narratives for NAIDOC Week: An examination of current and emergent narratives between indigenous and non-indigenous Australians centred around large-scale community events

Matthaei, Nerida Recontextualising my choreographic self: Conceptual and processual strategies for rerouting practice

McCullough, Craig Sound Mobility: The smart phone as a ubiquitous portable recording studio

McGrath, Wendy Digging Deep: Material investigations into the intangible aspects of landscape sites towards a holistic representation of place within creative practice

McLay, Grant Movement capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match

Meiklejohn, Donna Documentary pitching, pre-sales and funding: Succeeding in a transforming digital landscape

Mengel, Noel Outsiders and the path to greatness

Meyer, John The role of music in social and political activism and campaigning

Meyers, Richard Exploring the experiences of gamers playing as multiple first-person video game protagonists in Halo 3: ODST's single-player narrative

Middleton, Tess The impact of devised theatre on internal resilience of adolescent youths

Miller, Susan The mathematics of longing

Moessner, Meeka The use of irritation in mood and character development in creative writing


Mohr, Steven Examining the application of motion capture to cartoon stylised motion in 3D computer animation

Muller, Darran The modern drummer: An examination of factors effecting the sustainability of professional careers in music

Munkara, Marie The Yawk: Myth, archetype or global co-incidence

Murray, Deborah Great escapes: An examination of how hostage release stories are re-presented in single and multiple perspectives

Newman, Frank The Sydney Opera House: Defining a teachable system of creativity practice

Nino Contreras, Camilo Andres

Development of entrepreneurial skills in undergraduate music students

Nolan, Veronica Creating different futures: How using art thinking and inquiry advances the cultural transformation of a non-arts, trans-national business organisation through its leaders and their teams

Nuttall, Keir 'Stop trying so hard to be yourself': An investigation into constructed personae as a contemporary songwriting technique

Oancea, Sorin Exploring the brave new holographic world of immersive cinema

Odendaal, Petrus Johannes Loock

Fostering resilience through performance poetry in social-ecological systems

O'Grady, Emily Subverting the serial gaze: Interrogating the legacies of intergenerational violence in serial killer narratives

Page, David Me, the contemporary songwriter: A reflective report of my journey as songwriter

Payne, Alexandra The death and life of the publisher: An examination of publisher as curator

Pedro, Rachel Transcultural improvisations: Globalization and the evolution of jogo limpo in the development of samba in Australia

Pinxit-Gregg, Quinty By using the relationship established between QUT and the Ars Electronica Futurelab, I will explore how interdisciplinarity and transdisciplinarity approaches affect and shape the role of a creative producer

Pollard, Daniel Up river

Pollard, Francis The art of innovation in organisations: an investigation of peer-based structures enabling creativity and innovation in organisations

Pratt, Daniel The producer as sensemaker: Reimagining the role of the music producer

Proudley, Craig William The way of the warrior realising the mythic warrior-hero in the action genre and in Australian cinema

Rajendren, Bindu Dancing across cultural contexts: The case of teaching Indian classical dance in Australia

Rankin, Scott A community and cultural development practice for the 21st Century - Virtuosity and community dramaturgy to amplify transformational change

Rea, Antonietta The enchanted drive: Landscape in motion

Regan, Scott The Brisbane sound: Mythology, discourse and sonic realities of music and place

Reilly, Fiona The representation of private, intimate and domestic encounters with Islamic women by female travel writers in the fifteen years since September 11, 2001

Reynolds, Bianca This house is full of shadows: A Jungian analysis of the contemporary family homecoming drama

Riddle, Michael Julian (In)vulnerability: An exploration of masculine identity and emotion contemporary and traditional process

Rixon, Tessa The search for authentic digital performance: a mixed methods study of Australian theatre and dance

Robb, Charles Parentheses of practice: topologies of the contemporary art studio

Rollman, Louise Curating the city: Unpacking contemporary art production and spatial politics in Brisbane

Salter, Christopher That's Entertainment? Connecting curation and digital design for the museum presentation of popular culture

Sargeant, Aden Politics and contemporary art: Current dynamics in Australia

Saward, Melanie Leaving a cult as Bildungsroman: Representing identity formation after leaving a religious group in a contemporary novel

Sawyer, Hamish Participatory art and the public enactment of private traumas

Schroder, Megan Creativity in the classroom: Preparing senior students for the 21st century workforce

Scobie, Strahan Novel: Corona Hotel and Exegesis: Psychoanalysing the manic pixie dream girl


Scoggin, Christine Strong houses, strong voices: Sharing the lived experiences of natural builders in South Africa through digital storytelling

Shelton, Meaghan 'Intricate, infinite' addressing the ineffable aspects of women's experience through the lens of traditional craft practice

Sibthorpe, Nathan The effect of embodied metafiction in contemporary performance

Simcoe, Anthony Stories for versatile leaders: An exploration of the relationship between story, leadership and organisational culture

Smith, Imogen Materiality and media: Australian literary journals in the post-digital publishing ecology

Smith, Stephen To hear the old tales anew: Developing a 'middle-voice' in historical fiction

Somogyi, Emma The moral undead: Representations of the soul in contemporary vampire film and television

Southam, Noah Stitching together another 'Frankenstein' adaptation: A thesis by creative works

Stephens, Tony Who's afraid of culture: Rethinking the position of the arts and cultural sector in contemporary society

Stibbard, Lucas Performance as game and game as performance - immersion, role-playing and collaborative storytelling in performance and gaming

Stone, Ben Royal palms: A post-structuralist discourse analysis of corporate culture according to the texts Wall Street and American Psycho

Stringer, Helen Back to the madhouse: Changing psychiatric practice and the asylum memoir

Tegan, Charlotte Balancing the binary: ambivalent entanglement and digital isolation in creative capacity for contemporary photomedia artists

Terry, Amanda Waking up to waste: Exploring the transformative capacities of deep listening and sound art

Van Ooyen, Vanessa Innovation in single artist museum models and sustainability of exhibition practices through new models of engagement

Vilmanis, Elizabeth Seeing the chameleon: Barriers to making dance work for independent dance creators in Brisbane

Vogan, Catherine Symbiosis in liquid democracy and citizen journalism

Wakeling, Emily The global contemporary and Japanese women artists' practices in Australia

Ward, Andrew In what ways can narrative operate in the lyrics of popular song? A study of narrative in the lyrics of the contemporary pop song

Widdicombe, Daniel What impact does an open mic night have on the local music community and music industry?

Williams, Jack Recording the Story: Exploring the relationship between music production and narrative

Willing, Elizabeth Mother - chef - machine: Food relationships in creative participatory contexts

Worfold, Chris Augmenting painting with personal digital technology

Wright-Brough, Freya Constructing digital narratives: Negotiating totality and infinity with people from refugee backgrounds


3.0 RESEARCH TRAINING In 2017, the Creative Lab had 175 HDR students undertaking either a Master of Philosophy, Doctor of Philosophy or a Doctor of Creative Industries. The Creative Lab hosted a series of HDR student events over the year covering a range of issues relevant to postgraduate study. This included a seminar series exploring the four themes of the Creative Lab which ran from March to June. It also included the following workshops:

• Dr Mark Ryan and Associate Professor Bree Hadley led The Nuts and Bolts of Publication Writing. This workshop focused on research publication writing and framing topics for articles or chapters written to share the results of research projects, along with journal selection and establishing a working pipeline to produce new articles or chapters every year, as a requirement of research active staff in the contemporary academic climate.

• Professor Sarah Whatley (Coventry University) led a workshop on Grants preparation/ grantspersonship. This workshop explored the skills required to seek grants during and after completing a HDR program, including research grants from agencies such as the ARC, artistic grants from agencies such as the Australia Council, and internal grants such as Creative Lab Boost funding, production support, travel support, or write up support.

Higher Degree Research Training and AchievementsIn 2017, Creative Lab students continued to be recognised for excellence in their fields of study.

Dr Lawrence English was an Outstanding Doctoral Thesis Award winner for Creative Industries for his thesis entitled The listener’s listening. Lawrence’s supervisors were Dr Keith Armstrong and Adjunct Professor Philip Graham.

Dr Erica Jeffrey received a Dean’s Commendation Award for her thesis entitled Dance in peacebuilding: Space, relationships and embodied interactions. Erica’s supervisors were Professor Gene Moyle and Mrs Rachel Pedro alongside Ms Lesley Pruitt and Professor Roland Bleiker (external supervisors).

Dr Lynne Bradley received a Dean’s Commendation Award for her thesis entitled Found in translation: Transcultural performance practice in the 21st century. Lynne’s supervisors were Professor Paul Makeham and Adjunct Associate Professor Sean Mee.

Nathan Sibthorpe was the recipient of the inaugural QUT Creative Industries Don Batchelor Award in 2017. The Don Batchelor Award is in honour of Dr Don Batchelor, who spent his working life dedicated to the professionalisation of theatre and drama in Queensland and who pioneered courses in Arts Management and in Writing for Performance at QUT. Nathan is a current student, and presented his

work Spectate in Studio 110 in October 2017. Nathan received a $9,000 endowment towards his research. Nathan’s supervisors are Associate Professor Sandra Gattenhof and Dr Glen Thomas.

Student Profiles

Grant McLay (alumni) Movement Capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match

Following a very successful career working with companies such as Expressions Dance Theatre Company, the

Queensland Ballet, and after touring America and Europe, Grant returned to Australia to continue his teaching career. Grant enrolled in the DCI program and published a paper on narrative as reflective practice in a top ranked (Q1) journal within his first year of study. Grant’s practice-led research uses elements taken from elite sporting competitions to develop choreographic tools to create contemporary dance. Grant is now applying his professional experience, and the invaluable knowledge learned during his DCI, to his new position as Course Director of a BA in Performance Arts, majoring in Contemporary Dance, at the University of Limerick in Ireland.

Laura Kenny (current student) Practice-led PhD

Laura’s PhD looks at representations of childhood trauma in contemporary Australian realist fiction and explores how childhood trauma affects a character’s relationship with home. In the past two years Laura has

had eight poems, five short stories, a reflective essay, and a ficto-critical piece published in literary and academic journals, both online and in print. She has read her work at the QUT Literary Salon, Avid Reader, and the Queensland Poetry Festival, among others. During 2017 she presented academic and/or creative papers at eight conferences across Australia, and in early 2018 she presented a conference paper in New York City. Perhaps her greatest honor has been her shortlisting for the prestigious Josephine Ulrick Literature Award in 2016. She has also been awarded a Varuna Residential Fellowship.


4.0 RESEARCH INFRASTRUCTURE

Based in the Creative Industries Precinct stage 2, the Creative Lab manages significant research infrastructure. The first full year of operation has involved procuring and installing a range of high-end technology, and developing the capabilities and partnerships required to establish a sustainable pipeline of activity. Current infrastructure includes:

• 20 camera optical motion capture system capable of recording multiple performers within a volume

• High-end optical facial tracking systems

• Sub-millimetre human-scale 3D scanner – photogrammetry

• Scalable video display system

• HD projectors and screens

• AR and VR head-mounted display systems

• Low end markerless tracking equipment (Microsoft Kinects, Leap Motion, and others)

• Experimental interaction technology and creative robotics components

Studio 110 Performance Capture

A Vicon optical motion tracking system is installed in Studio 110, which is a black box studio located within the Creative Industries Precinct. The system is composed of 20 V5 Vantage (5 Megapixel @ 350 FPS) cameras. The system is capable of capturing four performers simultaneously, including body and fingers. The system is complimented by a Vicon Cara head-mounted system for facial capture.

5.0 RESEARCH HIGHLIGHTS

The members of the Creative Lab were involved in a number of funded projects during 2017.

Australian Cultural and Creative Activity: A population and hotspot analysis

This project aims to grasp the contemporary dynamics of cultural and creative activity in Australia. It represents a major innovation, bringing together population-level and comparative studies of local cultural and creative activity. The comprehensive project will advance the integration of quantitative and qualitative research strategies, painting a complete national picture, while also exploring the factors that are producing local and regional creative hotspots. The project will deliver outputs such as reports and forums that are framed in close collaboration with partners in order to deliver outcomes such as better-targeted policy and program initiatives. This will provide national cultural and policy benefits from placing the creative sector in front of policy makers as a vital contributor to high growth, labour-intensive economic activity in the context of the Australian economy in transition. The project is led by Distinguished Professor Stuart Cunningham, Professor Greg Hearn and Professor Patrik Wikström.

Developing Innovative Community

Dr Donna Hancox is investigating the philosophy underpinning, and the impact of, co-design community

Motion capture in Studio 110

The Cooper Hewitt Smithsonian Design Museum


consultation practices as part of her Smithsonian Fellowship, awarded in 2017. Donna will also examine the potential of digital technology to create, deliver and disseminate high impact arts projects that can be deployed in a regional arts framework for Queensland. The Smithsonian Cooper Hewitt Design Museum has created and delivered such projects as part of their core business to incorporate design processes in daily life to improve the outcomes for communities and increase civic participation.

Eremocene (Age of Loneliness)

Dr Keith Armstrong’s work Eremocene (age of loneliness) (with Mr Luke Lickfold and Mr Matt Davis) was presented at the Ars Electronica Festival, Austria in 2017. The exhibition is now on a 3 year tour with Experimenta’s International Triennial of Media Art. Eremocene will show Australia-wide until 2020.

Sub-Millimetre Human Scale Photogrammetry

QUT partnered with Logemas with the support of an Innovations Connection grant to develop a Full Body Human Photogrammetry System capable of producing 3D digital models of human subjects with sub-millimetre accuracy. The partnership enabled Logemas to expand into the developing market of human photogrammetry systems for biomedical research. As a result, QUT now has digital scanning technologies that can be applied to a wide range of research projects that involve the acquisition and digitisation of physical forms. The project is led by Dr Chris Carter.

Sir John Monash Commemorative Sculpture

This practice-led research project involved the production of a large-scale figurative sculpture of General Sir John Monash, now located in the Sculpture Garden of the Australian War Memorial, Canberra. This work, by Mr Charles Robb, Associate Professor Sarah Holland-Batt and the Billman’s Foundry combined the language of figurative statuary with text drawn from General Sir John Monash’s writings to honour one of Australia’s greatest military and civic leaders. The modelling of the figure and fabrication of the plinth was carried out in the Visual Arts Workshops at QUT over a period of four months in 2017, and cast in March 2018 at the Billman’s Foundry, Victoria in 2018.

Ballet Moves for Adult Creative Health

QUT and Queensland Ballet are undertaking research on the health and wellbeing benefits of ballet for mature adults. This is a multi-stage project to investigate, develop, and disseminate evidence-based practice findings related to the delivery of ballet to active older adults. Stage one of the project critically investigated older adults’ motivations to participate in ballet, the health and wellbeing outcomes for active older adults, and the examination of the teaching practices involved in this delivery. Supported by the Queensland Government's Advance Queensland initiative, the research project was led by Professor Gene Moyle and Dr Anja Ali-Haapala, a graduate of QUT's Doctor of Philosophy (Creative Industries) program.

Human photogrammetry system

The Ballet Moves for Adult Creative Health Stage One Report

The Sir John Monash Commemorative sculpture

Image from Eremocene (Age of Loneliness)


6.0 COMMUNICATION AND MEDIA ENGAGEMENTDuring 2017, the Creative Lab:

• Showcased news and events on the website including research projects and recent publications, events promotion via the Eventbrite platform

• Launched sites on Facebook and Twitter, and

• Showcased research and research outcomes via a range of media outlets.

During 2017, Creative Lab researchers were featured in a range of media stories.

• Dr Keith Armstrong’s work Eremocene was featured in a story by Realtime on the International Triennial of Media Art installation in Melbourne.

• The Conversation published an article by Dr Yanto Browning on how mp3 changed the way we listen to music.

• Dr Donna Hancox spoke to ABC Southern Queensland about new ways of developing regional arts programs.

• Dr Phoebe Hart was published in The Conversation on giving ‘fag hags’ their badge of honour.

• Associate Professor Sarah Holland-Batt and Associate Professor Evonne Miller were interviewed for ABC Radio National Breakfast about their research and associated State Library of Queensland exhibition featuring residents from BallyCara aged care retirement village.

• Associate Professor Sarah Holland-Batt was interviewed by ABC Radio National on her creative work and the editorship of Black Inc’s The Best Australian Poems 2017 and 2016.

• Dr Lee McGowan was published in The Conversation on the history of women’s football in Queensland.

• Professor Gene Moyle spoke to Dance Australia about how dancers can recover from performance and injury setbacks.

• Professor Gene Moyle was quoted in the Courier Mail, ABC Radio Australia, Yahoo 7 News, SBS News, and many international media outlets on the benefits of ballet for older Australians.

• Scope TV road-tested a sensor for improving athletic performance with Professor Gene Moyle.

• The ABC interviewed Mark Ryan on the death of Zombie Godfather, George Romero.

• Dr Mark Ryan was interviewed by ABC Newcastle on why Halloween is becoming more prominent each year in Australia.

• Dr Mark Ryan was interviewed by ABC News Breakfast on why the outback is the go-to setting for Australian horror films.

• ABC Radio Brisbane, Oztix, W3 Live News, Music Max, Brisbane Times, ABC, Channel 10 Eyewitness News, The Courier Mail, The Music, MAX TV, The Sydney Morning Herald, Q Music, RAM Magazine and Celebrity News reported on the mural honouring the legacy of Brisbane punk royalty, The Saints. This was spearheaded by Dr John Willsteed.

• The Courier Mail reported on The Go-Betweens reuniting for the Queensland Music Festival with band member, Dr John Willsteed.

• Dr John Willsteed was interviewed by Ten News on the Freedom Then, Freedom Now Exhibition at the State Library of Queensland.


7.0 EVENT HIGHLIGHTSDuring 2017, the Creative Lab hosted a number of events, both internally focused and public facing.

UNESCO Arts Education Week Seminar Series

The Creative Lab’s Creative Learning and Creative Workforce research team presented a series of seminars from 22-26 May as a part of UNESCO Arts Education Week, which is an arts education advocacy event that draws attention to the role arts education plays in and across many spheres of formal and informal learning in schools, in communities, in universities, in creative industries, in corporate settings and in cultural centres. The seminar topics included: arts and digital learning, the role of play in children’s lives, workforce transitions for theatre production professionals and music-making with low socio-economic communities in India.

Ars Electronica Futurelab Academy

The Ars Electronica FutureLab Academy was launched at QUT in March 2017, by School of Creative Practice researchers Mr Greg Jenkins and Dr Steph Hutchison and Ars Electronica curators Mr Kristefan Minski and Ms Lubi Thomas. The FutureLab Academy offered undergraduate and postgraduate students from across QUT the chance to participate in weekly workshops to produce prototype creative projects for consideration for the Ars Electronica Festival Program in September 2017 under the guidance of these staff. After several months of intensive work in Studio 110, participating students pitched their work to the directors of the Ars Electronica Festival. Subsequently several artworks were presented at the Ars Electronica Festival 2017.

Lecture and workshop with Bill Shannon

The School of Creative Practice and the Creative Lab partnered with Critical Path, Dance Integrated Australia and Ausdance Queensland to host a presentation from interdisciplinary artist, Bill Shannon (USA). Bill is an artist and maker who explores body-centric work through video installation, sculpture, linguistics, sociology, choreography, dance and politics. His workshop enabled creative practice staff and postgraduate students to intersect with his working methods and creative ethos. Bill holds

Music-making in Indian communities

The Ars Electronica Futurelab Academy

Interdisciplinary artist, Bill Shannon


a Guggenheim Fellow in Choreography, a Foundation for Contemporary Art Fellowship in Performance Art, and has worked as a choreographer and performer for Cirque Du Soleil. Bill’s contributions to dance include a very specific movement vocabulary evolved through his creative use of crutches as a child after the discovery of a physical disability that affected his ability to bear weight in his hips.

Guest lecture by Sarah Jane Pell

The Creative Lab hosted a talk by Dr Sarah Jane Pell, Australia’s first female citizen-scientist/artist astronaut candidate and Australia Council Fellow (Emerging and Experimental Arts). The talk was presented in association with QUT’s Robotronica. Dr Sarah Jane Pell consults, produces and performs from sea, to summit, to space. Her mission is to contribute new media design and experimentation as new forms of art, extreme performance research and civilian space analogues. Art and science support mutual discovery.

Super Conductor and the Big Game Orchestra project performance

Super Conductor and the Big Game Orchestra is a strength-based creative technologies project designed to establish a transition pathway model for young people on the autism spectrum from secondary school to university study. This project was led by Associate Professor Michael Whelan. Eleven young people with autism in their final year of school, or first year post-school, worked with a mentoring team of artists, musicians, game developers and designers to create a multiplayer computer game that sent performance commands in real time to an orchestra and sound effects performers. Guest conductors from the audience were invited on stage to use controllers and navigate the game while the orchestra responded in real time to changes on screen. This multi-level multiplayer computer game with live music and sound effects was completed and presented as part of the Queensland Music Festival to a live audience of general public and hard-core gamers.

The project ran for two weeks full-time and in addition to creative mentors, involved participation from University student ambassadors, guidance counsellors, disability advisors and academic staff. Super Conductor and the Big Game Orchestra was also presented as part of the Queensland Music Festival in 2017.

Sarah Jane Pell

Participants in the Super Conductor and the Big Game Orchestra project


Other events hosted by the Creative Lab in 2017 include:

• Creative Learning and Creative Workforce program leader Associate Professor Sandra Gattenhof and Disruptive Technology and Creative Practice program leader Dr Donna Hancox organised the first session in the Creative Lab’s afternoon panel discussion program. Ms Susan Hetherington chaired a discussion in which Associate Professor Gattenhof, Dr Hancox, Professor Helen Klaebe and Andrew Gibbs from Human Ventures suggested that ‘Arts and evaluation are not “dirty words”,’ sharing successful strategies for evaluating the value and impact of cultural practices designed to ignite social change.

• Mr Horst Hörtner, founding member of the Ars Electronica FutureLab, presented a keynote lecture entitled The Future of the Lab, followed by a panel discussion with Professor Ross Harley, Dean of University of New South Wales Art and Design, Sydney and Professor Richard Vella, Director of Collaborative Environments for Creative Arts Research (CeCAR), University of Newcastle. The discussion and question and answer session was moderated by Professor Gene Moyle, Head of the School of Creative Practice, at the Creative Industries Faculty, QUT. The keynote lecture attracted over 100 participants, including industry collaborators and QUT researchers.

• The Creative Lab and the QUT Digital Media Research Centre, in conjunction with Professor Jane Shakespeare-Finch from the Faculty of Health, presented a special screening of the film Shock Room by Professor Kathryn Millard. This masterclass in creative practice as research featured the screening followed by a panel discussion and question and answer session with the filmmaker, Professor Kathryn Millard, Macquarie University, Fulbright Visiting Fellow Professor Pat Aufderheide, American University, and Distinguished Professor Stuart Cunningham, QUT.

• The Inaugural Creative Industries Indigenous Seminar Series was launched. Convened by Dr Sandra R Phillips, scholarship on disciplinary and inter-disciplinary knowledges and perspectives relevant to 21st century creative industries were presented and discussed. Each seminar featured a presentation from an expert invited Indigenous researcher who engaged with the audience and a relevant QUT discussant. Two seminars included researchers from the Creative Lab; Dr Keith Armstrong as the discussant to Fiona Foley’s presentation Biting the Clouds, and Professor Gene Moyle responded to Distinguished Professor Aileen Moreton-Robinson’s presentation on The possessive logic of patriarchal white sovereignty: resisting reconciliation. The seminars ran in April, June, September and December.

• The Creative Lab hosted a Music Biz Forum featuring Maggie Collins, Executive Programmer for BIGSOUND in Brisbane, and Jeremy Neale, artist, manager and publicist, as well as keynotes from young and successful music industry professionals, including QUT undergraduate and graduated students. The event featured live music and networking around ‘making music into business’. The Music Biz Forum was led by Creative Learning and Creative Workforce program leader Dr Kristina Kelman.

• The Creative Lab hosted a public lecture by Mr Maurice Benayoun, an exhibiting artist in Why future still needs us: AI and humanity, an Art Center Nabi (Korea) touring exhibition, which was on show at the QUT Art Museum in 2017. In the lecture entitled Artificial Intelligence, All too Human, Mr Maurice Benayoun explored how when we are scared by the rise of artificial intelligence, we are scared by ourselves; ‘our inner alien’, because we know, and we forget, that what we call ‘artificial’ is ‘human made’. Maurice spoke about why we need human creativity in the age of artificial intelligence, because after all, artificial intelligence is human ‘by design’, and we are still at the stage of development when we can ask questions about the nature of human emotions and the role of humans in the age of artificial intelligence.


8.0 LAB RESEARCH FUNDING SUPPORT

Boost and Seed Funding Schemes To support the development of new creative research the lab established two competitive funding rounds, one to support researchers (Signature Projects) and a second to support PhD students (Project Boost Funding). Seed funding focused on supporting projects that would take advantage of new technical infrastructure in Studio 110.

Seed Funding for Signature ProjectsDuring 2016 the Creative Lab called for submissions from QUT staff to undertake research projects beginning in 2017 within the newly built Studio 110. Three amounts of $15,000 were awarded for this Signature Project funding.

Alone Together by Dr Clare Dyson (choreographer). During February 2017, Studio 110 featured Alone Together, an interactive dance and sound installation work reactive to specific audiences, which looked at ideas of how we connect and disconnect. It utilised responsive technologies to create an immersive experience that varied for each performance. The work was a hybrid of 20 audience members, a solo dancer, interactive lighting, immersive text and an interactive sound score. Following development as a Creative Lab Seed Project, Alone Together was presented at Dance Massive, as a potential touring performance for producers and venues around Australia.

Eremocene (Age of Loneliness) by Dr Keith Armstrong (artistic director). During May 2017, Studio 110 featured Eremocene, supported by Mr Luke Lickfold (Sound Composition), and Mr Matt Davis (Image Composition). This immersive installation revealed a mysterious, internally glowing creature, witnessed from different vantage points and views, moving uncannily, in fluid motion within a dense blackness with enveloping sound, vision and movement as one, as this ‘life-like’, ‘bio-morphic’ form continually faded in and out of perception. Following its Creative Lab Seed Project development, Eremocene was presented in 2017 at the Ars Electronica festival in Austria, Experimenta Triennial in Melbourne, and the Vrystaat Kunstefees/Arts Festival/Tsa-Botjha in South Africa.

The Space Between by Ms Avril Huddy (artistic director). During June 2017, Studio 110 featured The Space Between, the first creative development of a new work by choreographer Ms Avril Huddy in collaboration with Ms Vanessa Mafe-Keane, Mr Paul Van Opdenbosch, Dr David Pyle, and Mr Trendt Boe. This research investigated the role of marker-based motion capture technology in creating computer-generated imagery for use in live dance performance. The team made use of real-time rendering

The immersive installation Eremocene (Age of Loneliness)

Image from Alone Together


capabilities within new motion capture technology to activate synergistic interactions between artistry and technology, and demonstrated these synergies in a new live performance piece.

2017 RecipientsEarly in 2017 the Creative Lab called for submissions for a further round of Signature Project funding in Studio 110.

The successful recipients of this funding are:

Associate Professor Sandra Gattenhof, Dr Donna Hancox, Dr Lee McGowan, Mr Sorin Oancea, Mr Nathan Sibthorpe, and Mr Matt Strachan, for a project entitled Tasting Words. Tasting Words investigates how individuals can develop a sense of community and shared memory by engaging transmedia and locative storytelling practices with geo-located mapping data that results in a performative durational installation. To date, Tasting Words has developed through two creative development phases culminating in a work-in-progress shown in September 2017.

Dr Stephanie Hutchison, Professor Gene Moyle, Dr John McCormack, Mr Yanto Browning and Mr Sorin Oancea for a project entitled Physical Thinking Prototypes: Private Dancer.

Physical Thinking Prototypes (PTP) was launched from out of the work undertaken in meta: discourses from dancers inside action machines. PTP created a series of digital experiments to direct dancers/participants’ attention within a range of digitally enabled systems. The systems were interactive environments of abstract forms, physical forms of differing bodily morphologies, and incorporated artificially intelligent agents, spatialized sound, Virtual Reality, EEG, holographic technologies, and electrodes. Systems were designed and constructed from conversations around experience and the desired affects sought.

Project Boost Funding

2017 RecipientsEarly in 2017 the Creative Lab called for further proposals for project boost funding. Four amounts of $1,000 each were awarded to the following students.

Joey Kingman received funding for interstate travel and resources for her project exploring the medical procedure of Naltrexone implants. The primary output for the project was a Q1 publication that explains the medical procedure, treatment, its efficacy and its place in addiction pharmacology both here in Australia and overseas. The publication also informed a chapter of Joey’s thesis for her PhD.

Morgan Batch received funding for travel and resources for her project to interview directors and playwrights of contemporary performance works to explore the creative processes relevant to the staging of dementia. The approach was to utilize theatre conventions beyond story and language involving various performance mediums, and different ways of communicating meaning. Interview data contributed to the research of additional knowledge providing insight into the motivations behind aesthetic choices, which was a gap in the literature.

The Tasting Words project


Chris Handran received funding for travel and resources for his project which explores the creative intersections between art and science. The project funding enabled Chris to undertake research travel relevant to his PhD, in particular, related to the iconic modernist artwork the Light Space Modulator, by Laszlo Moholy-Nagy. The opportunity to see the original light space modulator in person was invaluable for the reconstruction of this object, as was the opportunity to undertake archival research at the Getty Research Institute and Yale University Library. In addition to researching Moholy-Nagy’s work, the research trip enabled Chris to see important surveys of related light-based art by James Turrell and Thomas Wilfred. The first iteration of the object was displayed at a new Brisbane Art Space, Kuiper Projects. Chris is in the process of refining the object before producing the stereoscopic video and motion capture components of the project. All components of the project will be presented in his final PhD exhibition in January 2019.

Deanna Borland-Sentinella received funding for travel and workshop facilitation and the documentation of the workshop for her project in creative innovation in the field of drama. The Applied Theatre workshops combined ideas from Futures Thinking and Community Development with an aim to assist Indo-Pacific young people to feel agency and hope. Project outputs included photographs and video footage of the participants in Dili, Timor-Leste, with the performative data being showcased in Studio 110, and contributing to Deanna’s final PhD outputs.

The object on display at Kuiper Projects

Workshop participants in Dili


9.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS - GRANTS

New competitive grants awarded 2017

Project Title Australian cultural and creative activity: A population hotspot analysis

Project Type ARC Linkage

Project Team Prof Stuart Cunningham, Prof Greg Hearn, Prof Phillip McIntyre, Prof Patrik Wikström, Dr Susan Kerrigan

Project Summary This project aims to grasp the contemporary dynamics of cultural and creative activity in Australia. It represents a major innovation, bringing together population-level and comparative studies of local cultural and creative activity. The comprehensive project will advance the integration of quantitative and qualitative research strategies, painting a complete national picture, while also exploring the factors that are producing local and regional creative hotspots. The project will deliver outputs such as reports and forums that are framed in close collaboration with partners in order to deliver outcomes such as better-targeted policy and program initiatives. This will provide national cultural and policy benefits from placing the creative sector in front of policy makers as a vital contributor to high growth, labour-intensive economic activity in the context of the Australian economy in transition.

Total Amount Awarded $491,006 (ARC) $150,000 (Partners)

Partners Arts Queensland, Creative Victoria, Arts NSW, Arts SA, Department of Culture and the Arts

Project Title Presenting Eremocene (Age of Loneliness) - Curated into the 2017 Ars Electronica Festival

Project Type Australia Council for the Arts

Project Team Dr Keith Armstrong, Mr Luke Lickfold, Mr Matt Davis

Project Summary The project is foregrounded by ten years of sustained collaborations with life scientists, ecologists and sustainability professionals, in which reflections upon both vulnerability and resilience of marine, terrestrial and human ecologies, as they relate to todays ‘overheated’ increasingly artificially intelligent worlds.

Total Amount Awarded $21,250.00

Project Title Digging up the History of Australian Horror Cinema: Delineating the Interwoven Strands of Horror, Transnational-Horror, Ozploitation and Australian Gothic Movies from the 1970s to Now

Project Type AFIRC Research Fellowship, (RMIT)

Project Team Dr Mark Ryan

Project Summary Digging up the history of Australian horror cinema: delineating the interwoven strands of horror, transnational-horror, Ozploitation and Australian Gothic movies from the 1970s to now will provide a detailed account of the Australian horror genre’s history and the intersections and interrelations between horror, Australian Gothic and Ozploitation films.


New commercial research grants awarded 2017

Project Title RC - Human Photogrammetry Research Project

Project Type Department of Industry, Innovation and Science (DIIS) (AUS)

Project Team Dr Chris Carter, Mr Trendt Boe, Alex Muir

Project Summary This project investigates new applications of human photogrammetry across arts and health contexts.

Total Amount Awarded $100,000

Industry Partner Logemas Pty Ltd

Project Title General Sir John Monash Commemorative Sculpture Project - Australian War Memorial

Project Type Australian War Memorial

Project Team Mr Charles Robb, A/Prof Sarah Holland-Batt, Alex Torrens

Project Summary This project commissions the artist-researchers to create a new sculpture of General Sir John Monash for the Australian War Memorial.



New consultancy grants awarded 2017

Project Title Advance Queensland Knowledge Transfer Partnership with the Queensland Ballet Company

Project Type Advance Queensland Knowledge Transfer Partnerships

Project Team Prof Gene Moyle, Dr Anja Ali-Haapala, Ms Dilshani Weerasinghe, Prof Graham Kerr

Project Summary This project investigates the benefits of dance classes for older adults as part of an Advance Queensland Knowledge Transfer Partnerships project.


Amount to QUT $9,000

Partners Queensland Ballet

Project Title Eaglehawk IDC

Project Type Australia Council for the Arts

Project Team Dr Rohan Wilson

Project Summary This project aims to discover whether future fiction can put reasonably abstract concepts like sea-level rise and mass migration into a human scale, in the same way that historical fiction can – to find out if there are ways to write about the future that avoid the kitsch of genre sci-fi and instead create real, living worlds that appear as extensions of our own present-day world.


Project Title Bauhaus Australia: Transforming Education in Art, Architecture and Design

Project Type ARC Discovery Part Transfer of Funds

Project Team Prof Philip Goad, Prof Andrew McNamara, Dr Ann Stephen, Prof Dr Isabel Wunsche, Prof Harriet Edquist

Project Summary This project aims to examine the influence of Bauhaus-inspired émigrés on Australian cultural life. An under-examined but profound influence on Australian cultural history was the forced migration of émigré and refugee modernists from Germany and central Europe, who transformed art, architectural and design education from the 1930s to the 1970s. German and central European training, inspired by the Bauhaus, centred on systematic approaches to pictorial method and design, colour theory and art education, all underwritten by an all-encompassing social ambition. This project aims to provide a new cross-disciplinary history of modernism in Australia that shifts focus from solo contributions to the networks of education, where modernism’s impact was most public, widespread and influential.


Partners University of Sydney, RMIT, University of Melbourne, Jacobs University

Project Title Developing innovative community consultation through co-design processes

Project Type Smithsonian Fellowship

Project Team Dr Donna Hancox, Ms Kim Robledo-Diga

Project Summary This project investigates the philosophy underpinning, and the impact of, co-design community consultation practices. It will also examine the potential of digital technology to create, deliver and disseminate high impact arts projects that can be deployed in a regional arts framework for Queensland. The Smithsonian Cooper Hewitt Design Museum has created and delivered such projects as part of their core business to incorporate design processes in daily life to improve the outcomes for communities and increase civic participation.



Project Title Collaborative Embodied Movement Design Network

Project Type ARC LIEF

Project Team Dr Keith Armstrong, Dr Kim Vincs, Prof Saeid Nahavandi, Dr Frank Vetere, Prof Bruce Thomas, Prof Simon Biggs, A/Prof Doug Creighton, Dr Scott deLahunta, Dr Adam Nash, Dr Petra Gemeinboeck, Dr Thomas Chandler, Dr Troy Innocent, Dr John McCormick, Dr Jordan Vincent, Dr Robert Vincs

Project Summary This project aims to create a national collaborative network of arts/technology researchers to study the creative potential of movement-based human computer interaction systems. Movement-based technologies such as augmented and virtual reality, haptic and robotic interfaces form the cutting edge of human computer interaction development. This project will develop a new infrastructure to enable researchers to work together to improve these systems from an embodied perspective. This is expected to benefit industry, commerce, education, health care and the arts.


Amount to QUT $16,000

Partners Deakin University, University of Melbourne, Monash University, University of NSW, RMIT, Swinburne, University of SA

Project Title AusStage Phase 6 Visualising Venues in Australian Live Performance Research

Project Type Australian Research Council (ARC) – LIEF (Part Transfer)

Project Team Dr Julian Meyrick, Dr Joanne Tompkins, Prof Rachel Fensham, A/Prof Maryrose Casey, Dr Glenn D'Cruz, Dr Gillian Arrighi, Dr Jonathan W. Marshall, Prof John O’Toole, A/Prof Bree Hadley, and others

Project Summary This project aims to construct a two- and three-dimensional visual interface and digital curatorial space, improving the existing AusStage open-access live performance database. This new interface, ‘Phase 6’, will create visualisation infrastructure, map relationships between Australian artists, audiences and venues, and collaborate with leading performing arts collections to fost4er compatible models and projects. Expected benefits are better understanding of the physical parameters of live performance and improved decision-making for metropolitan and regional communities about managing theatre sites and venues.


Amount to QUT $20,000.00

Partners University NSW, University of Newcastle, University of Sydney, University of Wollongong, Deakin University, La Trobe University, Monash University, University of Melbourne, Griffith University, University of Queensland, Edith Cowan University, Flinders University,

Continuing commercial research grants 2017

Project Title Internationalising and entrepreneurialising the music curriculum in Higher Education

Project Type Department of Foreign Affairs and Trade (DFAT)

Project Team Dr Kristina Kelman, Adj/Prof Philip Graham, Mr Yanto Browning, Ms Karen O'Brien

Project Summary This project centres on an Indian version of Indie 100, an intensive music, recording program that produces 100 new songs in 100 hours; focuses local, national and international attention on the music of emerging artists; generates data about emerging online music markets; and feeds into entrepreneurial pedagogies.


Continuing collaborative research grants 2017 (CRC)

Project Title Utilisation Project Education, Knowledge and Translation Project

Project Type Autism CRC Limited

Project Team A/Prof Michael Whelan, Dr Keely Harper-Hill, Dr Jeremy Kerr, Dr Oksana Zelenko, Dr Wendi Beamish, Ms Robyn Synnott

Project Summary This project uses co-design sessions with teachers, specialist support staff, school administrators and parents to engage these stakeholders in creative exploration of communication pathways that facilitate learning and facilitate improved classroom practice.



10.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS - STUDENT COMPLETIONS

Student Completions Name Supervisors Thesis Title

Anderson, Jennifer R A/Prof Kari Gislason (Principal) Dr Naomi Malouf (Associate)

Double helix: Mapping the generic ethical codes of creative nonfiction writing and medical writing "THIS WILL PROBABLY HURT" stories from my student nurse training

Booth, Anastasia G Dr Courtney Pedersen (Principal) Prof Andrew McNamara (Associate)

Playing with me: Feminine perspectives in fetishism and contemporary art

Bradley, Lynne M Prof Paul Makeham (Principal) Adj/A/Prof Sean Mee (Associate)

Found in translation: Transcultural performance practice in the 21st Century

Cliff, Cameron R Dr Jon Silver (Principal) D Prof Stuart Cunningham (Associate)

Transmedia storytelling strategy: How and why producers use transmedia storytelling for competitive advantage

Ellis, Hele Dr Leah King-Smith (Principal) Dr Victoria Garnons-Williams (Associate)

Decentering the subjective: The transcendent experience of formlessness in an abstract Expressionist painting practice

English, Lawrence P Dr Keith Armstrong (Principal) Adj/Prof Philip Graham (Associate)

The listener's listening

Groenningsaeter, Anders Kile

Dr Gavin Carfoot (Principal) Mr Yanto Browning (Associate)

Musical bedroom: Models of creative collaboration in the bedroom recording studio

Jeffrey, Erica R Prof Gene Moyle (Principal) Ms Rachel Pedro (Associate) Prof Roland Bleiker (External) Ms Lesley Pruitt (External)

Dance in peacebuilding: Space, relationships, and embodied interactions

Kirk, Grace E A/Prof Sarah Holland-Batt (Principal) Dr Rohan Wilson (Associate)

Postcolonial privilege in the Pacific: Interrogating tropes in literature set in Vanuatu

Laube, Jacob M Dr Gavin Carfoot (Principal) Mr Yanto Browning (Associate)

Understanding artist development: How do producers support the development of artists through the production process?

Leong, Jacina T Dr Mark Pennings (Principal) Dr Jaz Choi (Associate)

'When you can't envision, you can't give permission': Learning and teaching through a STEAM network

Luttrell, Briony M Adj/Prof Philip Graham (Principal) Dr Kiley Gaffney (Associate)

A cultural semantics of string arrangement for recorded popular music: A model for analysis and practice

McLay, Grant A Prof Gene Moyle (Principal) Dr Laurent Frossard (Associate) Dr Lee McGowan (Associate) A/Prof Carol Brown (External)

Movement capture: A choreographic re-interpretation of the physical dynamics and sequential movements of a rugby union match

Narain, Natasha Dr Courtney Pedersen (Principal) Dr Leah King-Smith (Associate)

Mapping a Liminal: Nurturing of Kantha into contemporary art

Rea, Antonietta R Dr Leah King-Smith (Principal) Dr Mark Pennings (Associate)

The enchanted drive: Landscape in motion

Somogyi, Emma Dr Mark Ryan (Principal) Dr Lesley Hawkes (Associate)

The moral undead: Representations of the soul in contemporary vampire film and television

Vilmanis, Elizabeth J Dr Clare Dyson (Principal) Prof Susan Street (Associate) A/Prof Bree Hadley (Mentoring)

Seeing the chameleon: Barriers to making dance work for independent dance creators in Brisbane

Volkova, Elena Prof Helen Klaebe (Principal) Dr Julie-Anne Carroll (Associate)

Operation 'homecoming': Exploring the capacity of transmedia storytelling to support integration of the female Defence Force personnel back in to civilian life

Willsteed, Terence J A/Prof Christy Collis (Principal) Adj/Prof Philip Graham (Associate) Dr Ross Gibson (External)

It's not the heat, it's the humidity: Developing a practice-based method for cultural history curation and dissemination

Padua, Daniel A Dr Jason Sternberg (Principal) Dr Gavin Carfoot (Associate)

The family 'playlist': Popular music, age and identity


11.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS - PUBLICATIONS

BOOKS1. Hadley, Bree J. (2017) Theatre,

Social Media, and Meaning Making. Palgrave Macmillan.

2. Holland-Batt, Sarah (Ed.) (2017) The Best Australian Poems 2017. Black Inc, Carlton, Vic.

3. Gattenhof, Sandra Jane (2017) Measuring Impact: Models for Evaluation in the Australian Arts and Culture Landscape. Palgrave, London, United Kingdom.

4. Carson, Susan & Pennings, Mark (Eds.) (2017) Performing Cultural Tourism: Communities, Tourists and Creative Practices. New Directions in Tourism Analysis. Routledge, London.

5. Ryan, Mark David & Goldsmith, Ben (Eds.) (2017) Australian Screen in the 2000s. Palgrave Macmillan, Cham, Switzerland.

6. Seevinck, Jennifer (2017) Emergence in Interactive Art. Springer Series on Cultural Computing. Springer International Publishing, Switzerland.

BOOK CHAPTERS1. Carfoot, Gavin, Millard, Bradley,

Bennett, Samantha, & Allan, Christopher (2017) Parallel, series, and integrated: Models of tertiary popular music education. In Smith, Gareth Dylan, Moir, Zack, Brennan, Matt, & Kirkman, Phil (Eds.) The Routledge Research Companion to Popular Music Education. Routledge, London, pp. 139-150.

2. Hadley, Bree J. (2017) Putting prejudices on the spot and in the spotlight: The risks of politically motivated public space performance practices. In O’Grady, Alice (Ed.) Risk, Participation, and Performance Practice: Critical Vulnerabilities in a Precarious World. Palgrave Macmillan, London, pp. 57-78.

3. Hancox, Donna (2017) Amplified stories: Digital technology and representations of lived experiences. In Gair, Susan & van Luyn, Ariella (Eds.) Sharing Qualitative Research: Showing Lived Experiences and Community Narratives. Routledge (Taylor & Francis Group), Oxon, United Kingdom and New York, United States of America, pp. 204-218.

4. Hancox, Donna & Klaebe, Helen G. (2017) Transmedia storytelling. In Moy, Patricia (Ed.) Oxford Bibliographies in Communication. Oxford University Press, New York; London.

5. Hart, Phoebe (2017) Aberrancy and autobiographical documentary. In Brylla, Catalin & Hughes, Helen (Eds.) Documentary and Disability. Palgrave MacMillan, United Kingdom, pp. 79-93.

6. Holland-Batt, Sarah (2017) Sarah Holland-Batt. In Munden, Paul (Ed.) Strange Cargo: Five Australian Poets. Smith/Doorstop, UK, pp. 81-94.

7. McGowan, Lee (2017) Football and its Fiction. In Hughson, John, Moore, Kevin, Spaaij, Ramón, & Maguire, Joseph (Eds.) Routledge Handbook of Football Studies. Routledge, New York, NY, pp. 222-235.

8. McNamara, Andrew E. & Stephen, Ann (2017) A cartography of desires and taboos: The modern primitive and the antipodes. In Meecham,

Pam (Ed.) A Companion to Modern Art. Wiley Blackwell Publishing Ltd., Hoboken, N.J, pp. 37-53.

9. McNamara, Andrew E., Stephen, Ann, & Wunsche, Isabel (2017) Case studies of modernist refugees and emigres to Australia, 1930-1950: Light, colour and educational studies under the shadow of fascism and war. In Cruzeiro, Cristina Pratas (Ed.) Migrations: Migration Processes and Artistic Practices in a Time of war: From the 20th Century to the Present. Belas-artes, Lisbon, pp. 271-289.

10. Pennings, Mark (2017) Private/public - local/global: David Walsh’s Museum of Old and New Art and the Tasmanian tourist industry. In Carson, Susan & Pennings, Mark (Eds.) Performing Cultural Tourism: Communities, tourists and creative. Routledge, London

11. Ryan, Mark David (2017) Australian blockbuster movies. In Ryan, Mark David & Goldsmith, Ben (Eds.) Australian Screen in the 2000s. Palgrave Macmillan, Cham, Switzerland, pp. 51-76.

12. Ryan, Mark David (2017) Australian horror movies and the American market. In Danks, Adrian, Gaunson, Stephen, & Kunze, Peter (Eds.) American-Australian Cinema: Transnational Connections. Palgrave Macmillan, London and New York, pp. 163-182.

13. Ryan, Mark David & Goldsmith, Ben (2017) Australian screen in the 2000s: An introduction. In Ryan, Mark David & Goldsmith, Ben (Eds.) Australian Screen in the 2000s. Palgrave Macmillan, Cham, Switzerland, pp. 1-21.

14. Whelan, Michael (2017) Promoting social inclusion, equity and well-being for young people with autism spectrum condition: A community music facilitator (and parent) perspective. In Sunderland, Naomi, Bendrups, Dan, Lewandowski, Natalie, & Bartleet, Brydie-Leigh (Eds.) Music, Health, and Wellbeing: Exploring Music for Health Equity and Social Justice. Palgrave Macmillan.


JOURNAL ARTICLES 1. Bolland, Craig (2017) Stylistics in

the creative writing curriculum: A problem-posing approach. Journal of Writing and Writing Courses, 21.

2. Hadley, Bree J. & Crystal, Clark (2017) Style, stage presence, and the poetic subversion of stereotypes: A case study of Blue Roo Theatre Company. Social Alternatives, 36(4).

3. Hadley, Bree J. (2017) Disability theatre in Australia: A survey and a sector ecology. Research in Drama Education: The Journal of Applied Theatre and Performance, 22(3), pp. 305-324.

4. Hadley, Bree J. (2017) Disability, sustainability, austerity: The Bolshy Divas’ arts-based protests against policy paradoxes. CSPA Quarterly, 18, pp. 34-37.

5. Hancox, Donna (2017) From subject to collaborator: Transmedia storytelling and social research. Convergence, 23(1), pp. 49-60.

6. Haynes, Rachael Anne (2017) Artist-led: The role of artist-run activity for visual arts graduates. NiTRO: Non Traditional Research Outcomes, Issue 9.

7. Holland-Batt, Sarah (2017) What’s in a name?: Gender and the generation of ‘young female poets’. eTropic: Electronic Journal of Studies in the Tropics, 16(2), pp. 82-88.

8. Huddy, Avril (2017) Digital technology in the tertiary dance technique studio: Expanding student engagement through collaborative and co-creative experiences. Research in Dance Education, 18(2), pp. 174-189.

9. Hanna, Katherine, Hanley, Anne, Huddy, Avril, McDonald, Michael D., & Willer, Fiona (2017) Physical activity participation and nutrition and physical activity knowledge in university dance students. Medical Problems of Performing Artists, 32(1), pp. 1-7.

10. Lynch, Daniel, McGowan, Lee, & Hancox, Donna (2017) Iterative multimodality: An exploration of approaches to transmedia writing. TEXT: Journal of Writing and Writing Courses, 21(2).

11. Miller, Evonne, Donoghue, Geraldine, Buys, Laurie, & Holland-Batt, Sarah (2017) Inside aged care: A photographic and poetic exhibition of laughter, loss and leisure. Australian Journal of Dementia Care, 6(3), pp. 32-35.

12. Cushing, Debra Flanders & Pennings, Mark W. (2017) Potential affordances of public art in public parks: Central Park and the High Line. Proceedings of the Institution of Civil Engineers - Urban Design and Planning, 170(6), pp. 245-257.

13. Ryan, Mark David (2017) Australian cinema studies: How the subject is taught in Australian universities. Journal of Australian Studies, 41(4), pp. 518-535.

14. Ryan, Mark David and Goldsmith, Ben. (2017). Returning to Australian Horror Film and Ozploitation Cinema Debate. Studies in Australasian Cinema 11 (1), 2-4.

15. Ryan, Mark David and Goldsmith, Ben. (Ed.) (2017). Horror Movie subtheme: Film and History Association of Australia and New Zealand (FHAANZ) Conference Special Issue, Studies in Australasian Cinema, 11 (1).

16. Whelan, Michael (2017) Inspiration is power: Voices of information and advocacy for the reader of autism narratives. Social Alternatives, 36(4), pp. 44-49.

NON-TRADITIONAL RESEARCH OUTPUTS1. Armstrong, Keith (2017) Future-

Future? [Exhibition/Event]

2. Armstrong, Keith M. (2017) O Tswellang. [Digital/Creative Work]

3. Armstrong, Keith M. (2017) The Mesh. [Exhibition/Event]

4. Armstrong, Keith M., Dean, Roger, & Lawson, Stuart (2017) Inter-State. [Digital/Creative Work]

5. Armstrong, Keith M., English, Lawrence, & Lickfold, Luke (2017) Seasonal. [Digital/Creative Work]

6. Armstrong, Keith M., Lickfold, Luke, & Davis, Matthew (2017) Eremocene (age-of-loneliness). [Digital/Creative Work]

7. Armstrong, Keith M., Maphalane, Ellen/Mokoena, Phantsi, Velile, Mofana, Mary, & Venter, Anita (2017) Seven Stage Futures. [Festival]

8. Armstrong, Keith M., Vincent, Charlotte, & Webster, Guy (2017) Shifting dusts. [Digital/Creative Work]

9. Browning, Yanto, Jenkins, Greg, & Strachan, Matthew (2017) Synapsense. [Performance]

10. Browning, Yanto & Jenkins, Greg (2017) Background Noise. [Live Performance (Music)]

11. Browning, Yanto, Arthurs, Andy, Donovan, Jared, Roberts, Jonathan, Hutchison, Stephanie, and others (2017) The Travelling Garden of Life. [Performance]

12. Gislason, Kari (2017) Exploring Southern Iceland: Eyjafjallajokull and Skardshlid. [Textual Work]

13. Hancox, Donna & Finch, Matt (2017) Everyday Stories and Creativity: Regional Queensland Transformative Technology. [Textual Work]

14. Haynes, Rachael Anne (2017) Project for future alternatives. [Exhibition/Event]

15. Haynes, Rachael Anne (2017) Troubling language. [Visual Artwork]

16. Haynes, Rachael Anne, Pedersen, Courtney Brook, Coombs, Courtney, & Franzmann, Caitlin (2017) RIGHT NOW! [Visual Artwork]

17. Holland-Batt, Sarah (2017) Light years. [Textual Work]


18. Holland-Batt, Sarah (2017) 5 poems by Sarah Holland-Batt. In Munden, Paul (Ed.) Strange Cargo: Five Australian Poets. Smith/Doorstop, UK, pp. 81-94. [Textual Work]

19. King-Smith, Leah & King-Smith, Duncan (2017) Mill Binna. [Exhibition/Event]

20. Polson, Debra & Bulley, Kiara (2017) The Virtual Fashion Studio - An experiment in design innovation and future retail experiences. [Digital/Creative Work].

21. Polson, Debra & Deen, Terry (2017) The Marvel cinematic universe mixed reality mobile experience. [Digital/Creative Work].

22. Polson, Debra & Kerr, Jeremy (2017) Decoding the Marvel Cinematic Universe. An interactive data visualisation tool for exploring categories and connections between films, characters, artefacts and attributes. [Digital/Creative Work]

23. Polson, Debra (2017) ScuttleBot Mayhem: Robots, sensors and collaborative play. [Digital/Creative Work]

24. Polson, Debra (2017) Virtual Mannequins: Demonstrating the future of retail experiences. [Digital/Creative Work]

25. Polson, Debra, Devitt, Kate, & Perez, Tristan (2017) A scenario-based data simulator: Supporting weed management decisions for cotton farmers. [Digital/Creative Work]

26. Rieger, Janice & Hutchinson, Stephanie (2017) Slow.[Film/Video]

27. Roche, Jenny, Brown, Carol, Gibson, Ruth, Martelli, Bruno, Scoones, Russell, & McLay, Grant (2017) We are here and we are everywhere at once (WAHAWAEWAO). [Exhibition/Event]

28. Whelan, Michael, Browning, Yanto, & Arthurs, Andy (2017) Super Conductor and the Big Game Orchestra. [Digital/Creative Work]

REPORT1. Gattenhof, Sandra & Seffrin,

Georgia (2017) Evaluation of Australian Performing Arts Market 2014-2018 Executive Summary 2017. Queensland University of Technology, Brisbane, QLD.

2. Gattenhof, Sandra Jane & Saunders, John (2017) National Advocates for Arts Education (NAAE) Submission to the Parliamentary Inquiry into innovation and creativity: workforce for the new economy. House of Representatives Standing Committee on Employment, Education and Training, Canberra, ACT.

3. Gattenhof, Sandra Jane, Seffrin, Georgia, & Grant-Iramu, Michelle (2017) Evaluation of Australian Performing Arts Market 2014-2018: APAM Inter-Year Report 3 2017. (Unpublished)

4. Gattenhof, Sandra Jane, Seffrin, Georgia, & Grant-Iramu, Michelle (2017) Evaluation of Australian Performing Arts Market 2014-2018 - Year Four Interim Report. (Unpublished)

5. Hamilton, Grant S., Swann, Levi, Kutty, Sangeetha, Hearn, Gregory N., Nayak, Richi, Rittenbruch, Markus, et al. (2017) Horizon Scan 2: April 2017. Rural Industries Research and Development Corporation, Australia.

6. Hamilton, Grant S., Swann, Levi, Kutty, Sangeetha, Hellens, R.P., Hearn, Gregory N., Nayak, Richi, et al. (2017) Horizon Scan 3: July 2017. Rural Industries Research and Development Corporation, Australia.

7. Sofronoff, Kate, Kavanaugh, Lydia, O’Moore, Liza, Attwood, Tony, Richdale, Amanda, Whelan, Michael, et al. (2017) Supporting staff and students on the autism spectrum in tertiary settings: The development of an interactive website. (In Press)

OTHER1. Gattenhof, Sandra Jane &

Saunders, John Nicholas (2017) National Advocates for Arts Education (NAAE) Submission to Review to Achieve Educational Excellence in Australian Schools. (Unpublished)

2. Gattenhof, Sandra Jane (2017) Challenging the prevalence of ‘Datastan’ in arts and cultural evaluation. NiTRO: Non Traditional Research Outcomes, March (02).

3. Gray, Emily, Blaise, Mindy, & Knight, Linda (2017) A different kind of academic performance: Using the arts to address sexism in Australian universities. EduResearch Matters, March (8).

4. Ryan, Mark David & Goldsmith, Ben (2017) Returning to Australian horror film and Ozploitation cinema debate [Introduction]. Studies in Australasian Cinema, 11 (1), pp.2-4.

Summer School participants, 2017

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