Social and Behavioral Sciences Commons^™

'Is A True Story Always True?' : An Approach To Fictionalizing Matthew Flinders' Narrative Of Tom Thumb's Cruize To Canoe Rivulet, Catherine Mckinnon

Faculty of Creative Arts - Papers (Archive)

First-person narrations of historical events are powerful. Yet readers, gripped by the story, often neglect to question the narrative form. What strategies guided their progression through the story? Were those strategies employed to shape their judgments about the people and events portrayed? One of the tales in the creative component of my recently completed practice-led PhD was based on Matthew Flinders’ Narrative of Tom Thumb’s cruize to Canoe Rivulet (Flinders 1985): a first-person account of the exploration trip Flinders, George Bass, and Bass’s servant, William Martin, took along the south coast of New South Wales. I was writing a fictional …

Appropriated Circumstances, Derek J. Kreckler

Faculty of Creative Arts - Papers (Archive)

Two billboards by artist Derek Kreckler seek to do just that. These temporary billboard works began with the word 'appropriation', referencing the appropriation of Indigenous land, images, and culture by the first European settlement in 1788 and the broader appropriations in the world of the art.

Roy takes a break after showing Kelton the best fishing spots (detail) with Roy Kennedy and Kelton Pell sitting at APN billboard site, Waterfall, NSW; Appropriated Circumstances, 2012

Future Frameworks: Towards A Strategic Plan For The Visual Arts And Museum Sector In Nsw, Jennie A. Lawson, Amanda Reynolds

Faculty of Creative Arts - Papers (Archive)

The 2009 review of Museums and Galleries NSW (M&G NSW) recommended the development of a strategic plan for the visual arts & museum sector. One of the key recommendations of this review noted that with the growth of the sector over the previous ten years and a more strategic approach being adopted by Arts NSW, changes in the sector environment, as well as the substantially increased engagement of local government, it would be appropriate to undertake work in the development of the sector.

Implementing this key recommendation, Arts NSW commissioned Professor Amanda Lawson to undertake strategic research, a needs analysis …

Oral History And The Radio Documentary/Feature: Introducing The 'Cohrd' Form, Siobhan A. Mchugh

Faculty of Creative Arts - Papers (Archive)

In an era when audio is increasingly associated with three-minute digital storytelling, the use of crafted oral history in long-form radio narratives deserves to be recognized as a specific genre: the ‘COHRD’ (Crafted Oral History Radio Documentary), a blend of oral history, art and radio journalism. The author, a long-term practitioner of both disciplines, compares the theory and practice of oral history interviewing and the narrative concerns of the radio documentary/feature producer. The article considers how oral history may be enhanced by imaginative treatment and careful crafting, to yield a hybrid COHRD form. This combines the creative scope of the …

Women In Theatre, Elaine Lally, Sarah Miller

Faculty of Creative Arts - Papers (Archive)

This report was commissioned in July 2011 by the Australia Council for the Arts commissioned to bring the research on the issue of women in creative leadership in Australia up to the present day, and provide a basis for the sector to discuss these issues and to reach agreement on some strategies to address the situation. It gathers together quantitative and qualitative information on the continuing gender disparities, and attempts to identify structural barriers and potential levers for addressing entrenched inequalities.

Attending To Anthony Mccall's Long Film For Ambient Light, Lucas M. Ihlein

Faculty of Creative Arts - Papers (Archive)

In March 2007, The Teaching and Learning Cinema, an artist group from Sydney, Australia, coordinated by Louise Curham and myself, recreated the conditions for a contemporary experience of Anthony McCall's Long Film for Ambient Light (1975). Long Film for Ambient Light is a work of Expanded Cinema, comprising the bare minimum elements required for "film": light, time, a screen, and an audience. Here I discuss some aspects of this recreation, with particular focus on the compilation of an "experiential document" as a way of understanding how the work affected individuals who encountered it.

The Almanac Projects: Seasons Experienced Through The Material World, Jo Law

Faculty of Creative Arts - Papers (Archive)

At the Australian Bureau of Meteorology weather statistics “are only calculated where it makes sense to do so” (BOM). This “sense” is directly related to human affairs and activities such as agriculture, fishery and recreation. This paper asks: are there other elements we can incorporate into the ways we think about weather, climates and seasons? What other possibilities exist if we consider weather and seasons that include non-human perspectives? What are the implications of these ways of thinking? In what follows, I draw upon Jane Bennett’s “vital materialism” to consider weather, climates and seasons as human and non-human assemblages of …

Accident And Process, Derek J. Kreckler

Faculty of Creative Arts - Papers (Archive)

I recently read that ancient Greek and Roman theatres invoked certain gods and goddesses in their application and appreciation of life and art. The goddess of fate - of luck - of chance – was known asTyche in Greece and Fortuna in Rome. As the ancient folk believed in, and understood the involvement of chance to be an everyday occurrence, they found it useful to place statutes of the appropriate gods in entertainment venues, sometimes even within the seating as spectators. As chance-based processes guide so much art today, it interests me that unlike antiquity, contemporary statues are not …

Artefacts Of Authenticity, Garry C. Jones

Faculty of Creative Arts - Papers (Archive)

I recently made a visit to the Australian Museum in Sydney to study their archive of Aboriginal artefacts from western New South Wales, particularly boomerangs, clubs and shields. I say 'artefacts' because in this context this is how these objects were framed, not as art but as ethnographic objects. While I wanted to understand this archive better in terms of my own cultural heritage, my hope was to locate an object that might inspire my own seemingly flagging art practice. Moving slowly and thoughtfully from shelf to shelf, mindful of the museum attendant patiently supervising my visit, I was on …