Creative Lab - research.qut.edu.au · 2 QUT CREATIVE LAB – 2016/2017 ANNUAL REPORT 1.0 DIRECTOR’S REPORT Established in September 2016, the QUT Creative Lab recognises the value

Creative LabANNUAL REPORT

2016/2017 Brisbane Australia

Creative Lab Queensland University of TechnologyKelvin Grove, QLD, 4059 [email protected] www.research.qut.edu.au/creativelab

Creative Lab

CONTENTS

PAGE

2 1.0 DIRECTOR’S REPORT

3–6 2.0 LAB STRUCTURE AND MEMBERSHIP

7 3.0 LAB GOVERNANCE

7–9 4.0 LAB EVENTS AND ENGAGEMENT

9–11 5.0 LAB RESEARCH FUNDING SUPPORT

11 6.0 LAB HIGHER DEGREE RESEARCH ACTIVITIES

11–14 7.0 LAB RESEARCH PROGRAMS

15–17 8.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – GRANTS

18–19 9.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – STUDENT COMPLETIONS

20–24 10.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – 2016/2017 PUBLICATIONS

2 QUT CREATIVE LAB – 2016/2017 ANNUAL REPORT

1.0 DIRECTOR’S REPORTEstablished in September 2016, the QUT Creative Lab recognises the value the creative, performing, and screen arts contribute to the economy, and the role that creative thinking can play in fostering the vision, imagination, 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 aims to create 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.

The creative arts play a crucial role in building understanding of complex social, cultural, economic, and environmental conditions. They empower 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 year of activity in the Creative Lab has focussed on consolidating and continuing to grow the research culture in Performing and Creative Arts at QUT, establishing the research infrastructure in Creative Industries Precinct stage 2, particularly Studio 110’s motion capture, photogrammetry, virtual reality and data capture and performance systems, and building towards a number of

international engagements, including Ars Electronica, the Centre for Expressive Technologies at California Polytechnic and the Bristol based Pervasive Media Studio. Strong commercial research engagements have been developed with local firm Logemas, Queensland Ballet and the Australian Performing Arts Market, and Urban Art Projects (UAP).

In addition to the above partnerships the development of important academic networks has been achieved through participation in two successful Australian Research Council Linkage Infrastructure, Equipment and Facilities (ARC LIEF) grants. Associate Professor Bree Hadley and the AusStage consortium of researchers from across Australia were awarded a $465,000 ARC LIEF grant to investigate the landscape and evolution of drama, theatre, performance, and dance practice in Australia. After researching trends in performing arts practices by Queenslanders, including Indigenous Queenslanders, under prior grants, Associate Professor Hadley will use this new grant to investigate trends in disability arts, including new categories of practice already flagged in a 2017 article entitled Disability Theatre in Australia: A Survey and Sectoral Ecology. In addition, Dr Keith Armstrong and the Collaborative Embodied Movement Design Network consortium of researchers from across Deakin University, Swinburne University, Monash University, RMIT, University of New South Wales and the University of South Australia were awarded a $350,000 ARC LIEF grant to investigate mixed, augmented, and virtual reality, human-computer interaction, and robotics interfaces in contemporary art making. As well as bringing a number of new research partners into the Creative Lab, the project has already assisted in informing the new infrastructure that the Lab’s researchers will use to experiment in the application of these technologies in arts, health, education, and other sectors in future.

QUT CREATIVE LAB – 2016/2017 ANNUAL REPORT 3

2.0 LAB STRUCTURE AND MEMBERSHIP

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

During 2016/2017, the structure and membership of the Lab included the Director, Associate Directors, leaders of the four research programs, technical staff and professional staff, together with members in four categories:

• Centre Members (including Chief Investigators)

• Affiliated Researchers

• Visiting Researchers

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

In September 2016, Professor Greg Hearn was appointed to the role of Interim Director of the QUT Creative Lab. 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).

In January 2017, Dr Keith Armstrong and Associate Professor Bree Hadley were appointed to the roles of Associate Directors of the Creative Lab. Keith Armstrong 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.

Bree Hadley’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 was appointed to the role of Higher Degree Research Training Coordinator, working across the Creative Lab and the School of Creative Practice. A creative writer and practice-led researcher, Lee McGowan is interested in telling stories, and has a keen interest in stories that move away from the traditional page.

During 2016, the Lab also welcomed a new Centre Coordinator. Tess McGlone 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.

Chief Investigators and Program LeadersThe Chief Investigators and Program Leaders, together with the Director, Associate Directors, and HDR Training Coordinator, act as the leadership team for the Creative Lab, and are expected to have substantive participation in Lab research projects, research training programs, external grant applications and public engagement activities.

In 2016/2017, the Chief Investigators and appointed Program Leaders were:

• Chief Investigators – Professor Greg Hearn, Dr Keith Armstrong, Dr Gavin Carfoot, Associate Professor Bree Hadley, Professor Gene Moyle, Dr Courtney Pedersen, Associate Professor Gavin Sade, and Dr Jen Seevinck

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

• 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 Ms Sarah Holland-Batt

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


Lab Members and Research StaffThe Lab Members are QUT researchers who are primarily and actively engaged in the Lab’s projects and programs. They are expected to engage in similar levels of relevant research activity as Chief Investigators (within the constraints of their current workload) however, are not expected to assume a senior leadership role within the Creative Lab.

In 2016/2017, the Chief Investigators were joined by the following Lab members:

• Dr Leah King-Smith (School of Creative Practice)

• Professor Helen Klaebe (Dean of Research and Research Training, Division of Research and Commercialisation)

In 2016/2017, the staff employed on Creative Lab Projects were:

• Dr Donna McDonald (Disability Arts Senior Research Assistant)

• Mr Trendt Boe (Photogrammetry Research Assistant)

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.

• Professor Ruth Bridgstock (currently Academic Dean and Professor of Learning and Teaching, Education, Arts and Social Sciences, University of South Australia)

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

• Dr Clare Dyson (Academic Programs)

• Dr Phoebe Hart (School of Creative Practice)

• Dr Lesley Hawkes (School of Communication)

• Dr Caroline Heim (School of Creative Practice)

• Ms Avril Huddy (School of Creative Practice)

• Mr Greg Jenkins (School of Creative Practice)

• Ms Jacina Leong (Robotronica, QUT)

• Mr Thomas Mai (Film producer)

• Dr Daniel McKewen (School of Creative Practice)

• Dr Deb Polson (School of Design)

• Dr David Pyle (David Pyle Creative)

• Dr Mark Radvan (School of Creative Practice)

• Mr Charles Robb (School of Creative Practice)

• Dr Jenny Roche (School of Creative Practice)

• Mr Paul Van Opdenbosch (School of Creative Practice)

• Associate Professor Michael Whelan (School of Creative Practice)

• Dr Rohan Wilson (School of Creative Practice)

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

• Associate Professor Carol Brown (University of Auckland)

• Dr Scott deLahunta (Deakin University)

• Professor Ross Harley (University of New South Wales)

• Associate Professor Anna Hickey-Moody (University of Sydney)

• Mr Horst Hörtner (Ars Electronica)

• Dr Alys Longley (University of Auckland)

• Dr John McCormick (Deakin University)

• Professor Kathryn Millard (Macquarie University)

• Professor Kate Pullinger (Bath Spa University)

• Professor Richard Vella (University of Newcastle)


HDR StudentsHDR students are higher degree research students with research projects directly aligned to the Creative Lab and are supervised by a Lab member. HDR students are expected to actively participate in research training programs and public engagement activities. During 2016/2017, HDR students actively researching in the creative practice area included:

Student Name Thesis Title

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

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

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

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

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

Boe, Trendt Bridging the physical and digital domain: capturing reality and theatrical performance for virtual entertainment and transmedia storytelling

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

Browning, Yanto Producer preferences in contemporary music production: cultural perspectives and their influence on equipment bias in relation to analogue and digital audio technologies

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?

Carter, Danielle Community value of cultural participation in community engaged performance

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 Safety lights are for dudes: how women (re)write themselves into male-dominated media using fanfiction

Clarke, Heather Research and documentation of dances relevant to the discovery and settlement of the English colony in Australia 1700 – 1840

Clark-Fookes, Tricia Teaching artist as ghost: redefining and relocating know-how and power between teaching artist, child and digital media

Daley, Gregory Crippling comedies: symbolic power in comic representations of disability

Darroch, Fiona Arts and leadership; discovering leadership through dance and equine assisted learning

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

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

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

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

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

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

Jenkins, Gregory Organising chaos – a framework for the mass delivery of personal learning experiences in the creative and performing arts

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

Kingman, Joey Writing a medical humanities ‘recoverography’: an addict’s narrative of naltrexone implant treatment for alcoholism

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


Kwok, Joon-Yee Creative placemaking: producing and evaluating arts and cultural experiences in public space

Larin, Genine Empathic gestures: exploring affect and gesture as emergent phenomena in the intersections of spiritual and creative practice as examined through both psychoanalytic theory and practice-led creative practice

Macindoe, Annie Shifting time: text, narrative and affect in contemporary video 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?

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

McCormack, Bernadette The ‘blockbuster’ exhibition: creative production and major museum experiences

McCullough, Craig Producing social justice: examining the social and cultural value of the modern music production process

Miller, Susan The mathematics of longing

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

Narain, Natasha Mapping a liminal: nurturing of kantha into contemporary art

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

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

Osborne, Melanie Finding the art in teaching: an exploration and examination of the impact of professional creative practice on creative pedagogies

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

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

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

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

Vogan, Catherine Symbiosis in liquid democracy and citizen journalism

Worfold, Christopher Augmenting painting with personal digital technology

Wright-Brough, Freya Writing digital narratives: the infinite stories of people from refugee backgrounds

Professional StaffThe Creative Lab is 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

•


3.0 LAB GOVERNANCEThe Director has overall responsibility for the operation and strategic direction of the Creative Lab, and reports to the Executive Dean, Creative Industries Faculty via the Assistant Dean (Research and International Engagement). The Director, Associate Directors and Chief Investigators share responsibility for the leadership of the research programs and the acquittal of the Lab’s strategic objectives, and collectively comprise the Executive Committee, which meets in person at least monthly.

Executive CommitteeIn 2016/2017, 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

• Ms Sarah Holland-Batt

• Dr Stephanie Hutchison

• Dr Kristina Kelman

• Dr Leah King-Smith

• Dr Lee McGowan

• Professor Gene Moyle

• Dr Mark Ryan

Advisory BoardBy the end of 2017, the Creative Lab inaugural Advisory Board will be appointed. The Advisory Board will consist of the Creative Industries Faculty Assistant Dean (Research and International Engagement), the Creative Lab leadership team, and several key 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.

4.0 LAB EVENTS AND ENGAGEMENT

The QUT Creative Lab was launched in September 2016 as one of three new research centres within the Creative Industries Faculty at QUT. Since that time, the Creative Lab has begun delivering a number of services, activities, events, and training initiatives for the QUT community, industry, and the general public.

During 2016/2017, the Creative Lab:

• Launched a Creative Lab website, which showcases current Creative Lab news and events as well as research projects and recent publications, and includes the facility for self-subscribing to a newsletter list, as well as a link to Creative Lab events on the Eventbrite platform

• Launched Creative Lab sites on Facebook and Twitter

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

During 2016/2017, Creative Lab researchers were featured in a range of media stories, including:

• Dr Keith Armstrong was interviewed about his ground-breaking installation Over Many Horizons by RealTime Arts Magazine.

• Dr Donna Hancox spoke to ABC Southern Queensland about new ways of developing Regional Arts Programs.

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

• Dr Lee McGowan was published in the Conversation with an article about the history of women’s soccer in Australia.

• Professor Gene Moyle and the Adult Creative Health research project with Queensland Ballet was reported in At the Barre.

• Mr Charles Robb and Mr Michael Klaehn talked to Kelly Higgins-Devine on ABC Radio Brisbane about nature versus nurture in relation to creativity.


EventsDuring 2016/2017, the Creative Lab hosted a number of events, both internally focused and public facing.

In August 2016, the capabilities of the Creative Lab’s newly installed Studio 110 were showcased in an experimental installation that allowed visitors to experience an alien world through complex projections, dynamic lighting and interactive sound entitled The Museum of Colliding Dimensions.

In September 2016 a symposium was held to celebrate the Creative Lab, and allow stakeholders to meet and determine future research aspirations. The symposium featured keynote presentations from Associate Professor Carol Brown (University of Auckland) and Professor Anna Hickey-Moody (University of Sydney). It attracted more than 45 attendees over two days, including researchers from across QUT, higher degree research students, and prospective industry partners interested in collaborating on programs and projects.

Another early visitor to the Creative Lab was Dr Alys Longley who conducted a workshop on writing about and from creative practice in November 2016. Hosted by QUT Dance and supported by the Creative Lab, this workshop was aimed specifically at HDR students and academic staff from Dance and other disciplines and highlighted methods of writing that best support practice-led research and creative thinking in the university.

The first QUT Creative Lab Creative Interventions Breakfast Seminar was also held in November 2016 and featured Dr Keith Armstrong, Associate Professor Bree Hadley and Dr Courtney Pedersen discussing key elements of the Creative Lab’s Socially and Ecologically Engaged Practice research program. Over 25 attendees enjoyed the breakfast and stimulating discussion which revealed insights into current practice and research within the theme.

In February 2017, 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 Mr 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.

The Ars Electronica FutureLab Academy was launched at QUT in March 2017, by School of Creative Practice researchers Mr Greg Jenkins and Dr Stephanie 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, received positive feedback, and several Honours students are now looking at taking their ideas to the festival in September 2017.

In April 2017, 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.


Also in April 2017, 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.

During 2017, the Inaugural Creative Industries Indigenous Seminar Series was launched. Seminar 2 in the series, in June 2017, featured renowned Indigenous artist Fiona Foley, and was supported by the Creative Lab with Dr Keith Armstrong as the discussant.

Industry EngagementThe Creative Lab also collaborated with industry partners during 2016/2017.

A new award, the QUT Digital Literature Award, was introduced as a part of the Queensland Literary Awards in 2017. The QUT Digital Literature Award was established by the State Library of Queensland to acknowledge contemporary publishing and digital innovation in storytelling. This is an exciting new award that supports Queensland’s continued growth in the digital space.

Coterie 9, a new co-working space for QUT Creative Lab researchers and Creative Enterprise Australia start-up companies, was established in June 2017. Located in the new $80 million Creative Industries Precinct at the Kelvin Grove Campus of QUT, the co-working space aims to spark new connections between Creative Lab researchers and local entrepreneurs. Creative Lab affiliated researchers Dr David Pyle, Mr Thomas Mai, Ms Jacina Leong, and Mr Trendt Boe have now begun working out of this vibrant new space.

5.0 LAB RESEARCH FUNDING SUPPORT

Studio 110 FundingThe commissioning of Stage 2 of the Creative Industries Precinct incorporated the establishment of Studio 110 for creative digital research and development with $150,000 of seed project funding. The Studio 110 space provides researchers with access to cutting edge technologies in photogrammetry, motion capture systems, virtual and augmented reality, and live performance interactivity to pursue collaborative research into the application of these tools in the arts and beyond in health, education, and other sectors of the economy. Competitive funding rounds for researchers (Signature Projects) and PhD students (Project Boost Funding) were established.

Seed Funding For Signature ProjectsDuring 2016 the Creative Lab called for submissions from QUT staff to undertake research projects 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 Luke Lickfold (Sound Composition), and Matt Davis (Image Composition). The immersive installation Eremocene (Age of Loneliness) revealed a mysterious, internally glowing creature, witnessed from different vantage points and views, moving uncannily, in fluid motion within a dense blackness. Enveloping sound, vision and movement as one as this ‘life-like’, ‘bio-morphic’ form continually faded in and out of perception. Following development as a Creative Lab Seed Project, Eremocene was invited to headline the Vrystaat Kunstefees/Arts Festival/Tsa-Botjha in South Africa, then moved on to other international destinations including Europe.

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 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 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. The successful recipients of this funding, for projects yet to be undertaken, 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.

• 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.

Project Boost Funding

2016 RecipientsDuring 2016 the Creative Lab called for proposals from Creative Industries Faculty PhD or DCI students for Project Boost Funding for projects which were part of candidature and able to be completed before March 31, 2017. The funding was available to enhance the quality and innovation of projects that are a confirmed part of candidature and that can make a practice-based, or conceptual contribution to the work of the Creative Lab. Two projects were supported during 2016.

Lauren Solomon received funding for a documentary about garment workers in Cambodia. The documentary showcased the training program that Lauren delivered in Cambodia to garment workers in factories. Through screening of the documentary Lauren was able to showcase her research, contribute to new knowledge about fashion, ethics and supply chains; attract interest from potential partners and funding bodies; boost the public profile of the project and the Creative Lab; and engage the public with ethical issues surrounding the production and consumption of fashion.

Image Credits: Sokummono Khan


Sorin Oancea received funding for a project using a Microsoft HoloLens headset. The project aimed to produce a mixed reality sequence that included 3D and 2D elements in a real time engine. The funds were used to purchase the Microsoft HoloLens headset, which is an intrinsic tool for content development and a delivery platform. The aim of the project was to bridge some limitations allowing an extension of the investigation into more complex and higher quality, more seamless integration of physical and virtual space.

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: funding for travel, museum fees and materials for her project exploring the medical procedure of Naltrexone implants.

• Morgan Batch: funding for travel, museum fees and materials for her project incorporating interviews with directors and playwrights of contemporary performance works that stage dementia.

• Chris Handran: funding for travel, museum fees and materials for his project which explores the creative intersections between art and science.

• Deanna Borland-Sentinella: funding for documentation, translation and workshop catering for her project in creative innovation in the field of drama.

External FundingThe QUT Creative Lab also collaborates with industry partners and receives external funding for projects undertaken. In 2016, Creative Lab researchers Mr Charles Robb and Ms Sarah Holland Batt were commissioned by the Australian War Memorial to create a new sculpture of General Sir John Monash to recognise his contribution to Australian military history. The new sculpture will emphasise his significance as a Commander and General of the First World War, as well as highlighting his distinct character and personal attributes.

Also in 2016, Creative Lab researcher Dr Chris Carter and HDR student Mr Trendt Boe received funding from Logemas and the Department of Industry, Innovation and Science to investigate new applications for human photogrammetry across arts and health contexts. The project aims to deliver a standardised blueprint for photogrammetry systems that can undertake body scanning and data capture services for medical applications.

During 2017, it was also announced that Creative Lab member Professor Gene Moyle and Dr Anja Ali Haapala would begin work with the Queensland Ballet, investigating the benefits of dance classes for older adults as part of an Advance Queensland Knowledge Transfer Partnerships project.

6.0 LAB HIGHER DEGREE RESEACH ACTIVITIES

Higher Degree Research Training and AchievementsThe Creative Lab hosted a series of HDR student events fortnightly during Semester 2 in 2016 and Semester 1 in 2017, covering a range of issues relevant to HDR students, including research methods, fieldwork, and self-care during challenging research projects. The sessions also explored the four research themes of the Creative Lab.

Graduated HDR student Jeremy Neideck received a QUT 2016 Outstanding Doctoral Thesis Award for his thesis The Fabric of Transcultural Collaboration: Interweaving the Traditional Korean Vocal Form of P’ansori & the Contemporary Japanese Dance Form of Butoh in a Transculturally

Australian Context. Jeremy’s supervisors were Dr Mark Radvan and Adjunct Professor Cheryl Stock from the Creative Industries Faculty.

Another graduated student, Mark Piccini, received an Executive Dean’s Commendation Award, for A Nightmare or Benevolent Dream: Global Violence and the Libidinal Economy in Latin American Literature. Mark’s supervisors were Dr Lesley Hawkes and Professor Sharyn Pearce.

7.0 LAB RESEARCH PROGRAMS The QUT Creative Lab activates its research agenda through four research themes, each addressing a distinctive element of creativity, and its capacity to contribute to society, culture, and the economy: Experimental Creative Practice, Disruptive Technology and Creative Practice, Socially and Ecologically Engaged Practice, and Creative Learning and Creative Workforce.


Program 1: Experimental Creative PracticeLed by Dr Stephanie Hutchison and Dr Chris Carter.

This program investigates innovation in the creative, performing and screen arts, and the part experimental creative practices can play when they are applied in domains beyond the traditional arts. The program has a particular focus on Art-STEM related endeavours, including art and technology, and hosts researchers with interests in:

• Live performance, virtual performance, screen, animation, motion capture, interaction design, electronic arts, hybrid media arts, and related areas

• Aesthetic and technological innovation in these and related areas

• Transdisciplinary application of innovations in these and related areas

• Art-STEM or STEAM projects, initiatives, and programs.

In 2016/2017, researchers in this program oversaw the installation of light, audio-visual, sound, motion capture, and photogrammetry technology in Studio 110 and other Creative Lab spaces. Animation researcher Mr Paul Van Opdenbosch, HDR student Mr Trendt Boe, and industry partner Mr Max Cowen from Logemas successfully set up the pipeline for motion capture. In one of the inaugural events in the new Studio 110 space, Animation researcher Mr Paul Van Opdenbosch and Acting researcher Dr Mark Radvan hosted stunt performers Marco Sinigaglia (Thor: Ragnarok and Pirates of the Caribbean: Dead Men Tell No Tales) and Carly Rees (The Ghost In The Shell), who facilitated a workshop exploring new approaches to digital puppetry training for performers with QUT acting students.

The program maintains partnerships with other institutions, with Dr Keith Armstrong and collaborators in the Embodied Movement Design network securing ARC LIEF funding for research in digital arts. During 2017, this program also hosted an informal presentation and question and answer session with Dr Scott deLahunta, a writer, researcher and organiser on a range of international projects, bringing performing arts with a focus on choreography into conjunction with other disciplines and practices. Dr Scott deLahunta shared insights from his roles as full-time Senior Research Fellow with Deakin MotionLab, Deakin University and Visiting Academic, the Centre for Dance Research, Coventry University. He is Co-Director (with Florian Jenett) of Motion Bank, part of the Institut Designlabor Gutenberg hosted by Hochschule Mainz University of Applied Sciences.

Program 2: Disruptive Technology and Creative PracticeLed by Dr Donna Hancox and Dr Mark Ryan.

This program is concerned with the ways in which digital technologies are disrupting traditional creative, performing and screen arts, including new creative forms such as immersive theatre; augmented and virtual reality; transmedia storytelling; and new platforms for content streaming. The program hosts researchers from the film, television, animation, visual arts, visual and interaction design, performance and creative writing disciplines with shared interests in:

• Augmented, mixed, and virtual reality in immersive performance, games, storytelling, transmedia, and related areas

• Innovations in digital production, distribution and exhibition

• Innovations in digital audience development, engagement, and interaction

• Innovations in digital co-creation, collaboration, and participation with arts audiences

• Transdisciplinary application of innovations in these areas.

In 2016/2017, researchers in this program worked with partners such as Arts Queensland, State Library of Queensland, Screen Australia, Google Creative Labs, Football Queensland, and the Brisbane Powerhouse on a range of programs and events. This included Story + which was a signature event for the Brisbane Writers Festival in September 2016, featuring program leader Dr Donna Hancox in conversation with Professor Kate Pullinger from Bath Spa University and Tea Uglow, Director of Google Creative Labs. This event explored the futures of storytelling and technology. With the Creative Lab’s Studio 110 space now up and running, this program has also begun running tech play workshops and tours of the space to enable researchers to experiment with the effect of digital technologies on their creative practice.

During 2016/2017, the work of researchers in this program was also recognised with a number of significant awards, including a Queensland Smithsonian Research Fellowship for Dr Donna Hancox, and a Brisbane City Council Lord Mayor’s Helen Taylor History Award for Dr Lee McGowan.


Program 3: Socially and Ecologically Engaged PracticeLed by Dr Rachael Haynes and Ms Sarah Holland-Batt.

This program explores the use of participatory creative practices to foster personal, social, political, and ecological transformation, and empower those whose voices and histories have been marginalised. It is characterised by its concern with multi-vocal approaches to retelling the past, responding to the present and imagining the future. The program hosts researchers with interests in:

• Ecological issues, past, present and future

• Marginalised and diverse communities, agency and social justice

• Art in public spaces, spatial politics, histories and narratives of place

• Indigenous knowledges and Aboriginal or Torres Strait Islander perspectives

• Gender, LBGTIQA+, disabled perspectives and feminist approaches

• Participatory, co-creative and collaborative methods.

Projects within this program deploy open-ended, responsive methods of working to break down hierarchies and challenge dominant structures. These methodologies aim to better connect and build relationships between artists, communities, audiences and organisations. Research outcomes include performances, installations, exhibitions, creative writing, social and environmental events, festivals and analytical texts that speak to specific current social, ecological and political concerns and conditions.

In 2016/ 2017, researchers from this program engaged in projects in Australia, and in Asia, Africa and the United States, relating to the status of women, disabled people, Aboriginal and Torres Strait Islander people and people from low SES or non-English speaking backgrounds, or people whose identities have complex intersectionalities between those communities. Key projects engaged with questions such as sustainable futures, creative pathways for Indigenous youth, feminist creative practices, and the role of the arts in the medical humanities. Researchers affiliated with this program create powerful and transformative participatory images, narratives and models to inspire change and social and ecological engagement.

These projects resulted in a number of high quality traditional and non-traditional research outputs including award winning creative works. Ms Sarah Holland-Batt was awarded the poetry prize at the Prime Minister’s Literary Awards for her volume The Hazards. Researchers in this program were also successful in securing competitive grant funding in 2016/2017 with Associate Professor Bree Hadley and collaborators in the AusStage network securing ARC LIEF funding for research in performing arts. Mr Charles Robb and Ms Sarah Holland Batt were awarded a major project commission from the Australian War Memorial.

Higher degree research students participating in the program are undertaking research that includes community development frameworks in applied theatre, dance in peacebuilding programs in the Asia Pacific region, creative writing as an empathy-building tool for medical practitioners, and the use of social discomfort within contemporary performance and installation art, among others.

Program 4: Creative Learning and Creative WorkforceLed by Associate Professor Sandra Gattenhof and Dr Kristina Kelman.

This program asks how creative education can enrich and build capacity within individuals, communities and organisations, how creative education experiences can best be offered, and how the creative workforce of the future can best be built in primary, secondary, tertiary, corporate, and other settings. The program hosts researchers with interests in:

• Arts and creativity education

• Arts and health/well-being intersections

• Arts and culture evaluation

• Arts and social innovation or change

• Digital culture, creative education and workforce capacities

• Arts in business for training and workforce renewal

• Higher education, creativity and innovative pedagogies.


Working with researchers from the QUT Digital Media Research Centre Professor Greg Hearn was awarded an ARC Linkage grant entitled Australian cultural and creative activity: A population and hotspot analysis. The three-year grant incorporates five Australian state arts ministries and will provide the Creative Lab with a strong platform for future collaboration and policy impact. The grant brings together population-level (Census-based) and comparative qualitative studies of localised cultural and creative activity. A particular focus is on jobs in the creative workforce, including creatives who are embedded in other sectors of the economy. This will allow a comprehensive longitudinal analysis of Australia’s cultural and creative activity while also exploring the factors which are producing local and regional creative ‘hotspots’ – that is, the urban or regional areas which evidence well above average creative and innovative growth and potential. Significant outcomes for the project’s five state cultural agency partners include better local targeting of policy and program initiatives. Wider benefits will accrue nationally and for local councils, industry and scholarly communities, and the general public through detailed accounts of the role creative inputs play in industry sector, and local and regional, innovation. The project will also allow the development of a commercial service in cultural mapping and strategy development.

During 2016/2017, this program also hosted a number of events for researchers, HDR students, and industry. As a part of the Creative Lab symposium in September 2016, the Creative Learning and Creative Workforce program hosted a ‘Prophetical’, which utilised a creative arts based approach developed at the Creative Industries Faculty. The prophetical was specifically constructed to engage participants in an interactive exploration of the opportunities and impediments for HDR students who focus on arts education, creativity research and creative practice, to transition into employment post-completion of their doctoral studies, and how the university sector might better prepare and enable workforce transition for creative minds.

In March 2017, Ms Susan Hetherington chaired a panel discussion entitled Arts and evaluation are not “dirty words” with Professor Helen Klaebe, Associate Professor Sandra Gattenhof, Dr Donna Hancox, and Mr Andrew Gibbs from Human Ventures, exploring new ways to demonstrate value and impact through arts program evaluations. In May 2017, program leaders Associate Professor Sandra Gattenhof and Dr Kristina Kelman commissioned a series of lunchtime presentations on creative arts education to celebrate UNESCO Arts Education week, including provocative talks from Dr Roger Clegg, Dr Linda Knight, Dr Kristina Kelman, Ms Carly O’Neill and Dr Lee McGowan.

The program maintains partnerships with other institutions, with Dr Kristina Kelman being part of a cross-institutional project called Songs to Change Our World with Indiana University (USA), Bergen Community College (USA) and University of Auckland (New Zealand). The goal of the project is to foster intercultural and international understanding by facilitating the creativity and entrepreneurship skills of music students in four higher education music programs in three countries: Australia, New Zealand, and the United States. This includes a small grant to assist in developing an online platform for students to promote and distribute the songs that have come out of the exchange.


8.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – GRANTS

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

Project Type ARC Linkage

Project Team Prof Stuart Cunningham, Prof Greg Hearn, Prof Phillip McIntyre, A/Prof Patrik Wikstrom, 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 $480,000 (ARC) $150,000 (Partner)

Amount to QUT $497,000

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

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 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.

Total Amount Awarded $350,000


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 ARC LIEF

Project Team A/Prof Bree Hadley, Prof Julian Meyrick, Prof Joanne Tomkins, Prof Rachel Fensham, A/Prof Maryrose Casey, Dr Glenn D’Cruz, Dr Gillian Arrighi, Dr Jonathan W. Marshall, Prof John O’Toole, A/Prof Ian Maxwell, Dr Caroline Wake, Prof Peta Tait, Dr Margaret Hamilton, Ms Janine Barrand

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 foster 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.



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


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 projects 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.


Project Title Developing Innovative Community Consultation through Co-Design Processes

Project Type Advance Queensland Smithsonian Fellowship

Project Team Dr Donna Hancox, Ms Kim Robledo-Diga

Project Summary This project aims to develop regional arts programs that reflect the lived experiences and the everyday creativity of regional and remote communities.



Partners Cooper Hewitt, Smithsonian Design Museum

New Commercial Research Projects Awarded

Project Title Human Photogrammetry Project

Project Type Department of Industry, Innovation and Science

Project Team Dr Chris Carter, Mr Trendt Boe

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



Partners Logemas, Department of Industry, Innovation and Science

Project Title General Sir John Monash Sculpture

Project Type Australian War Memorial

Project Team Ms Sarah Holland-Batt, Mr Charles Robb

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



Partners Australian War Memorial

Project Title Internationalising and entrepreneurialising the music curriculum in Higher Education

Project Type Department of Foreign Affairs and Trade

Project Team Dr Kristina Kelman, 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.



New Consultancy Projects Awarded

Project Title BalletMoves

Project Type Advance Queensland Knowledge Transfer Partnerships

Project Team Prof Gene Moyle, Dr Anja Ali Haapala

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



Partners Queensland Ballet

Continuing Competitive Grants

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 Over Many Horizons

Project Type Australia Council for the Arts

Project Team Dr Keith Armstrong, Ms Tania Creighton, Mr Lawrence English, Mr Luke Lickfold, Dr Anita Marosszeky, Prof William Gladstone, Dr Tania Leimbach, Ms Anita Venter

Project Summary This show is both a highly interactive exhibition and a living experiment in co-creativity that asks audiences to assist in developing the show’s vision: how we might better express and demonstrate care for Australia’s vulnerable marine, terrestrial and human ecologies?


Continuing Consultancy Projects

Project Title YouTube Creator Day

Project Type Department of Science, Information Technology and Innovation

Project Team Dr Chris Carter, Dr Ruari Elkington

Project Summary QUT hosted a YouTube Creator Day as part of its involvement in Advance Queensland’s CQ Series. This program supports aspiring and established YouTube creators to develop and enhance the quality of their digital content and expand their global presence. The Creator Days bring together YouTube experts, entrepreneurs, producers, content creators, universities and industry partners, to collaborate through interactive sessions and panel discussions.



9.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – STUDENT COMPLETIONS

Student Completions

Doctoral Student Supervisors Thesis Title

Barkley, Ellise (Doctor of Creative Industries)

Prof Helen Klaebe (Principal) A/Prof Sandra Gattenhof (Associate) Dr Jess Dart (External Supervisor)

An integrated approach to evaluation: a participatory model for reflection, evaluation, analysis and documentation (the ‘READ’ model) in community arts

Crawford, Fiona Dr Lee McGowan (Principal) A/Prof Leo Bowman (Associate) Dr Donna Hancox (Associate)

Augmenting author-activism: an examination of how a continuing primary text and digital media inform contemporary non-fiction author-activism

Elvery, Laura Dr Lesley Hawkes (Principal) Adj Prof Sharyn Pearce (Associate)

A complex concoction: thinking through the thingness of lollies in children’s literature

Emanuel, Elizabeth Dr Lesley Hawkes (Principal) Adj A/Prof Vivienne Muller (Associate)

An examination of embodied female identity in contemporary crime fiction by women writers

Holliday, Penelope Dr Lesley Hawkes (Principal) Adj A/Prof Vivienne Muller (Associate)

The shifting city: a study of contemporary fictional representations of Melbourne’s inner and outer suburban spaces

Lynch, Daniel Dr Donna Hancox (Principal) Dr Lee McGowan (Associate)

Holding transmedia: narrative at the intersection of print and digital creative writing

McLay, Grant (Doctor of Creative Industries)

Prof Gene Moyle (Principal) Dr Lee McGowan (Associate) Dr Laurent Frossard (Associate)

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

Piccini, Mark Dr Lesley Hawkes (Principal) Adj Prof Sharyn Pearce (Associate)

A nightmare or benevolent dream: global violence and the libidinal economy in Latin American literature

Przewloka, Christopher Dr Lesley Hawkes (Principal) Dr Lee McGowan (Associate)

Southern land, hardened heart: the possibility of Australian neon noir

Steele, Jordin Dr Kiley Gaffney (Principal) A/Prof Michael Whelan (Associate) EM Prof Andy Arthurs (Mentoring Supervisor)

The role of collaboration in contemporary opera creation: a practice-led approach

Smith, Imogen Dr Donna Hancox (Principal) A/Prof Sue Carson (Associate)

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

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

It’s not the heat, it’s the humidity: developing a practice-based method

Zheng, Chenlin Dr Chris Carter (Principal) Prof Adekunle Oloyede (Associate)

Visual consonance: an analytical framework for 3D biomedical animation

Masters Student Supervisors Thesis Title

Breen, India Ms Sarah Holland-Batt (Principal) Dr Lesley Hawkes (Associate)

Miniature thunder: inscribing the self in ekphrastic poetry

Burt, Malcolm Dr Mark Ryan (Principal) Mr Joe Carter (Associate) A/Prof Geoff Portman

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

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

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

George, Kathleen Dr Lesley Hawkes (Principal) Prof Sharyn Pearce (Associate)

Beware the house: Australian gothic literature - the house and the protagonist

Gough, Daniel Mr Sean Mee (Principal) A/Prof Bree Hadley (Associate)

THE REAL DEAL: interrogating the paradoxical co-existence of reality and construction in contemporary theatre


Kirk, Grace Ms Sarah Holland-Batt (Principal) Dr Rohan Wilson (Associate)

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

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

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

Metcalfe, Paul Mr John Willsteed (Principal) Dr Gavin Carfoot (Associate)

Learning and teaching the art of sound design: an analysis into determining best practices

Neideck, Jeremy Dr Mark Radvan (Principal) A/Prof Cheryl Stock (Associate)

The fabric of transcultural collaboration: interweaving the traditional Korean vocal form of P’ansori and the contemporary Japanese dance form of Butoh in a transculturally Australian context

O’Brien, Robert Dr Caroline Heim (Principal) A/Prof Sandra Gattenhof (Associate)

Plays well with others: creating relational performance through play

O’Neill, Carly A/Prof Ruth Bridgstock (Principal) Mr Sean Mee (Associate)

Exit stage left: mid-career transitions of female stage managers in Australia

Vilmanis, Elizabeth 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


10.0 PERFORMANCE AGAINST KEY PERFORMANCE INDICATORS – 2016/2017 PUBLICATIONS

Books1. Beavis, Catherine, Dezuanni,

Michael L., & O’Mara, Joanne (Eds.) (2017) Serious Play: Literacy, Learning, and Digital Games. Digital Games and Learning. Routledge, New York.

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

3. Hadley, Bree J. (2017) Theatre, Social Media, and Meaning Making. Palgrave Macmillan.

4. Heim, Caroline L. (2016) Audience as performer: The changing role of theatre audiences in the twenty-first century. Routledge, Oxon, United Kingdom.

5. Holland-Batt, Sarah (2016). The Best Australian Poems 2016. Carlton: Black Inc.

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

Edited Books and Journal Issues1. Bridgstock, Ruth, Goldsmith, Ben,

Rodgers, Jess, & Hearn, Greg (Eds.) (2017) Creative Graduate Pathways Within and Beyond the Creative Industries. Routledge Special Issues Books Series.

2. Rogers, Meredith, Hadley, Bree, & Douglas, Mick (2016) Performance & Mobility, Australasian Drama Studies, 69, October 2016.

3. Ryan, Mark, & Goldsmith, Ben. (2017). Returning to Australian Horror Film and Ozploitation Cinema Debate. Studies in Australasian Cinema 11 (1).

Book Chapters1. Bartleet, Brydie-Leigh & Carfoot,

Gavin (2016) Arts-based service learning with Indigenous communities: Engendering artistic citizenship. In Elliott, David J., Silverman, Marissa, & Bowman, Wayne D. (Eds.) Artistic Citizenship Artistry, Social Responsibility, and Ethical Praxis. Oxford University Press, New York, United States of America, pp. 339-358.

2. Bridgstock, Ruth, Goldsmith, Ben, Rodgers, Jess, & Hearn, Greg (2017) Introduction: Creative Graduate Pathways Within and Beyond the Creative Industries. In Bridgstock, Ruth, Goldsmith, Ben, Rodgers, Jess, & Hearn, Greg (Eds.) Creative Graduate Pathways Within and Beyond the Creative Industries. Routledge, New York, NY, pp. 1-13.

3. Bridgstock, Ruth S. (2016) Educating for digital futures: what the learning strategies of digital media professionals can teach higher education. Innovations in Education and Teaching International, 53(3), pp. 306-315.

4. Bridgstock, Ruth (2016) The University and the Knowledge Network: A New Educational Model for Twenty-first Century Learning and Employability. In Tomlinson, Michael & Holmes, Leonard (Eds.) Graduate Employability in Context: Theory, Research and Debate. Palgrave Macmillan, London, pp. 339-358.

5. Bridgstock, Ruth S. & Cunningham, Stuart D. (2016) Creative labour and graduate outcomes: Implications for higher education and cultural policy. International Journal of Cultural Policy, 22(1), pp. 10-26.

6. 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.

7. Dezuanni, Michael L. (2017) Embodied and material learning with Minecraft. In Beavis, Catherine, Dezuanni, Michael L., & O’Mara, Joanne (Eds.) Serious Play: Literacy, Learning, and Digital Games. Routledge (Taylor & Francis Group), New York.

8. Dezuanni, Michael L. & O’Mara, Joanne (2017) Impassioned learning with Minecraft. In Beavis, Catherine, Dezuanni, Michael L., & O’Mara, Joanne (Eds.) Serious Play: Literacy, Learning, and Digital Games. Routledge (Taylor and Francis Group), New York.

9. Dezuanni, Michael L. & Zagami, Jason (2017) Curating the curriculum with digital games. In Beavis, Catherine, Dezuanni, Michael L., & O’Mara, Joanne (Eds.) Serious Play: Literacy, Learning, and Digital Games. Routledge (Taylor & Francis Group), New York.

10. 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.

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

12. Hart, Phoebe (2017) Directing for television: A global perspective. In Weinstein, Anna (Ed.) Directing for the Screen. Focal Press (Routledge Taylor & Francis Group), London & New York, pp. 86-93.

13. Hart, Phoebe (2017) Directing the personal documentary: An intersex adventure. In Weinstein, Anna (Ed.) Directing for the Screen. Focal Press (Routledge Taylor & Francis Group), London & New York, pp. 126-133.

14. McGowan, L (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.


15. Moyle, G.M. (2016) Governance on the move: Actively applying ethics in sport, exercise and performance psychology settings. In Cremades, Gualberto G. & Mugford, Angus (Eds.) Sport, Exercise, and Performance Psychology: Theories and Applications. Psychology Press (Taylor & Francis).

16. Moyle, G.M. (2016) Mindfulness and dancers. In Baltzell, Amy (Ed.) Mindfulness and Performance. Cambridge University Press, New York, United States of America, pp. 367-388.

17. Moyle, G.M. (2016) The ethical intricacies of injury rehabilitation within a dance training context. In Cremades, J. Gualberto & Tashman, Lauren S. (Eds.) Global Practices and Training in Applied Sport, Exercise, and Performance Psychology: A Case Study Approach. Routledge (Taylor & Francis Group), Oxon, United Kingdom and New York, United States of America, pp. 42-49.

18. Murphy, Kayleigh F. & Ryan, Mark David (2016) Undead yakuza: the Japanese zombie movie, cultural resonance, and generic conventions. In Brodman, Barbara & Doan, James (Eds.) The Supernatural Revamped: From Timeworn Legends to 21st Century Chic. Fairleigh Dickinson University Press (in association with Rowman and Littlefield Press). Maryland, United States of America, pp. 191-206.

19. Roche, Jenny (2016) Moving between first-person and third-person bodies in dance teaching In Coogan, Jenny (Ed.) Practicing Dance: A Somatic Orientation. Logos Verlag, Berlin, pp. 123-126.

20. Stevens, Kym & Huddy, Avril (2016) Dance teacher education in the 21st century: Linking cultural and aesthetic practice. In Sæbø, Aud Berggraf (Ed.) At the Crossroads of Arts and Cultural Education: Queries Meet Assumptions [International Yearbook for Research in Arts Education 4/2016]. Waxmann Verlagg GmbH, Munster, Germany; New York, United States of America, pp. 230-237.

21. Wilson, Rohan (2016) The unluckiest man who ever lived. In Clarke, Marcus (Ed.) For the Term of His Natural Life. Text Publishing Company, Melbourne, Vic, vii-xii.

Journal Articles1. Armstrong, Keith M. (2016)

Embodying a future for the future: Creative robotics and ecosophical praxis. Fibreculture Journal, 28.

2. Armstrong, Keith M., English, Lawrence, Lickfold, Luke, & Eby, Peggy (2016) Temporal: The artwork. Landscapes, 7(1), Article Number:-19.

3. Baisden, Faith, Dick, Thomas, Barker, Carolyn, & Kelman, Kristina (2016) Yamani: Voices of an Ancient Land. Langscape Magazine, 5(2), pp. 74-78.

4. Bartleet, Brydie-Leigh, Sunderland, Naomi, & Carfoot, Gavin (2016) Enhancing intercultural engagement through service learning and music making with Indigenous communities in Australia. Research Studies in Music Education.

5. Carfoot, Gavin (2016) ‘Enough is enough’: Songs and messages about alcohol in remote Central Australia. Popular Music, 35(2), pp. 222-230.

6. Carfoot, Gavin (2016) Musical discovery, colonialism, and the possibilities of intercultural communication through music. Popular Communication, 14(3), pp. 178-186.

7. Carson, Susan, Hawkes, Lesley, Gislason, Kari, & Cantrell, Kate (2016) Literature, tourism and the city: Writing and cultural change. Journal of Tourism and Cultural Change, pp. 1-13.

8. Coombs, Courtney, Franzmann, Caitlin, Haynes, Rachael, Holtsclaw, Anita, & Pedersen, Courtney (2016) Recipes and revolutions: Consciousness-Raising and feminist picnics. Feminist Review, 114(1), pp. 130-138.

9. Dezuanni, Michael (2017) Agentive realism and media literacy. The Journal of Media Literacy, 64(1&2), pp. 16-19.

10. Dezuanni, Michael L. (2016) National educational policy for media literacy education: Media arts in the Australian Curriculum. Journal of Media Literacy, 63(1&2), pp. 28-33.

11. Ellison, Elizabeth & Hawkes, Lesley (2016) Australian beachspace: The plurality of an iconic site. Borderlands e-journal, 15(1).

12. Gattenhof, Sandra Jane (2017) Challenging the prevalence of ‘Datastan’ in arts and cultural evaluation. NiTRO, March (02).

13. Gattenhof, Sandra Jane (2016) Looking out of the void: Scaffolds to assist drama higher research degree students on the path to artist-scholar. NJ: Drama Australia Journal, 39(2), pp. 101-109.

14. Goldsmith, Ben, Cunningham, Stuart, & Dezuanni, Michael (2017) Screen production for education: Digital disruption in an ‘ancillary’ market. Media International Australia, 162(1), pp. 65-77.

15. Hadley, Bree (2017) Disability Theatre In Australia: A Survey & Sectoral Ecology, Research In Drama Education: The Journal of Applied Theatre and Performance, 22.3.

16. Hadley, Bree J. (2016) Cheats, charity cases and inspirations: Disrupting the circulation of disability-based memes online. Disability & Society, 31(5), pp. 676-692.

17. Hadley, Bree (2016) Mobilising the mobilities paradigm in drama, theatre and performance studies: Potentials, politics and pitfalls. Australasian Drama Studies, 69, pp. 7-28.

18. 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.

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

20. Hart, Phoebe (2016) Writing characters with intersex variations for television. Journal of Screenwriting, 7(2), pp. 207-223.

21. Haynes, Rachael & Pedersen, Courtney (2016) Acting out: Performing feminisms in the contemporary art museum. Journal of Australian Studies, 40(2), pp. 203-214.

22. Heim, Caroline L. (2016) Broadway theatre fans: Communities of narrators and translators. Popular Entertainment Studies, 7(1-2), pp. 39-54.


23. Huddy, Avril (2016) Performance enhancement: A whole of person approach to first year dance students’ transition into tertiary training. Performance Enhancement and Health, 4(1–2), pp. 27-34.

24. 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.

25. Mohr, Steven & Carter, Chris P. (2016) Adapting practical aesthetics to the performance animation process. Animation Practice, Process & Production, 5(1), pp. 57-77.

26. Moyle, Gene (2016) Editorial: Special Issue on Performing Arts. Performance Enhancement & Health, 4(1-2), pp. 1-2.

27. Pedersen, Courtney Brook (2016) Down to earth: Ecofeminism’s fraught history. The Equal Standard Broadzine, 2016(4), p. 14.

28. Roche, Jennifer (2016) Shifting embodied perspectives in dance teaching. Journal of Dance and Somatic Practices, 8(2), pp. 143-156.

29. Ryan, Mark David & Goldsmith, Ben (2017) Returning to Australian horror film and Ozploitation cinema debate. Studies in Australasian Cinema, 11.1, pp. 2-4.

30. Ryan, Mark David & Goldsmith, Ben (2016) Introduction: Reviewing Australian screen history. Studies in Australasian Cinema, 10 (2), pp. 179-183.

31. Scott-Hamilton, John, Schutte, Nicola S., Moyle, Gene M., & Brown, Rhonda F. (2016) The relationship between mindfulness, sport anxiety, pessimistic attributions and flow in competitive cyclists. International Journal of Sport Psychology, 47, pp. 103-121.

32. Stevens, Kym & Huddy, Avril (2016) The performance in context model: A 21st century tertiary dance teaching pedagogy. Research in Dance Education, 17(2), pp. 67-85.

Conference publications1. Carter, Chris P. & Carter, Michelle

(2016) Short-term international mobility experiences for Australian animation students. In 8th Annual International Conference on Education and New Learning Technologies (EDULEARN16), 4-6 July 2016, Barcelona, Spain.

2. Dezuanni, Michael, Foth, Marcus, Mallan, Kerry, & Hughes, Hilary (2016) Social living labs for digital participation: Designing with regional and rural communities [workshop proceedings]. In ACM Designing Interactive Systems (DIS’16), 4-5 June 2016, Brisbane, Qld.

3. Fuller, Melanie, Moyle, Gene Margaret, & Minett, Geoffrey M. (2017) Are dancers more susceptible to injury when transitioning to full-time training or professional companies? A systematic review. In IADMS 27th Annual Conference, 12-15 October 2017, Houston, Texas.

4. Gattenhof, Sandra Jane (2016) Creating future bridges: Theatre training models and enterprise skills in the digital age. In Drama Australia Symposium: Looking forward, Looking back 2016, 30 September - 1 October 2016, Adelaide, S.A. (Unpublished)

5. Hadley, Bree J. (2016) Austerity, art, and the art of protest: Reengaging, reenacting and reenvisaging discourses of disaster through public space performance. In Australasian Association for Theatre, Drama and Performance Studies Conference - Resilience: Revive, Restore, Reconnect, 21-24 June 2016, University of Southern Queensland, Toowoomba, QLD.

6. Hadley, Bree J. (2016) It’s a social experiment – pranks, political activism, and performing marginality for a politically correct mainstream audience. In Performance of the Real: Postgraduate and Early Career Researcher Symposium, 8-10 June 2016, University of Otago, New Zealand.

7. Hadley, Bree J. (2016) Mapping changing theatre climates. In Performance Climates, Performance Studies International (PSi) #22, 5-9 July 2016, University of Melbourne, VIC.

8. Hadley, Bree (2016) The social experiment – pranks, political activism, and performing stigma. In Luckhurst, Mary (Ed.) Performance and Challenging Stigma, 21 October 2016, Victorian College of the Arts, Melbourne, VIC.

9. Hart, Phoebe, Morris, Shellie, Hetherton, Madeleine, Dorziac, Theo, Holden, Karina, & Cross, Mark (2016) Breaking into the establishment. In Arthur, Britt (Ed.) Australian International Documentary Conference, 28 February - 2 March 2016, Australian Centre for the Moving Image (ACMI), Melbourne.

10. Haynes, Rachael Anne & Pedersen, Courtney Brook (2016) The long lunch: Interstitial spaces between creative practice, social learning and radical pedagogy. In Australian Council of University Art and Design Schools Annual Conference, 29 - 30 September 2016, Brisbane, Qld.

11. Hinton-Lewis, Christopher W., McDonough, Elle, Moyle, Gene M., & Thiel, David V. (2016) An assessment of postural sway in ballet dancers during first position, relevé and sauté with accelerometers. In Procedia Engineering, Elsevier Ltd, Delft, The Netherlands, pp. 127-132.

12. Hinton-Lewis, Christopher, McDonough, Elle, Moyle, Gene M., & Thiel, David V. (2016) Assessing ankle instability during a relevé using accelerometers. In James, Daniel A. (Ed.) Journal of Fitness Research, Australian Institute of Fitness, Queensland Sports Athletics Centre, Brisbane, QLD, pp. 25-27.

13. Kelman, Kristina, Graham, Philip W., & Browning, Yanto (2016) Event-based research for music industry learning environments: Two case studies. In 2016 MEIEA Educators Summit, 1-2 April 2016, Hilton Garden Inn, Washington, DC.

14. Kelman, K., & Greig, A. (2017) Internationalising and entrepreneurialising the music curriculum in higher education: An India-Australia collaboration. In 2017 MEIEA Educators Summit, 31 March – 1 April, Embassy Suites by Hilton, Chicago, USA.

15. McCormick, John, Hutchison, Stephanie, Vincent, Jordan Beth, & Vincs, Kim (2016) Collaborative dance between robot and human. In IROS 2016: Proceedings of the IEEE/RSJ International Conference on Intelligent Robots and Systems, IEEE, Daejeon, Korea.


16. Ryan, Mark David. (2016). Pedagogical Uses of Australian Screen Content in Tertiary Education. Screen Studies Association of Australia and Aotearoa New Zealand Conference, Sea Change: Transforming Industries, Screens, Texts, Victoria University of Wellington, Wellington from November 23-25 2016.

17. Seevinck, Jennifer (2016) Dichroic Wade. In Conference for Human-Computer Interaction (CHI 2016), 7-8 May 2016, San Jose, CA.

18. Swan, Dan & Hearn, Greg (2016) Semantic mapping of cognitively diverse start-up teams: Dynamic creative interoperability. In Proceedings of the XXVII ISPIM Innovation Conference 2016, ISPIM, Porto, Portugal, pp. 1-15.

Non-Traditional Research Outputs – Creative Works1. Armstrong, Keith M., Lickfold, Luke,

& Davis, Matt (2017) Eremocene [Digital/Creative Work]

2. Armstrong, Keith M. (2016) O Tswellang. [Digital/Creative Work]

3. Armstrong, Keith M., English, Lawrence, & Lickfold, Luke (2016) Deep ecology. [Digital/Creative Work]

4. Armstrong, Keith M., Dean, Roger, & Lawson, Stuart (2016) Inter-State. [Digital/Creative Work]

5. Armstrong, Keith M., English, Lawrence, & Lickfold, Luke (2016) Seasonal. [Digital/Creative Work]

6. Armstrong, Keith M., Finnigan, David, & Henderson, Robert (2016) Are We The One? [Digital/ Creative Work]

7. Armstrong, Keith M., Vincent, Charlotte, & Webster, Guy (2016) Shifting dusts. [Digital/Creative Work]

8. Gattenhof, Sandra Jane (2016) Little Red Riding Hood. [Live Performance (Dance)]

9. Graham, Philip W., Goold, Lachlan, Quaife, Adam, Carfoot, Gavin, Hulme, Zander, Godwin, Bure, et al. (2015) Indie 100 2015. [Other]

10. Hadley, Bree J. (2016) It’s A Social Experiment – Pranks, Political Activism, and Performing Marginality for a Politically Correct Mainstream Audience - Performance Workshop. [Performance]

11. Hancox, Donna, Vann, Meg, & Breeze, Mez (2015) Provocare. [Digital/Creative Work]

12. Hart, Phoebe (2017) Ordinary pain. [Film/Video]

13. Hart, Phoebe & Carter, Joe (2016) Mudskipping. [Film/Video]

14. Hart, Phoebe & Hart, Bonnie (2016) Phoebe & Bonnie Hart, Family - LGBTI+ History Month Schools ToolKit. [Digital/Creative Work]

15. Hart, Phoebe & Liu, Chengsuo (2016) The blanket makers of Kelvin Grove. [Film/Video]

16. Hart, Phoebe & Liu, Chengsuo (2016) Utopian Inequities. [Film/Video]

17. Hart, Phoebe & Newsome, Christine (2016) Goroka Taim. [Film/Video]

18. Haynes, Rachael Anne (2016) Homeground: Brisbane Artist Run Activity, Today and Tomorrow. [Exhibition/Event]

19. Haynes, Rachael Anne (2016) Summer School. [Exhibition/Event]

20. Haynes, Rachael Anne (2016) Your space or mine. [Exhibition/Event]

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

22. Holland-Batt, Sarah (2016) An illustrated history of settlement. In Langford, Martin, Beveridge, Judith, Johnson, Judy, & Musgrave, David (Eds.) Contemporary Australian Poetry. Puncher & Wattman, Glebe, N.S.W.

23. Holland-Batt, Sarah (2016) Cipriani’s. In Cassidy, Bonny & Wilkinson, Jessica L. (Eds.) Contemporary Australian Feminist Poetry. Hunter Publishers, Santa Lucia, Qld.

24. Holland-Batt, Sarah (2016) Early funerals. Rio Grande Review, 47 (Spring 2016), p. 7.

25. Holland-Batt, Sarah (2016) February Snow. Australian Book Review.

26. Holland-Batt, Sarah (2016) Great gull. Meanjin, 75(2), p. 186.

27. Holland-Batt, Sarah (2016) Instructions for a Lover. The Monthly, Dec 16(- Jan 17), p. 87.

28. Holland-Batt, Sarah (2016) Lapis lazuli/Sketches from the Nile. Australian Book Review.

29. Holland-Batt, Sarah (2016) Mackerel. Australian Book Review.

30. Holland-Batt, Sarah (2016) Manus Green Tree Snail. In Kelen, Kit & Disney, Dan (Eds.) Writing To The Wire. University of Western Australia Publishing.

31. Holland-Batt, Sarah (2016) Nostalgia. The Monthly, Dec 16 (- Jan 17), p. 43.

32. Holland-Batt, Sarah (2016) Primavera: The graces. In Langford, Martin, Beveridge, Judith, Johnson, Judy, & Musgrave, David (Eds.) Contemporary Australian Poetry. Puncher & Wattman, Glebe, NSW.

33. Holland-Batt, Sarah (2016) Quetzalcoatl. Australian Book Review.

34. Holland-Batt, Sarah (2016) Roseate spoonbill. Meanjin, Winter.

35. Holland-Batt, Sarah (2016) Scorpion/Love Poem. Meanjin, Autumn.

36. Holland-Batt, Sarah (2016) The art of disappearing. In Beveridge, Judith, Musgrave, David, Langford, Martin, & Johnson, Judy (Eds.) Contemporary Australian Poetry. Puncher & Wattman, Glebe, NSW.

37. Holland-Batt, Sarah (Ed.) (2016) The Best Australian Poems 2016. Black Inc, Collingwood, Vic.

38. Holland-Batt, Sarah (2016) The changing room. Australian Book Review, 385, p. 18.

39. Holland-Batt, Sarah (2016) The worst of it. Australian Book Review, 385, p. 18.

40. Holland-Batt, Sarah (2016) Treecreeper. Australian Book Review.

41. Holland-Batt, Sarah & Emery, Brook (Eds.) (2015) The Australian Poetry Anthology 2015. Australian Poetry, Sydney, N.S.W.


42. Johnson, Marguerite, Nelson, Camilla, Rodley, Chris, Corbett, Claire, Baker, Dallas J., Hancox, Donna, et al. (2015) An experiment in collaborative writing. [Textual Work]

43. Kelman, Kristina, Browning, Yanto, Goold, Lachlan, Graham, Philip W., & Mazumdar, Sonya (2016) Indie 100 International - Chennai. [Music/album]

44. King-Smith, Leah and King-Smith, Duncan (2017) Mill Binna. [Photographic Exhibition]

45. McKewen, Daniel (2016) Confidence Games. [Exhibition/Event]

46. McKewen, Daniel (2016) Confidence Games. [Visual Artwork]

47. McKewen, Daniel (2016) Perfect (after John). [Visual Artwork]

48. McKewen, Daniel (2016) Promises. [Visual Artwork]

49. McKewen, Daniel (2016) Promises, Promises, Promises. [Visual Artwork]

50. McKewen, Daniel (2016) Strange Loops [Exhibition/Event]

51. McKewen, Daniel (2016) The Bears Have Killed Goldilocks [Exhibition/Event]

52. McKewen, Daniel (2016) The Bears Have Killed Goldilocks. [Visual Artwork]

53. McKewen, Daniel (2016) The Past Devours the Future. [Visual Artwork]

54. McKewen, Daniel (2016) The Virtual Nation of Mammon. [Visual Artwork]

55. Polson, Debra (2016) The Museum of Colliding Dimensions. [Digital/Creative Work]

56. Polson, Debra & Hellens, Roger (2016) Fruit fruit simulator. [Digital/Creative Work]

57. Roche, Jennifer (2017) Kinaesthetic Navigation / Kinaestheti Stories [Digital/Creative Work]

58. Roche, Jennifer (2016) Time Over Distinct Over Time [Live Performance (Dance)]

59. Roche, Jennifer, McLay, Grant, & Donovan, Jared (2016) Time Over Distance Over Time. [Live Performance (Dance)]

60. Seevinck, Jennifer (2016) Dichroic Wade. [Digital/Creative Work]

61. Seevinck, Jennifer (2016) Light Waves. [Digital/Creative Work]

62. Whelan, Michael (2016) Altered States. [Performance]

63. Wilson, Rohan (2016) Eaglehawk IDC. [Textual Work]

64. Wilson, Rohan (2017) To Name Those Lost. Europa Editions, New York.

Reports1. Cunningham, Stuart, Dezuanni,

Michael, Goldsmith, Ben, Burns, Maureen, Miles, Prue, Ryan, Mark, and Murphy, Kayleigh. (2016). Screen Content in Australian Education: Digital Promise and Pitfalls. Digital Media Research Centre, Queensland University of Technology, Brisbane.

2. Gattenhof, Sandra Jane & Dezuanni, Michael L. (2016) Arts literature review: Senior syllabus redevelopment. Queensland Curriculum and Assessment Authority, Brisbane, Qld.

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

4. Gattenhof, Sandra Jane & Seffrin, Georgia (2016) Evaluation of Australian Performing Arts Market (APAM) 2014-2018 Year Two Interim Report June 2016. (Unpublished)

5. Gattenhof, Sandra & Seffrin, Georgia (2016) Evaluation of Australian Performing Arts Market 2014-2018: Year Two Report 2016.

6. Klaebe, Helen, Ellison, Elizabeth, Gilpin, Cate, Kirk, Grace, & Webster, Kathleen (2016) Evaluation of Artslink Queensland’s animating spaces 2013 - 2015: Final report 2016. Artslink Queensland, Brisbane, Qld.

7. Light, Ben, Houghton, Kirralie, Burgess, Jean, Klaebe, Helen, Osborne, Roger, Cunningham, Stuart, et al. (2016) The impact of libraries as creative spaces. QUT Digital Media Research Centre.

8. Moyle, Gene Margaret (2016) Career transition programs for professional dancers: Exploration of the current Australian context. Queensland University of Technology, Brisbane, Qld.

9. Roche, Jennifer (2016) Reshaping the Landscape: A Pathway to Professional Dance Training of International Standing in Ireland. The Arts Council, Dublin, Ireland.

Reviews

1. Holland-Batt, Sarah (2016) The High Places [Review]. Australian Book Review, 378.


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