Never mind the Research Statement: read the lyrics

The sleeve notes for a 12 inch vinyl record – or the ‘liner’ as it’s known in the US – comprise on average 700 words ... thrice that of the ‘textual descriptor’ – the Research Statement - which is all that’s allowed when describing the content of a non-traditional research output [the INTRO] for the forthcoming research assessment exercise...

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New Verbs: a Preamble to Impact and Engagement

I was recently introduced to a verb I hadn’t encountered before. I was attending—as a supervisor—a session looking to create opportunities for doctoral researchers (mostly of a STEM kind) . . . . the session (for me) had one good outcome, and this was learning this new verb. Angular, gauche and graceless, with zero poetry, it is however precise and pulls no punches: to self-select-out.

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Screen Production Research: Where to Next?

Following a period of research consolidation in 2015 and 2016, 2017 saw the Australian Screen Production Education and Research Association (ASPERA) ‘up the stakes’ with regard to its capacity for disciplinary research and, importantly, its future. We launched the report Screen Production Research Reporting: An ASPERA Scoping Project ... to capture some of the long-standing discussions and issues the discipline was facing.

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Towards a network for social practice in art and design

On Tuesday December 12, 2017, in unceded Wurundjeri territory, a group of 40 artists/designers/researchers/curators/educators from Australia and Aotearoa New Zealand came together at RMIT University to start to discuss the future of Social Practice in Art and Design. Using human relations as method and content across art and design, social practice connects creative practitioners with communities, industries and institutions to address contemporary social and political issues.

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From the President: Welcome to 2018

Here in Australian higher arts education, we are presiding over some ‘interesting’ times ourselves. With a divided polity, seemingly, but not only, separated along education and value and belief system lines, we are finding an astonishing and baffling suspicion of ‘expertise’ and what has been called ‘wilful ignorance’ or the US legal term ‘wilful blindness’.

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Expanding Thought

Like many of us who supervise research in Creative Arts practice, I spend a lot of my time navigating what I do not know. Perhaps this is part of the attraction of mentoring research at this level. Although I have been supervising Creative Arts PhDs for almost 20 years, I have become aware in the last decade of a rich interface between our disciplines and indigenous inquiry

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Arts Education in Asia 2017

The extraordinary growth in both quality and quantity of Asian arts education arrived with a distinctly new edge in 2017. After more than 15 years of identifying needed aspects of Western contemporary arts and arts training, the last decade has been focused upon catching up, on inviting Western experts to teach, sending staff abroad, and in establishing conferences that allow arts training to be discussed within Asia. There is now a wealth of quality arts colleges and universities across Asia, and activities and publications on arts education now surpasses Australasia.

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Breaking the fourth wall: Making exhibitions in the context of an art school

I’m writing in the weeks following the end of Singapore Art Week 2018, and the full schedule of exhibition tours and meetings with international museum, gallery and education professionals it marked at the Institute of Contemporary Arts Singapore. The ICA Singapore is the curatorial division of Lasalle College of the Arts. Art Week’s many and various artists and visitors are reminders of the increasingly global context for our programme but also of the capricious field into which Lasalle fine arts graduates will emerge.

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Creative arts in higher education in the era of rapid socio-economic transformation in Uganda: Trends, opportunities, and challenges

The arts have always been at the center of human life and civilisational progress in African communities. In the pre-colonial period, the arts defined cultural expressions, mediated community structures, and facilitated the generation, articulation and flow of knowledge within communities

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