Fine Arts and Music Collected Works - Research Publications

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http://hdl.handle.net/11343/192986

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Explainer: What are non-traditional research outputs, and why do they matter?

Sierra, M (DDCA, 2022)

Creating and communicating new knowledge is the bread-and-butter of academic work. And the traditional paper –published in a peer-reviewed journal, addressing a “gap” in existing knowledge – is the typical way it’s done. But, while vital, journal articles are not the only way to communicate new knowledge. Non-traditional research outputs, which are essentially any output other than an article or book, make noteworthy contributions and are growing in influence.
Tellus Art Project 1 (at Plantbank, Australian Botanic Garden, NSW)

Sierra, M (https://theherbariumtales.org/the-tellus-project-launch.html, 2022)

The first of two exhibitions for the Tellus Art Project aims to re-value the plant collection of the Herbarium through the mediation of art. It addresses the affliction of plant blindness, wherein many people do not recognise or value the plant life around them, particularly in an epoch of climate change and species extinction. It considers how the Herbarium plant collection will form the basis of art making and re-valuing of vegetal life.
Tellus Art Project 2 (at Siteworks, Bundanon, NSW)

Sierra, M (https://www.bundanon.com.au/field-notes/the-tellus-project/, 2023)

The second and final exhibition for the Tellus Art Project aims to re-value the plants and vegetal environment of Bundanon through the mediation of art. It addresses the affliction of plant blindness, wherein many people do not recognise or value the plant life around them, particularly in an epoch of climate change and species extinction. It considers how the plants of Bundanon and surrounds can form the basis of art making and re-valuing of vegetal life.
The Imaginary when Invisible

Sierra, M ( 2020-09-09)

Online Plenary at the Eleventh International Conference on the Image, UNSW
PLANT NATION

Sierra, M ; Lorenzutti, G (University of Melbourne, 2024)

Inspired by plant wisdom, PLANT NATION, revisits Theatrum Botanicum (2022), conceived and choreographed by Gregory Lorenzutti, made with VCA Dance and Design and Production Students. Marie Sierra is the executive producer of the reimagined 2024 performance. In a time of climate crisis and ‘plant blindness’ (Prudence Gibson) this new iteration of the work applies ecological thinking to performance process and production. People and plants are entwined by threads that reach back to our very beginnings as a species. PLANT NATION is a site-specific performance that invites you to experience dance as a potent gateway to trace and reconnect us within the complex pattern of nature and make the vegetal world seen again. Through plant awareness and visibility, a choreographic score made in collaboration with plants aims to motivate a more attentive perception of the places we share with living organisms, and ultimately, how we insert humans back into circular systems of nature, as interconnected and diverse species. PLANT NATION was made possible through and ARC Linkage Grant held by Professor Marie Sierra (UniMelb), with Dr Prudence Gibson (UNSW) and Associate Professor Sigi Jöttkandt (UNSW)
Expanded AI: Interdisciplinary Human-Machine Collaborations

Walton, R ; David, P ; Lim, M ; Macindoe, A ; Cornish-Ward, S (Art and Australia, Issue 58, 2, 2023)

Expanded AI: Interdisciplinary Human-Machine Collaborations was hosted by Art + Australia on November 9 at Science Gallery Melbourne. The panel, led by artist and researcher Robert Walton, was an interdisciplinary discussion between Monica Lim, David Pledger, Alisdair Macindoe and Stanton Cornish-Ward. The panellists from theatre, dance, music, film and art share recent and current projects that emoploy AI, from architectural interventions, algorithmic choreographic processes, the development of a piano-based AI-generated echo chamber and the use of image generating technologies in film and history projects.
[S+T+ARTS Prize Honorary Mention] Child of Now

Walton, R ; Pierce, J ; Coleman, CG (Ars Electronica, 2023)

Child of Now is a mixed-reality artwork that calls on citizens to co-create, shape, and nurture an indigenized, sustainable, and fairer vision of the next century for an imagined child born in 2023. Jury Statement: What will we pass on to the next generation? For those of us living in the present, it is crucial to have a future-oriented mindset that considers those who will live in the next era. The Child of Now project has the potential to bring about a significant social impact by addressing global challenges based on unique linguistic and environmental history, starting from the Australian experience with a possibility for further regional development. Referring to the concept of ‘everywhen’ and collaborating with the First Nations and author Claire G. Coleman for creating the storytelling, the artists built an immersive experience. Through the use of the volumetric capture system, the “digital holograms” created can be experienced in a VR environment. In this way, the project enables people to know the past and see the future through an installation, providing an important opportunity for individuals to think about their personal situation. Experienced as an immersive tactile audio-visual installation, Child of Now invites visitors to enter the Aboriginal concept of the ‘everywhen,’ a place where all time is present, to observe the last 10,000 years of life on the Birrarung river and acknowledge the resilience of First Nations peoples who survived climate emergencies and settler invasion. The experience continues by inviting visitors to imagine all the children being born in the present moment, now. It then accelerates time to the year in the future that the Child of Now is the visitor’s age. In this moment the artwork asks the visitor to imagine themselves as, and to become, the Child of Now in the future. It creates a portrait of their performance as audio and ‘digital hologram’ (volumetric video) recordings. Each holographic portrait of the visitor as the Child of Now is replayed in the final section of the experience: a VR archive set beneath the river where all the Children of Now are located in age order in the stream of time. Collectively, visitors crowd-source the ‘future archive’ of the Child of Now’s life, populating each day from birth to death, with a body in the form of diverse holographic portraits. The novel approach to volumetric video data, as well as other biodata, informs a symbiotic collective portrait of the current population in the process of imagining the lives of those who inherit our society. The project aspires to democratize and increase participation in future thinking by fostering accessible new tools at the intersection of art, science, and demographics.
The Heart (Video Documentation)

Walton, R ; Joukhadar, Z ; McAtomney, M (IEEE VISAP, 2023)
Stilled Tongues: Performance Protests Silence Surrounding Ghana’s anti-LGBTQ+ Bill

Walton, R (IATC, 2023)

Review: "Mis-sing Reality—The Beast unleashed" by Va-Bene Elikem Fiatsi (aka crazinisT artisT). A performance intervention at the Closing Ceremony of the International Federation of Theatre Research, 28 July 2023, The Great Hall, University of Accra, Ghana.
The Heart: Automated Intuition Not Artificial Intelligence.

Walton, RE (Victorian College of the Arts, 2023)

The more I discovered about the machine learning algorithms we were deploying to process the thousands of sensor readings from across the building moment to moment, the more I appreciated that The Heart and its processes would be less about Artificial Intelligence and more precisely what I call Automated Intuition. The Manifold Learning and GAN algorithms produce a residue on a par with habit, similar to how organisms become accustomed to their senses stimulated by their experiences moment to moment, day after day. While the same algorithms are often used to produce so-called ‘artificially intelligent’ results in other applications, I see the automated sifting and sedimentation of live data into persistent shapes and structures formed over long durations more like accruing the circumstances for an immanent intuition. This intuition enables the ability to understand sensations (inputs) instinctively, without the need for conscious reasoning, and is therefore more akin to the secrets of the heart than the head. Indeed, as I considered other, more commonly encountered AI applications manipulating text and images, I began to appreciate them as productive forms of automated intuition, not artificial intelligence.

Fine Arts and Music Collected Works - Research Publications

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