Victorian College of the Arts - Research Publications

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    Can't touch this
    Clarke, A ; King, S ; Leach, A ; Van Acker, W (Cambridge University Press (CUP), 2019-05-10)
    Australia’s laid-back, sun-drenched beach lifestyle has been a celebrated and prominent part of its official popular culture for nigh on a century, and the images and motifs associated with this culture have become hallmarks of the country’s collective identity. Though these representations tend towards stereotype, for many Australians the idea of a summer holiday at the beach is one that is intensely personal and romanticised – its image is not at all urbanised. As Douglas Booth observed, for Australians the beach has become a ‘sanctuary at which to abandon cares – a place to let down one’s hair, remove one’s clothes […] a paradise where one could laze in peace, free from guilt, drifting between the hot sand and the warm sea, and seek romance’.1 Beach holidays became popular in the interwar years of the twentieth century, but the most intense burst of activity – both in touristic promotion and in the development of tourism infrastructure – accompanied the postwar economic boom, when family incomes were able to meet the cost of a car and, increasingly, a cheap block of land by the beach upon which a holiday home could be erected with thrift and haste. In subtropical southeast Queensland, the postwar beach holiday became the hallmark of the state’s burgeoning tourism industry; the state’s southeast coastline in particular benefiting from its warm climate and proximity to the capital, Brisbane. It was here – along the evocatively named Gold Coast (to Brisbane’s south) and Sunshine Coast (to its north) [1] – that many families experienced their first taste of what is now widely celebrated as the beach lifestyle.
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    Cannes vs Netflix: A screen battle of blockbuster proportions
    Luby, S (University of Melbourne, 2018)
    As the curtain opens on 2018’s Festival de Cannes, without any Netflix entries, there’s an economic side as well as a cultural one to this cinematic wrangle
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    Mishap
    Burke, P (Unlikely, 2018)
    Mishap is a performative intervention that gently shifts routine activity in social space. Using a fictional 'mishap', the work highlights social relations in regulated, commercial precincts and provides an understanding of variations in human behaviour in public space. There are two audiences for this work. The first is a live audience in the streets of Shanghai and Tokyo and other sites that is unprepared for the impromptu encounter. The second is an art audience in a gallery in Eastern Bloc, Montreal that views video documentation of the performance. The live work questions how meaningful interaction can be created when a temporary artwork is shaped by the tensions of transience. The video work allows for more reflective responses.
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    Does motor expertise facilitate amplitude differentiation of lower limb-movements in an asymmetrical bipedal coordination task?
    Roelofsen, EGJ ; Brown, DD ; Nijhuis-van der Sanden, MWG ; Staal, JB ; Meulenbroek, RGJ (ELSEVIER SCIENCE BV, 2018-06)
    The motor system's natural tendency is to move the limbs over equal amplitudes, for example in walking. However, in many situations in which people must perform complex movements, a certain degree of amplitude differentiation of the limbs is required. Visual and haptic feedback have recently been shown to facilitate such independence of limb movements. However, it is unknown whether motor expertise moderates the extent to which individuals are able to differentiate the amplitudes of their limb-movements while being supported with visual and haptic feedback. To answer this question 14 pre-professional dancers were compared to 14 non-dancers on simultaneously generating a small displacement with one foot, and a larger one with the other foot, in four different feedback conditions. In two conditions, haptic guidance was offered, either in a passive or active mode. In the other two conditions, veridical and enhanced visual feedback were provided. Surprisingly, no group differences were found regarding the degree to which the visual or haptic feedback assisted the generation of the different target amplitudes of the feet (mean amplitude difference between the feet). The correlation between the displacements of the feet and the standard deviation of the continuous relative phase between the feet, reflecting the degree of independence of the feet movements, also failed to show between-group differences. Sample entropy measures, indicating the predictability of the foot movements, did show a group difference. In the haptically-assisted conditions, the dancers demonstrated more predictable coordination patterns than the non-dancers as reflected by lower sample entropy values whereas the reverse was true in the visual-feedback conditions. The results demonstrate that motor expertise does not moderate the extent to which haptic tracking facilitates the differentiation of the amplitudes of the lower limb movements in an asymmetrical bipedal coordination task.
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    Capturing The Moment: an investigation into the process of capturing performance on film and The Five Provocations: a feature film
    Black, A ; Tait, P ( 2019-05-15)
    Dr Black examined alternative approaches to filmmaking. She determined that performance used as a foundation of film development enables a collaborative process that facilitates more authentic screen performances. Her findings, demonstrated in her successful feature film The Five Provocations, produced an innovative method for working with cast to develop character and story. Capturing the Moment: An Investigation into the Process of Capturing Performance on Film and The Five Provocations: A Feature Film.
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    Another Planet a program of Australian video, The Video Data Bank Conversations at the Edge series, media makers, critics, scholars and theorists in dialogue around the most provocative and daring works being produced in media today
    Dr Macarow, K (https://www.realtime.org.au/taking-the-gritty-backlash-to-the-usa/, 2003)
    Another Planet, Martine Corompt, Philip Brophy, Amanda Morgan, sue k, John Billan and Jennifer Sochackyj, Justine Cooper and Joey Stein, a program of Australian video at The Video Data Bank was as part of their Conversations at the Edge series media makers, critics, scholars and theorists in dialogue around the most provocative and daring works being produced in media today. Australian work from 1999 to 2002 was included, presenting a bastardised, glitched, self-reflexive and neo-materialist digital practice which countered the notion of the seminal, and was at odds with the generic and cyberish polish invested in much ‘new’ media art. The emerging gritty backlash to over purposed, under developed, high-end digital art.
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    Lightfilmbody
    Morgan, A (The National Portrait Gallery, 2016)
    Lightfilmbody was a moving image work that animated the façade of The National Portrait Gallery Canberra. The work ran for 2 weeks during Enlighten on a loop and was made as an assemblage of film strips of moving image, with each frame animating in replication of a filmstrip. The notion of the portraiture and light in painting was reiterated as an ethereal bodying of water, a fallen painting out of place and falling against the toxic concrete building. The work was montaged with immaterial animations hand painted with bold colour under camouflage and highlighted the organic and built materials of the grounds.
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    Colour Field Painting
    Morgan, A (Collingwood Football Stadium, 2017)
    Colour Field Painting was a permanent film projected onto the station side-facing wall of Collingwood Football Stadium. The work ran for six months on a loop and then again as a later work for three months. The work was made as an assemblage of the moving image, photography and a painted field of colour. The old disused building exterior was under bold camouflage. It highlighted the organic and built materials of the ground. The photography was deliberately taken on the ground, the surroundings, and the site on the anniversary day of the referendum.
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    If They Build a Wall
    Morgan, A (GSPF, 2017)
    If They Build a Wall, was an assemblage of moving image, photography and painting on the decaying Gold-Rush building exterior under bold camouflage. The artwork continues experimentations in the moving image with painting, photography, and compositions on climate. This assemblage is with an ongoing interest in climate devised as camouflage to alert from the street as a platform to accentuate the division of organic materials and the immaterial realms of the projected film. The organically animating lines of the artwork montaging with the decaying Gold Rush building. It alerted to celebrating the lived outdoor environment and was with support from City of Yarra.
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    Falling Water as Space Event Movement
    Morgan, A (RMIT library exterior, 2016)
    Space Event Movement was an assemblage of moving image, photography and painting on the RMIT library exterior under bold camouflage. The artwork continues experimentations in the moving image with painting, photography, compositions on climate.