Victorian College of the Arts - Research Publications
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ItemNo Preview AvailableReliability and short version of the Dunphy Outcomes Framework (DOF): Integrating the art and science of dance movement therapy(PERGAMON-ELSEVIER SCIENCE LTD, 2023-09)
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ItemAll the things I should have said that I never said(Bunjil Place, City of Casey, 2022)
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ItemPimp my Gauguin: Yuki Kihara's Paradise Camp (or Why Post Impressions Matter)(Artlink Australia, 2022-11-18)David Sequeira's Review of New Zealand Pavilion, 59th La Biennale di Venezia 23 April — 27 November 2022 published in Artlink 18 November 2022
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ItemLiam Fleming: Bringing colour into being(The Guildhouse Fellowship, 2023)"Light and colour is curated by Rebecca Evans, Curator of Decorative Arts and Design, and is accompanied by a printed exhibition catalogue featuring essay by David Sequeira."
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ItemNo Preview AvailableMishap(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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ItemNo Preview AvailableDoes motor expertise facilitate amplitude differentiation of lower limb-movements in an asymmetrical bipedal coordination task?(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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ItemTheorem(MEJIA Gallery, Melbourne, Australia, 2022-11-30)Theorem: an exhibition comprised of 11 figurative sculptures cast in plaster that shed light on series of philosophical propositions in the in work of philosopher Michel Serres,.entitled Statues: A Second Foundation. The sculpture exhibition gives a material form to a series of philosophical concerns regrading the origins of sculpture and the interconnections between sculpture as idol, as theological transgression in the 3 monotheistic religions of the book, as embodiment of death, and in recent scientific research. Through an aesthetic engagement with materials, abstract concepts are given a palpably tactile and visual form. Image of exhibition attached. A paper discussing the connection to philosophy of Herder on the liminality of sculpture in relation to my the exhibition, Theorem, was presented at the Australasian School of Continental Philosophy conference 28th - 30th Nov, 2022 by Professor Alexander Garcia Duttmann, Universitat de Kunst, Berlin. See Duttmann's paper attached and his Institutional affiliation.
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ItemEffects of Mirror and Metronome Use on Spontaneous Dance Movements(HUMAN KINETICS PUBL INC, 2021-01)This study investigated effects of mirror and metronome use on spontaneous upper body movements by 10 preprofessional dancers in a motor task in which maximally diverse upper body movement patterns were targeted. Hand and trunk accelerations were digitally recorded utilizing accelerometers and analyzed using polar frequency distributions of the realized acceleration directions and sample entropy of the acceleration time. Acceleration directions were more variably used by the arms than by the torso, particularly so when participants monitored their performance via a mirror. Metronome use hardly affected the predictability of the acceleration time series. The findings underscore the intrinsic limitations that people experience when being asked to move randomly and reveal moderate effects of visual and acoustic constraints on doing so in dance.
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ItemFraming Technologies in the Dramaturgies of Performance(Centre 42, 2023)
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ItemNo Preview AvailableShort Films by Mischa Baka and Siobhan Jackson(https://www.pureshitauscinema.com/unknown_pleasures_2022.html#19, 2022-07-26)A retrospective screening/exhibition of short films written, directed and edited by creative screen collaborators, Siobhan Jackson and Mischa Baka