George Catsi, Ulrike Sturm and Catherine Gough-Brady share an interest in examining the creative ... more George Catsi, Ulrike Sturm and Catherine Gough-Brady share an interest in examining the creative process and exploring interdisciplinary practice and collaboration. Their diverse approaches are informed by working in different art media. Catsi writes and creates live theatre performances as well as filmic and artistic works. His work is informed by psychological and performative narratives around persuasion. Sturm’s work as a visual artist investigates themes of memory and identity through the lens of place attachment theory. Gough-Brady creates documentaries for broadcast TV alongside experimental film works. What binds their approach to collaboration is an interest in investigating, through art practice, experiences of power and belonging. In her 1991 essay “Yellow Sprouts”, visual ethnographer Trinh T Minh-ha contends that the “function of any ideology in power is to represent the world positively unified”. In this paper Catsi, Sturm and Gough-Brady each use a case study to explore their own practice and how their collaborative work challenges myths and desire for unity, and creates space for disparate voices and experiences.
Yoko Tawada writes in Japanese, German and English. At a talk by her in Melbourne recently, Frank... more Yoko Tawada writes in Japanese, German and English. At a talk by her in Melbourne recently, Frank Ostowski asks her about the arbitrary nature of the sign-does her multilingual practice give any insight into this linguistic given?1 Tawada replies, ifa little hesitantly, that, yes, she knows that this is a given, but it is the business of writers to bring the sign and its referent closer, to make it less arbitrary. At this moment, I hear a poet' s job description, and then also a formula that might give some insights into the work of all creative workers. The following notes outline the territory glimpsed:
Text: Journal of the Australian Association of Writing Programs, Apr 30, 2016
This article considers the place of image-making in interdisciplinary research. The author create... more This article considers the place of image-making in interdisciplinary research. The author created a visual response to each of the other articles in this Special Issue, and reflecting on this process, thus investigating a multi-layering of interdisciplinarity: the texts themselves each engage across disciplines and the visual element then overlays a further interdisciplinarity. The arguments around the validity of creative practice as a focus for scholarly research are examined in light of Sullivan's (2010) assertion that 'artistic thinking' constitutes scholarly research because it invokes metacognitive practices.
As the teaching staff working in a university postgraduate program—the Graduate Certificate of Cr... more As the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. This paper explores peer to peer mentoring as a strategy for increasing engagement to achieve positive learning outcomes.
This article considers the place of image-making in interdisciplinary research. The author create... more This article considers the place of image-making in interdisciplinary research. The author created a visual response to each of the other articles in this Special Issue, and reflecting on this process, thus investigating a multi-layering of interdisciplinarity: the texts themselves each engage across disciplines and the visual element then overlays a further interdisciplinarity. The arguments around the validity of creative practice as a focus for scholarly research are examined in light of Sullivan's (2010) assertion that 'artistic thinking' constitutes scholarly research because it invokes metacognitive practices.
Authors relating their experiences as outsiders is a recurring theme within the genre of life wri... more Authors relating their experiences as outsiders is a recurring theme within the genre of life writing. Focusing on the work of the South Australian author and artist, Barbara Hanrahan (1939-1991, and Ian Abdulla (1947-2011), an Australian indigenous artist from the Riverland region, also in South Australia, this article seeks to explore whether feelings of alienation can occur just as easily in the place where one has grown up, where one supposedly ‘belongs’. Both Abdulla and Hanrahan, through their differing approaches to life writing, offer an insight into the complex dynamic between place, belonging and identity.
As the teaching staff working in a university postgraduate program—the Graduate Certificate of Cr... more As the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. As such, we are invested in enhancing student engagement both within the framework of this individual program and at an institution level. Like many institutions which now offer degrees which are either partially or fully online, the program in question offers a blended learning environment, with internal students also expected to engage with online materials (Rovai and Jordan; Colis and Moonen). The program was developed in 2011, first offered in 2012, and conducted two and sometimes three terms a year since then. Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.
The exhibition of an artist’s work is traditionally accepted as representing the final stage of t... more The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional.
The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45).
Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51).
George Catsi, Ulrike Sturm and Catherine Gough-Brady share an interest in examining the creative ... more George Catsi, Ulrike Sturm and Catherine Gough-Brady share an interest in examining the creative process and exploring interdisciplinary practice and collaboration. Their diverse approaches are informed by working in different art media. Catsi writes and creates live theatre performances as well as filmic and artistic works. His work is informed by psychological and performative narratives around persuasion. Sturm’s work as a visual artist investigates themes of memory and identity through the lens of place attachment theory. Gough-Brady creates documentaries for broadcast TV alongside experimental film works. What binds their approach to collaboration is an interest in investigating, through art practice, experiences of power and belonging. In her 1991 essay “Yellow Sprouts”, visual ethnographer Trinh T Minh-ha contends that the “function of any ideology in power is to represent the world positively unified”. In this paper Catsi, Sturm and Gough-Brady each use a case study to explore their own practice and how their collaborative work challenges myths and desire for unity, and creates space for disparate voices and experiences.
Yoko Tawada writes in Japanese, German and English. At a talk by her in Melbourne recently, Frank... more Yoko Tawada writes in Japanese, German and English. At a talk by her in Melbourne recently, Frank Ostowski asks her about the arbitrary nature of the sign-does her multilingual practice give any insight into this linguistic given?1 Tawada replies, ifa little hesitantly, that, yes, she knows that this is a given, but it is the business of writers to bring the sign and its referent closer, to make it less arbitrary. At this moment, I hear a poet' s job description, and then also a formula that might give some insights into the work of all creative workers. The following notes outline the territory glimpsed:
Text: Journal of the Australian Association of Writing Programs, Apr 30, 2016
This article considers the place of image-making in interdisciplinary research. The author create... more This article considers the place of image-making in interdisciplinary research. The author created a visual response to each of the other articles in this Special Issue, and reflecting on this process, thus investigating a multi-layering of interdisciplinarity: the texts themselves each engage across disciplines and the visual element then overlays a further interdisciplinarity. The arguments around the validity of creative practice as a focus for scholarly research are examined in light of Sullivan's (2010) assertion that 'artistic thinking' constitutes scholarly research because it invokes metacognitive practices.
As the teaching staff working in a university postgraduate program—the Graduate Certificate of Cr... more As the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. This paper explores peer to peer mentoring as a strategy for increasing engagement to achieve positive learning outcomes.
This article considers the place of image-making in interdisciplinary research. The author create... more This article considers the place of image-making in interdisciplinary research. The author created a visual response to each of the other articles in this Special Issue, and reflecting on this process, thus investigating a multi-layering of interdisciplinarity: the texts themselves each engage across disciplines and the visual element then overlays a further interdisciplinarity. The arguments around the validity of creative practice as a focus for scholarly research are examined in light of Sullivan's (2010) assertion that 'artistic thinking' constitutes scholarly research because it invokes metacognitive practices.
Authors relating their experiences as outsiders is a recurring theme within the genre of life wri... more Authors relating their experiences as outsiders is a recurring theme within the genre of life writing. Focusing on the work of the South Australian author and artist, Barbara Hanrahan (1939-1991, and Ian Abdulla (1947-2011), an Australian indigenous artist from the Riverland region, also in South Australia, this article seeks to explore whether feelings of alienation can occur just as easily in the place where one has grown up, where one supposedly ‘belongs’. Both Abdulla and Hanrahan, through their differing approaches to life writing, offer an insight into the complex dynamic between place, belonging and identity.
As the teaching staff working in a university postgraduate program—the Graduate Certificate of Cr... more As the teaching staff working in a university postgraduate program—the Graduate Certificate of Creative Industries (Creative Practice) at Central Queensland University, Australia—an ongoing concern has been to ensure our students engage with the digital course content (delivered via the Moodle learning management system). This is an issue shared across the sector (La Pointe and Reisetter; Dargusch et al.) and, in our case, specifically in the area of students understanding how this online course content and tasks could benefit them in a program that is based around individual projects. As such, we are invested in enhancing student engagement both within the framework of this individual program and at an institution level. Like many institutions which now offer degrees which are either partially or fully online, the program in question offers a blended learning environment, with internal students also expected to engage with online materials (Rovai and Jordan; Colis and Moonen). The program was developed in 2011, first offered in 2012, and conducted two and sometimes three terms a year since then. Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.
The exhibition of an artist’s work is traditionally accepted as representing the final stage of t... more The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional.
The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45).
Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51).
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Papers by Ulrike Sturm
What binds their approach to collaboration is an interest in investigating, through art practice, experiences of power and belonging. In her 1991 essay “Yellow Sprouts”, visual ethnographer Trinh T Minh-ha contends that the “function of any ideology in power is to represent the world positively unified”. In this paper Catsi, Sturm and Gough-Brady each use a case study to explore their own practice and how their collaborative work challenges myths and desire for unity, and creates space for disparate voices and experiences.
Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.
The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45).
Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51).
What binds their approach to collaboration is an interest in investigating, through art practice, experiences of power and belonging. In her 1991 essay “Yellow Sprouts”, visual ethnographer Trinh T Minh-ha contends that the “function of any ideology in power is to represent the world positively unified”. In this paper Catsi, Sturm and Gough-Brady each use a case study to explore their own practice and how their collaborative work challenges myths and desire for unity, and creates space for disparate voices and experiences.
Within the first year of delivery, low levels of student participation in online learning were identified as problematic. This issue was addressed using strategies that made use of characteristic strengths among our creative industries students, by developing and linking a peer-to-peer mentoring approach to our blended learning course design. Our challenge in this (as project facilitators and as teachers) has been to devise strategies to shift the students from reluctant to engaged online content users. A key strategy has evolved around introducing peer-mentoring as an intrinsic behaviour in the courses in the program. While not using a full case study approach, we do offer this singular instance for consideration as “much can be learned from a particular case” (Merriam 51). The below is based on our own observations, together with formal and informal student feedback gathered since 2012.
The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45).
Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51).