Drones, Signals, and the Techno-Colonisation of Landscape

This research project is a cross-disciplinary, creative practice-led investigation that interrogates increasing military interest in the electromagnetic spectrum (EMS). The project’s central argument is that painted visualisations of normally invisible aspects of contemporary EMS-enabled warfare can reveal useful, novel, and speculative but informed perspectives that contribute to debates about war and technology. It pays particular attention to how visualising normally invisible signals reveals an insidious techno-colonisation of our extended environment from Earth to orbiting satellites

Focusing the story - Between the screenplay and the audience - The Director as clarifier of the film's story

This paper investigates the role of the film director as a clarifier of the film’s story, between the story’s existence in the screenplay and the story as it appears in the finished film. Using selected scenes from the screenplay and film of Trumbo (2015, director Jay Roach, writers John McNamara and Bruce Cook), this paper examines the director’s transformation of the screenplay into a film through the creative choices they make in visualising and staging the presentation of the story. Much has been written about screenplays being blueprints or production manuals for films (Böhm & Batty 2022, Maras 2009, Nelmes 2007,Price 2010a) as well as the creative tensions during script development and re-writes (Taylor & Batty 2016, Bloore 2012, Macdonald 2010). Yet after all this creative activity, which is centred on getting the screenplay exactly ‘right’, a screenplay is again subject to the creative interpretation of the director who will ultimately stage and visualise its contents. It is at this mediating point, that the director, as the final creative interpreter of the story, must transcend the written words on the page to maximise the clarity by which the writer’s story is presented to the audience in a visual form. This paper seeks to demonstrate that consciously being the clarifier of the film’s story is a key function of the director’s role. Thus, rather than slavishly reproducing the exact dialogue and big print as they appear in the screenplay, the director’s function is to take the essence and intent of the film’s story as it exists in written form in the screenplay and present it as simply and clearly as practical to maximise the possibility that the audience correctly interprets the story

can't buy me love

Presented through the lens of virtual reality, can’t buy me love is an immersive experience that purports to sell the audience the intangibility of spiritual enlightenment. It brings “reality” into a space that is “unreal” and where the item that is for sale is one that cannot be bought. can’t buy me love is developed with support from The UTS Faculty of Design, Architecture and Building and the UTS Faculty of Law and as part of the 2021 UTS Artist in Residence Program

Picturing Currere : envisioning-experiences within learning

Currere reconceptualises curriculum as understanding learning experiences. This paper outlines potentials for pictures in re-envisioning currere for a world growing in complexity.Vision, as the privileged sense for acquiring knowledge, is often regarded deterministically - seeing is believing. But, as sophisticated technology becomes more significant in the control of knowledge systems - as \u27reality\u27 becomes more virtual - personal visual experiences are becoming harder to generate, interpret and authenticate. Knowledge technology is increasing exposure to \u27mediated messages\u27 and diminishing the ability to validate them. I see this as problematic for the authenticity of learning within a world that is intensifying in its complexity.My work reaches beyond determinist/technological views of learning to explore envisioning-experiences within learning. I am particularly interested in ways that enacting with pictures embodies individuals, communities, and the world within understandings of complexity and authenticity. In practical terms, this involves interactively and reflexively \u27doing pictures\u27 as a personal process in learning for deeper understanding.The paper explores three issues: * Text and pictures: learning, thinking, and knowing, as textual dominions that marginalise pictures. * Enactivism and learning: an approach to learning for complex communities that embodies mindful thinking within haptic experiences. * Enactive picturing: laying a personal processual path with learning that complexifies understandings for authenticating experiences - doing-walking-talking - with pictures.<br /

Beyond Possession of Lot 3/384: Visual Art Process as Agency in Understanding the Place of My Australian Settlerhood

Beyond Possession of Lot 3/384: Visual Art Process as Agency in Understanding the Place of My Australian Settlerhood is a project that considers the potential of the processes of visual art and researched writing to reveal fresh insights into the place of my lived settler experience. With a focus on the reemergence of scholarship and art production surrounding the issues, also examined are ways in which the hierarchical tropes of abstract, manipulable time inherent to modernity is able to unsettle ontological understandings of place. Against the backdrop of a broad Western historical timeline that reviews features of cultural, judicial and philosophical organizations of place, space and time, the relationships between art process and place in the specific context of this thesis is Lot 3/384, a parcel of land I own in the Southern Highlands of New South Wales. The artwork produced for the thesis is situated within a framework of art practitioners whose interest in the materiality, politics and substance of place align with my own. Also considered is the use of prescriptive cultural motifs within the traditions of representational landscape art that tend to endorse hegemonic discourses. To disrupt these narrow practices, the concept of methexis is explored as a possible arena of performative and interactive art process that clarifies and expands current settler understandings of place

Virtual Heritage

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed in Minecraft; they propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments

Virtual Heritage

Virtual heritage has been explained as virtual reality applied to cultural heritage, but this definition only scratches the surface of the fascinating applications, tools and challenges of this fast-changing interdisciplinary field. This book provides an accessible but concise edited coverage of the main topics, tools and issues in virtual heritage. Leading international scholars have provided chapters to explain current issues in accuracy and precision; challenges in adopting advanced animation techniques; shows how archaeological learning can be developed in Minecraft; they propose mixed reality is conceptual rather than just technical; they explore how useful Linked Open Data can be for art history; explain how accessible photogrammetry can be but also ethical and practical issues for applying at scale; provide insight into how to provide interaction in museums involving the wider public; and describe issues in evaluating virtual heritage projects not often addressed even in scholarly papers. The book will be of particular interest to students and scholars in museum studies, digital archaeology, heritage studies, architectural history and modelling, virtual environments

Journalism Education 2016 Vol 5(2): Guest Editor

“It’s the story that matters! Teaching journalism’s storytellers” Special Edition of Journalism Education Guest Editor: Karen Fowler-Watt, Bournemouth University, UK. Storytelling is the journalist’s craft skill. Shaped by the tenets of objectivity and accuracy, the news narrative informs the debate and brings us the human stories. If journalism is a craft, then the story is the journalist’s work of art. In a rapidly changing landscape of technological revolution, shifting business models and ethical challenges, one thing remains certain – the story still matters. As award winning BBC foreign correspondent, Fergal Keane reminds us, the journalist is first and foremost a storyteller who is ‘trying to tell them what it is like to stand where I do and see the things I see.’ But this core skill is being challenged on all sides. The demands of the 24/7 news cycle emphasise story – processing, rather than storytelling. Originality – the storyteller’s stock-in-trade - is often sacrificed as newsrooms shrink in size and journalists fail to get out of the office. The online environment moves us away from linear storytelling and focuses on the imperative of interactivity. Stories require simplicity and multi media features to engage an audience consuming in byte-size, whilst on the move. If storytelling lies at the heart of journalism practice, how do journalism educators face these challenges? How do we teach the next generation of journalists to find original stories and to tell them in innovative ways? How do we encourage young journalists to engage audiences through their storytelling techniques? How does investigative, in-depth research and long-form storytelling fit in to this digital context? This special edition of Journalism Education aims to invite discussion and debate about a range of factors currently informing the role of storytelling in journalism education. It will devote particular attention to the ways in which journalism educators are embracing multimedia and new media approaches to storytelling. Possible topics to be examined may include: - Definitions of storytelling in a digital age - Teaching storytelling to journalists: - the role of accuracy, redefining objectivity - reporting human interest, reporting conflict - Original storytelling - Influences of social media on journalistic narrative - Understanding the role of audience in storytelling - Ethical issues in storytelling - Technological innovation, experimentation and teaching multimedia storytelling techniques - Experiential approaches to teaching storytelling - Teaching storytelling using data - Selling stories - teaching entrepreneurship: pitching story ideas, getting stories commissioned Articles will be peer-reviewed in accordance with the JE guidelines for peer review Guest Editor Dr Karen Fowler-Watt is Head of the School of Journalism, English and Communication in the Faculty of Media and Communication at Bournemouth University. She is a former BBC journalist and co-editor (with Stuart Allan) of Journalism: New Challenges (2013, CJCR) Contact Dr Karen Fowler-Watt Head of School, Journalism, English and CommunicationW338, Faculty of Media and Communication Bournemouth University Talbot Campus Fern Barrow Poole. Dorset. BH12 5BB Email: [email protected] Tel: + 44(0) 1202965129 Web: www.media.bournemouth.ac.uk “It’s the story that matters! Teaching journalism’s storytellers” Special Edition of Journalism Education Guest Editor: Karen Fowler-Watt, Bournemouth University, UK. Storytelling is the journalist’s craft skill. Shaped by the tenets of objectivity and accuracy, the news narrative informs the debate and brings us the human stories. If journalism is a craft, then the story is the journalist’s work of art. In a rapidly changing landscape of technological revolution, shifting business models and ethical challenges, one thing remains certain – the story still matters. As award winning BBC foreign correspondent, Fergal Keane reminds us, the journalist is first and foremost a storyteller who is ‘trying to tell them what it is like to stand where I do and see the things I see.’ But this core skill is being challenged on all sides. The demands of the 24/7 news cycle emphasise story – processing, rather than storytelling. Originality – the storyteller’s stock-in-trade - is often sacrificed as newsrooms shrink in size and journalists fail to get out of the office. The online environment moves us away from linear storytelling and focuses on the imperative of interactivity. Stories require simplicity and multi media features to engage an audience consuming in byte-size, whilst on the move. If storytelling lies at the heart of journalism practice, how do journalism educators face these challenges? How do we teach the next generation of journalists to find original stories and to tell them in innovative ways? How do we encourage young journalists to engage audiences through their storytelling techniques? How does investigative, in-depth research and long-form storytelling fit in to this digital context? This special edition of Journalism Education aims to invite discussion and debate about a range of factors currently informing the role of storytelling in journalism education. It will devote particular attention to the ways in which journalism educators are embracing multimedia and new media approaches to storytelling. Possible topics to be examined may include: - Definitions of storytelling in a digital age - Teaching storytelling to journalists: - the role of accuracy, redefining objectivity - reporting human interest, reporting conflict - Original storytelling - Influences of social media on journalistic narrative - Understanding the role of audience in storytelling - Ethical issues in storytelling - Technological innovation, experimentation and teaching multimedia storytelling techniques - Experiential approaches to teaching storytelling - Teaching storytelling using data - Selling stories - teaching entrepreneurship: pitching story ideas, getting stories commissioned Articles will be peer-reviewed in accordance with the JE guidelines for peer review Guest Editor Dr Karen Fowler-Watt is Head of the School of Journalism, English and Communication in the Faculty of Media and Communication at Bournemouth University. She is a former BBC journalist and co-editor (with Stuart Allan) of Journalism: New Challenges (2013, CJCR) Contact Dr Karen Fowler-Watt Head of School, Journalism, English and CommunicationW338, Faculty of Media and Communication Bournemouth University Talbot Campus Fern Barrow Poole. Dorset. BH12 5BB Email: [email protected] Tel: + 44(0) 1202965129 Web: www.media.bournemouth.ac.u