There’s more than one route into studying in our creative community. From Evening & Saturday Courses, to Foundation and BA courses, to research degrees, you’ll find a path through AUB that suits you. Simply select the course level you’d like to study.
Six installation projects have been developed in various locations across Cockatoo Island in Sydney Harbour. The participating artists have engaged with various aspects of the site’s institutional heritage and topography, considering the island as a historic, tangible place and a symbolic space more broadly. The artworks reflect upon conditions of interiority and exteriority in a uniquely Australian context. This relates to a perspective that encompasses contradictory and conflicting extremes, a geographic imaginary particular to the Island Continent. A Peloton Project curated by Claire Taylor.
‘Three plays for rural audiences’ by Dan Allum, Josephine Carter and Shiona Morton, edited by Sean Aita
Sean Aita was a plenary speaker at the International Conference on Cultural Empathy and Communicative Intelligence hosted by the 2010 European-Off Meeting and Europe Art Space Platform, 6-9 May 2010, at Istanbul Archeology Museum, Turkey. Artists and academics, governmental bodies, cultural institutions and NGOs discussed the common future of Turkey and Europe in the cultural and artistic field, intercultural dialogue and cooperation projects and new opportunities for peace. Representatives from Cultural Contact Point Turkey, Istanbul State Opera and Ballet, Austrian Cultural Office and Italian Cultural Center, IETM and academics from various universities of Europe were among the plenary speakers of the conference.
The Conference provided an opportunity to promote intercultural dialogue; by establishing a conceptual framework for cultural and artistic exchange throughout Europe and the rest of the world; emphasizing the pioneering role of arts as a direct communication medium, and reflecting on the idea that Arts can be an effective tool to advance understanding and dialogue by creating new forms of communication.
‘To the marrow’ a play by Sean Aita
Published in ‘Theater in times of war’ a report of the meeting of the European Off Network (EON) which took place in Brunnen:passage, Vienna between October 15th and 19th 2008. The meeting was supported by Kultur Kontakt Austria,
bm:uk, city of Vienna, ÖESTIG and the British Council Austria, and organized by IG Freie Theaterarbeit. The meeting took the form of a conference of more than forty artists, and theatre experts, from different parts of Europe and the Middle East.
This chapter derives from research undertaken towards Worth’s PhD thesis, ‘Representations of rural working-class dress 1840-1900 (Courtauld Institute of Art, University of London, 2003). The starting point for this research was a paper delivered at a conference, which accompanied the exhibition, ‘The englishness of english dress’, London College of fashion, May 2000.
The article is based on research undertaken for Ward’s PhD thesis ‘The place of animation within film and media studies: a theoretical and pedagogic approach’ (Institute of Education, University of London, 2004)
This article is part of a larger research project. See also ‘British Animated Propaganda Cartoons of the First World War: Issues of Topicality’ (Animation Journal, vol. 11, 2003, pp.64-83). Both articles are related to a conference paper, ‘British Animated Cartoons and Topical Propaganda 1914-18’ delivered by Ward at ‘Crossing the Pond: The Special Relationship between Britain and America’ (The Fourth British Silent Cinema Weekend, Nottingham Broadway Centre, 6-8 April 2001).
In using case studies such as Touching the Void (2003) and the films of Nick Broomfield, this timely introduction to the growing field of documentary explores the definition and understanding of the form, as well as the relationship between documentary and drama, specifically the notion
of reconstruction and re-enactment. Paul Ward also discusses animated documentaries, the fertile genre of comedy, and feature-length contemporary works that have achieved widespread cinematic release.
This chapter is based upon research undertaken for a paper delivered at ‘The history of the future: visions from the past’ (The International Association of Media History Annual Conference, Leicester University, 16-19 July 2003).