RACHEL JESSIE _ RAE

EVERYTHING ELSE




















Conversation #4 Lisa Radford 4th June



Chelle’s comment -
The movement and excitement of social interaction / invitation to be involved

Darryn Sylvester - backdoor pilot to be a pop star 

Subjective expression of the emotions - moving into that space where i document and explore things i’m interested in like fashion and sewing, T.V shows, reading, ideas that are talked about with others in casual conversation, social experiences


Making work and exhibiti


Next ideas me: 

Wanting to make things that are better crafted, slowed down eg: rendered pencil drawings, the Alexander McQueen dress

Explore the idea of how these tests would sit in an installation context

Finding a tension or counter point to the overwhelming and Maximalist horror and something more relaxing and peaceful 

eg: like the grey sky image i took out, making a friend of the darkness 


14:01:26 LECTURER:

14:01:28 Is the chatter there?

14:01:36 SPEAKER: It is there

14:01:39 but disabled.

14:01:44 LECTURER: Can you write in it?

14:01:55 SPEAKER: It is

14:01:57 still disabled

14:02:00 by the host.

14:02:02 LECTURER: It is art.

14:02:06 In the meetings it is OK.

14:02:13 We may have to do without it

14:02:15 and do a thing

14:02:17 in the break.

14:02:18 SPEAKER: And you attempt

14:02:20 to make me a

14:02:22 co-host so I can

14:02:24 fiddle with it?

14:02:26 LECTURER: Sure.

14:02:33 I will make you a co-host.

14:02:35 It has to do with my

14:02:37 webinar yesterday.

14:02:42 SPEAKER: I just fixed it

14:02:45 .

14:02:45 You do it in

14:02:47 security.

14:02:47 Make sure

14:02:48 it is checked.

14:02:50 LECTURER: Perfect.

14:02:53 Thank you for telling me that.

14:02:55 SPEAKER: I didn't know that either.

14:02:57 LECTURER:

14:02:59 You worked it out

14:03:00 so fast.

14:03:15 SPEAKER: I'm eating

14:03:17 my lunch

14:03:18 .

14:03:21 LECTURER: That is

14:03:24 Lisa, everyone

14:03:26 ,

14:03:27 Rachael's

14:03:29 supervisor.

14:03:31 SPEAKER: The

14:03:33 art whisperer.

14:03:35 (Laughs)

14:03:38 LECTURER: Have we got everyone?

14:03:42 SPEAKER: It seems we do.

14:03:45 LECTURER: There are 24 of us

14:03:47 and we have

14:03:48 Ai

14:03:50 and

14:03:52 two interpreters

14:03:54 for one.

14:03:58 I think we have everyone.

14:04:00 Last week

14:04:03 , people suggested they
could raise their hands
14:04:06 in the chat and they
could see the order
14:04:10 of the next

14:04:11 speaker through that

14:04:13 chat function being open

14:04:16 and they would then

14:04:19 just be able to speak
one after the other
14:04:23 , so I realise the problem for me

14:04:26 is I will not see everyone

14:04:28 when my chat is open

14:04:30 but I still think we should try it

14:04:32 because don't we want to keep trying

14:04:35 to work that out?

14:04:37 What that means is everyone
has their chat open
14:04:40 and that in

14:04:42 …

14:04:45 Is raised hands there?

14:04:49 SPEAKER: In participants,

14:04:50 not chat.

14:04:53 LECTURER: That is right.

14:04:55 How do you raise your hand

14:04:58 when you are in participants?

14:05:00 SPEAKER: Down the bottom,

14:05:03 you have options to raise hand,

14:05:06 lower hand, say yes or no

14:05:08 , go slower

14:05:10 and a few other things.

14:05:12 It is just a button.

14:05:13 LECTURER: If I want

14:05:17 to talk, I have two but in

14:05:19 .

14:05:20 Is that right?

14:05:21 That won't be hard

14:05:25 .

14:05:29 Who would like to do our
acknowledgement of country
14:05:32 today?

14:05:33 Rachael?

14:05:34 SPEAKER: I would like to acknowledge

14:05:36 we are meeting collectively

14:05:40 on the unseated lands
of the cool nation
14:05:48 of the Wurundjeri people

14:05:53 and I would like to pay my respects
to the Elders past, present
14:05:58 and

14:05:58 emerging and I would
like to pay risk
14:06:01 acts

14:06:04 to George Floyd and all the others
who have died in custody because of
14:06:09 their race, ethnicity or the
circumstances of their lives.
14:06:13 SPEAKER: Thank you, Rachael.

14:06:14 SPEAKER: Thank you.

14:06:15 (People would like,

14:06:16 maybe we can take a

14:06:20 minute of silence.

14:06:22 This has been a huge week
in that regard and it being
14:06:26 Reconciliation

14:06:28 Weekend facing the fact of
our history and Australian
14:06:31 relation to the events of the US

14:06:33 requires a little bit of a moment

14:06:35 to pause after that.

14:06:39 So, if we put ourselves on

14:06:41 mute

14:06:44 and have silence for a minute…

14:08:13 Thank you.

14:08:14 Silence is very powerful.

14:08:17 Sometimes.

14:08:24 We have Rachael starting
with us today
14:08:26 .

14:08:27 Rachael,

14:08:28 did you want to share the screen

14:08:32 or did you want me to do that?

14:08:42 STUDENT: Maybe if you
share the screen,
14:08:44 you can navigate

14:08:45 through the images

14:08:48 .

14:08:49 SPEAKER: I am happy to do that.

14:08:51 LECTURER: I have bad internet.

14:08:54 LECTURER: Mine

14:08:55 is not so good

14:08:58 and I miss the discussion around

14:09:00 the use of raising hands

14:09:03 .

14:09:03 SPEAKER: I can do it.

14:09:05 I think I can

14:09:06 .

14:09:07 I will take

14:09:08 notes by hand instead of

14:09:10 on the computer.

14:09:11 LECTURER:

14:09:13 Sorry, that is my dog.

14:09:15 SPEAKER: Like clockwork.

14:09:19 LECTURER: Bad boy.

14:09:37 LECTURER: Great.

14:09:39 Thanks, Rachael.

14:09:40 LECTURER: Do you want

14:09:44 me to give you control?

14:09:45 Sorry

14:09:46 .

14:09:52 LECTURER: I have just
requested control.
14:09:54 LECTURER:

14:09:56 Yep.

14:10:10 LECTURER: I am looking at

14:10:12 a web

14:10:14 browser URL

14:10:16 ,

14:10:18 and strolling down

14:10:20 that, there are three

14:10:27 frames of video

14:10:30 , so looks like a YouTube interface

14:10:32 .

14:10:37 It is using YouTube's

14:10:38 titling conventions

14:10:40 , top left screen

14:10:42 in,

14:10:45 trouble dance

14:10:48 .

14:10:59 Then below, this photograph
here, two, three, four, five
14:11:02 , six

14:11:13 .

14:11:14 LECTURER: I'm just conscious

14:11:18 because of the objective description
part only being 10 minutes
14:11:22 … I feel like maybe it would be good

14:11:26 if you let us know, Rachael,

14:11:28 where you want us to
focus for that part
14:11:30 .

14:11:31 SPEAKER:

14:11:32 Maybe I thought that

14:11:35 collectively you could choose

14:11:37 one or two images

14:11:39 you wanted to focus on

14:11:43 .

14:11:44 LECTURER: And the videos, though?

14:11:45 Did you not want us to…

14:11:47 Speak maybe focus on the videos.

14:11:50 This one is for about

14:11:51 30 seconds

14:11:58 .

14:12:01 Maybe some people
have pre-watch that
14:12:03 .

14:12:04 The next one is in the middle

14:12:07 .

14:12:08 LECTURER: We will get
started and let people
14:12:11 which thing they will speak to

14:12:16 .

14:12:16 Who has control

14:12:18 ?

14:12:19 LECTURER:

14:12:20 Both me and Sylvia.

14:12:22 LECTURER: You can move

14:12:24 the viewing so

14:12:27 you can see what we are looking at.

14:12:31 Who wants

14:12:32 to get us started?

14:12:34 I think maybe also the sound

14:12:38 is mostly just background
sound on them
14:12:41 .

14:12:42 Is that right, Rachael?

14:12:43 We could have them playing

14:12:46 on low sound.

14:12:47 SPEAKER: The only one

14:12:49 who has

14:12:53 that sound is the travel dance

14:12:55 that has music.

14:12:57 LECTURER: Let's begin with that one.

14:13:05 A scene

14:13:12 with her body moving within

14:13:14 that with the foreground, background

14:13:16 and different materials.

14:13:19 Someone else?

14:13:24 LECTURER: Go ahead, Rebecca.

14:13:26 Are you using the raised hand

14:13:29 function?

14:13:32 Emily would be next, then.

14:13:34 Is that right?

14:13:35 SPEAKER: Yes.

14:13:37 A video

14:13:39 … It looked like a figure

14:13:41 wearing a costume

14:13:43 , which

14:13:44 obscures

14:13:47 the skin apart from the hands

14:13:49 .

14:13:50 It is kind of like a giant

14:13:52 box face and it looks
like it is made
14:13:55 of mixed materials

14:13:57 – a large ton made of a shiny

14:14:00 kind of metallic

14:14:01 material, synthetic

14:14:03 , and then the actual face

14:14:06 looks like there is a

14:14:08 mix of paper and cardboard

14:14:14 .

14:14:14 LECTURER: Great.

14:14:16 Thank you.

14:14:19 SPEAKER:

14:14:31 OK.

14:14:31 I see.

14:14:33 I see a lot of

14:14:36 colour, a lot of blue

14:14:38 , orange

14:14:40 and the shape

14:14:43 and lines

14:14:49 .

14:14:49 A lot of strong colours
involved there.
14:14:52 A lot of sparkle

14:14:55 as well, shiny sparkle

14:14:56 , and the person is dancing

14:14:58 and moving.

14:15:02 They are moving their
hands and their body.
14:15:06 The face is covered

14:15:09 with a square box

14:15:12 and you can see the eyes and mouth

14:15:15 .

14:15:17 The colours are green, blue, red

14:15:20 , a mixture of colours.

14:15:23 LECTURER: Thanks.

14:15:26 I think the top video
sources suggested
14:15:30 there was a point of

14:15:31 focus.

14:15:34 LECTURER: Rebecca?

14:15:39 SPEAKER: I was going to
speak of the fabric one
14:15:43 where there was

14:15:44 fabric, layer

14:15:45 by layer,

14:15:46 a different layering

14:15:49 added to the pile,

14:15:51 same as the other video

14:15:54 – this one here, fling

14:15:56 .

14:15:56 It starts

14:15:58 with a small pile

14:16:00 …

14:16:01 Or just one object

14:16:04 and over the course of, I think,

14:16:07 30 minutes

14:16:09 , another layer

14:16:11 is added until eventually

14:16:12 … For nine minutes

14:16:15 until eventually

14:16:19 it covers pretty much the
entirety of the frame
14:16:22 , line

14:16:24 landscaped

14:16:31 frame, and I think you can hear
some rustling which increases
14:16:34 towards the end.

14:16:35 LECTURER:

14:16:35 Is it fabric or clothes?

14:16:37 SPEAKER: It looks like

14:16:39 fabric.

14:16:41 It doesn't seem to
have any particular
14:16:43 form

14:16:45 .

14:16:45 A piece of fabric.

14:16:47 LECTURER: Great.

14:16:49 LECTURER: I will skip forward

14:16:51 a bit.

14:16:53 LECTURER: Leanne?

14:16:55 SPEAKER:

14:16:57 Talking about the fabric mound.

14:17:00 LECTURER: You can direct
us, anything you want
14:17:04 to talk about.

14:17:05 There is a lot here.

14:17:07 SPEAKER: The blob

14:17:09 being covered over
by squares of fabric
14:17:11 started out as a spray-painted

14:17:13 , slightly

14:17:16 wobbly shape.

14:17:18 Towards the end, there are
things being thrown on top,
14:17:22 like a yoga map

14:17:24 and big piece of cardboard

14:17:26 , so different objects
towards the end.
14:17:28 It gets quite large

14:17:30 and lay it up.

14:17:32 All different colours and

14:17:34 textures

14:17:36 and prints

14:17:38 of fabric.

14:17:40 Shall I talk about the top one?

14:17:42 LECTURER: Sure.

14:17:50 SPEAKER:

14:17:52 One is a video of

14:17:55 different sparkly kind of layered

14:17:57 textures and colours

14:18:01 .

14:18:02 There are one, two, three,
four, five, six
14:18:05 , masked

14:18:06 rectangles, videos

14:18:08 layering

14:18:09 on top of each other,

14:18:11 symmetrically

14:18:14 and centred, horizontally
and vertically
14:18:16 , on top of each other.

14:18:19 The videos are moving,
so it is quite blurred
14:18:22 .

14:18:23 They seem

14:18:24 to me moving in different

14:18:26 directions.

14:18:30 LECTURER: Great.

14:18:32 Thanks.

14:18:33 Oliver?

14:18:34 SPEAKER: I thought I might talk

14:18:38 objectively about what
I have seen in a few
14:18:41 , like commonalities.

14:18:42 There are fluorescent colours

14:18:45 , modern material

14:18:47 , modern or synthetic materials

14:18:50 across a lot of the works

14:18:52 and a recurring motif of faces

14:18:55 and layering and colours

14:18:59 .

14:19:03 LECTURER: Great.

14:19:05 Thank you.

14:19:16 LECTURER:

14:19:19 Quickly adding to the
top one, I guess,
14:19:28 one, two, three, four, five, six

14:19:31 visible rectangles

14:19:33 or the borders of

14:19:36 rectangles

14:19:40 .

14:19:40 There is a layering

14:19:42 of different source videos

14:19:44 that appear to be

14:19:46 potentially of the same scene

14:19:51 .

14:19:51 LECTURER: Great.

14:19:53 Cristina

14:19:56 and then melody is next

14:19:58 .

14:19:58 Cristina,

14:20:00 you are on

14:20:02 mute.

14:20:04 SPEAKER:

14:20:05 The photograph is a little bit

14:20:08 lower

14:20:08 .

14:20:09 You can see

14:20:10 the bed, head and wall.

14:20:12 It seems to be that

14:20:15 it is all happening in one room

14:20:18 and there is a huge collage

14:20:20 on the wall.

14:20:28 You see a figure dancing and you
cannot see the lakes because there
14:20:32 is a bed in front of
the figure dancing,
14:20:36 so it seems to be
happening in a room
14:20:39 with all these materials.

14:20:40 The two that is interesting,
the idea of
14:20:43 space and understandably

14:20:45 in a subjective way
we might understand
14:20:48 it a bed

14:20:52 in relation to the scale and body
and we think of the vertical
14:20:56 surfaces as walls.

14:21:10 I just think of them as surfaces.

14:21:14 Melody?

14:21:14 SPEAKER: I wanted to think of things
existing in all of them.
14:21:19 There are many components that shape
and make up each were, so whether
14:21:23 through layering, through spatial

14:21:25 objects

14:21:26 or whether it is through

14:21:29 the composition of

14:21:30 video,

14:21:32 the technical composition
of the video
14:21:34 ,

14:21:36 there are multiple

14:21:37 segments

14:21:39 or components that make up each

14:21:41 work

14:21:42 , a multiplicity.

14:21:49 Also,

14:21:51 I would just note

14:21:55 some of the materials, if we scroll
down to the video that has
14:22:01 the figure

14:22:02 , just some of the materials

14:22:04 including

14:22:07 … It must be that one, yes.

14:22:11 I am not sure if they have all
been set – cardboard, plastic
14:22:16 , construction paper

14:22:19 , clothing, spray paint,

14:22:21 glitter

14:22:23 .

14:22:33 Streamers, what appears

14:22:36 like an inflatable

14:22:38 material, the town

14:22:40 – I'm not sure if I
am correct or not –
14:22:47 but made of a plastic acrylic almost
inflatable kind of material.
14:22:56 Is very intense colour
scheme, all very primary
14:22:59 and secondary but really
saturated colour.
14:23:45 SPEAKER: The three users

14:23:50 space in different ways.

14:23:54 The one was artistic.

14:23:56 The other was a neutral tone and

14:23:58 there was stacking and the
other one we read as a
14:24:02 dressed up, staged bedroom

14:24:03 or something.

14:24:05 LECTURER: Great.

14:24:06 Thanks, Lisa.

14:24:09 Would anyone like to address

14:24:16 these works, the two-dimensional

14:24:18 works?

14:24:22 Two-dimensional, three-dimensional
wall works
14:24:25 .

14:24:29 I am going to say

14:24:31 I see a face in the one

14:24:34 – not this one, the one above it

14:24:37 – so another face

14:24:39 .

14:24:39 It is a pink face

14:24:41 with eyes that have blue

14:24:43 like plastic

14:24:46 .

14:24:46 I cannot

14:24:48 tell the material actually
but it is like a shiny blue
14:24:52 teardrop motif

14:24:54 coming out of the eyes.

14:24:56 Emily?

14:24:56 SPEAKER: With regard to the collage,

14:24:58 you mentioned

14:25:00 it is

14:25:01 three dimensions

14:25:04 in terms of some things

14:25:06 look like they are adhered

14:25:08 and there is

14:25:09 different

14:25:11 use of materials.

14:25:13 In this particular image
we see a canned that says
14:25:17 sugar and we see some
of the materials
14:25:20 then spilling onto what is

14:25:21 a horizontal surface

14:25:23 on which

14:25:25 the vertical work is positioned

14:25:27 and similarly,

14:25:28 and the still

14:25:30 , that shows the walls

14:25:33 and what we suppose

14:25:35 is perhaps a bed surface.

14:25:38 There are objects that
are kind of covering
14:25:41 all surfaces.

14:25:50 LECTURER: I noticed in the
chat, The melody is noticing
14:25:54 that the sound is not shared.

14:25:56 I could hear it in the background

14:26:00 super lightly for the dancing video
but not the full soundtrack.
14:26:11 LECTURER: I will go
back to that video
14:26:14 .

14:26:15 SPEAKER: Is

14:26:21 (unknown term) saying
she cannot see the chat?
14:26:25 LECTURER: You can see the chat if
you click on chat on the bottom.
14:26:31 It might be a pop-up box

14:26:33 behind your group of people.

14:26:35 That is where I just found it.

14:26:38 It went into a separate window.

14:26:40 There is not really

14:26:42 anything there except

14:26:43 for that

14:26:43 comment

14:26:45 , one from Lisa saying

14:26:48 she is trying not to talk,

14:26:51 so we can keep things
out of the chat mostly.
14:27:00 Sorry, Rebecca,

14:27:02 you had your hand

14:27:04 raised.

14:27:05 SPEAKER:

14:27:06 Yes.

14:27:07 Emily said a few

14:27:09 of the points, but just
a touch on some others,
14:27:13 I think the last one

14:27:14 seems to be

14:27:16 representational of
eyes and eyelashes
14:27:19 , and the collage

14:27:22 , the still images, collage

14:27:25 below seems

14:27:28 less representational of
things than the others
14:27:31 , more a collage of texture.

14:27:37 LECTURER: I think we are ready to go

14:27:39 subjective but I feel like the video

14:27:44 , the sound for the third
video, the dancing video,
14:27:47 is important.

14:27:49 SPEAKER: I can stop the share

14:27:54 .

14:27:55 LECTURER: And we share it
with the sound shared.
14:28:20 Maybe if you want

14:28:22 to replay that one.

14:28:47 I think it is time for the sound
is being shared, to open to the
14:28:52 subjective.

14:28:53 (Laughter)

14:29:00 LECTURER:

14:29:03 That is

14:29:05 (inaudible)

14:29:09 what we presented and I guess
I started with the subjective
14:29:14 (inaudible) here are some frames

14:29:16 where

14:29:17 there is

14:29:20 …

14:29:23 LECTURER: We have lost you.

14:29:26 LECTURER:

14:29:28 You know

14:29:30 ,…

14:29:38 (Inaudible) much akin to…

14:29:43 LECTURER: I think

14:29:46 , Rachael, the background audio

14:29:48 is over us.

14:29:49 LECTURER:

14:29:51 Competing.

14:29:56 I was just going to
say that each of those
14:30:00 frames, whether a still or a video

14:30:08 , is still

14:30:22 (inaudible)

14:30:23 holding everything much like perhaps

14:30:26 Cristina had the reading of
some sort of interior space
14:30:31 with the dancing figure

14:30:33 .

14:30:33 There was in the comments

14:30:35 a suggestion by Lisa

14:30:39 as to whether

14:30:40 Leanne

14:30:42 saw a connection

14:30:44 between those two.

14:30:46 I don't know what you
were referring to, Lisa
14:30:50 , but I certainly

14:30:52 …

14:30:54 It's position

14:30:56 definitely

14:30:57 has that connection

14:31:01 across

14:31:03 even the three videos

14:31:06 where it is like three
types of approaches
14:31:09 , perhaps,

14:31:12 the one, a similar concern,

14:31:15 quite abstract, with the top one.

14:31:18 There are a few hands there.

14:31:21 LECTURER: I can see
the order in the chat,
14:31:24 so if I am correct,

14:31:26 the person on the top
is the top speaker, so
14:31:29 it is Leanne, Emily

14:31:31 , Michele and Astrid.

14:31:34 I will call them after that.

14:31:37 Leanne is next.

14:31:39 SPEAKER:

14:31:40 I haven't really put

14:31:42 my thoughts together in
a super articulated way,
14:31:46 so excuse me if I am way off

14:31:49 or whatever.

14:31:49 I just really love

14:31:52 the way Rachael

14:31:54 has this very fluent and
consistent way of using
14:31:57 visual language.

14:31:58 You can see they all
work together as a set
14:32:02 through the visual themes
of laying together
14:32:04 a collage

14:32:06 and a really strong sense
of playfulness and humour
14:32:10 .

14:32:10 The

14:32:12 thing is getting

14:32:17 the fabric thrown onto it.

14:32:19 My reading is other
people's projections
14:32:22 all these different worries

14:32:23 or like a patchwork

14:32:27 of projections that
make up your every day
14:32:30 mental and emotional chaos

14:32:32 or something along those lines.

14:32:38 The dance, the troubled dance

14:32:45 , I just find that incredibly

14:32:51 funny and endearing
but at the same time,
14:32:53 there is something really poignant

14:32:57 about the face and the
dance and the music
14:33:00 and what all of that

14:33:03 put together could mean.

14:33:06 I will leave it there

14:33:07 because I am probably

14:33:11 not making much sense but that
is how I felt about it all.
14:33:17 LECTURER: Thanks, Leanne.

14:33:18 Emily?

14:33:19 SPEAKER: Following on from that,

14:33:22 I really like the title

14:33:24 .

14:33:25 Wasn't it something

14:33:26 party?

14:33:27 I am a party.

14:33:31 There was this collage
and coming together
14:33:33 and disorientation

14:33:34 through seeing

14:33:37 all these things, sparkly
and high colour
14:33:41 and is kind of like a visual
party for your eyes,
14:33:45 and

14:33:47 if you think about the state you're
in at a party, it is this euphoric
14:33:52 state.

14:33:53 You feel that kind of
playfulness and humour
14:33:56 linking into that.

14:33:57 I was also thinking about the video

14:33:59 with the dance, how that relates

14:34:02 to

14:34:04 all those things that
go viral on YouTube
14:34:07 and how sometimes they
can be quite ridiculous
14:34:10 , but in a sense, highly enjoyable

14:34:13 , but I also feel that sense of

14:34:15 something ominous

14:34:18 , almost a critique of that

14:34:26 linking to the expression of the
face and also the obscuring of the
14:34:31 person's identity and that we can
only really see their hands, and
14:34:35 often, I guess

14:34:36 with viral videos, it is targeted
at exploiting the identity of the
14:34:40 person in the video but it is
interesting in this one, it is
14:34:45 obscured and it almost abstracts

14:34:46 the performer

14:34:47 as part of

14:34:48 the broader collage

14:34:50 rather than as

14:34:52 the focus

14:34:54 .

14:34:56 LECTURER: Great.

14:34:57 Thank you, Emily.

14:34:59 Next was Michele.

14:35:01 SPEAKER:

14:35:05 I feel so excited watching this.

14:35:08 It makes me think about

14:35:10 social communication

14:35:13 and the way we communicate
in a social setting
14:35:19 .

14:35:19 Semi-different colours and
all the different layers
14:35:28 , which makes it look like people are
interacting, and really exciting and
14:35:33 lots going on there.

14:35:35 I feel like it is inviting
us to get involved
14:35:38 .

14:35:39 It is amazing.

14:35:40 It is wonderful.

14:35:41 The colours and the sparkles,
everything you have used there
14:35:46 , and someone else talked about

14:35:48 the different ways

14:35:49 –

14:35:50 mixing up all the different colours

14:35:53 .

14:35:53 I thought it was great,

14:35:59 thought it was excellent and felt
like it was about communication as
14:36:03 well.

14:36:03 LECTURER:

14:36:04 Great.

14:36:04 Thank you.

14:36:06 We are getting celebratory

14:36:09 vibe so far on the reading.

14:36:11 Next we have

14:36:13 Astrid

14:36:15 , and then Darien.

14:36:19 SPEAKER: I was just going to say

14:36:24 … Sorry, can you hear me?

14:36:27 LECTURER: Yes.

14:36:29 SPEAKER: I am also getting
those celebratory
14:36:32 fives

14:36:34 .

14:36:35 A remix as well

14:36:36 and a remix through

14:36:38 collage

14:36:42 and the transitions and the
way the video is put together
14:36:47 and the layering

14:36:48 of everything and this layering of

14:36:50 so many different things
also brings that
14:36:54 … I agree

14:36:56 – there is a level of excitement

14:36:59 and I think that comes with
this vibrance of everything
14:37:03 and a lot of movement
of everything as well.
14:37:12 LECTURER: Great.

14:37:14 Thank you.

14:37:16 Darren, Rebecca

14:37:17 and then Oliver.

14:37:18 SPEAKER:

14:37:19 My reading into that, first of all,

14:37:22 I will read it in a subjective way

14:37:25 of not

14:37:26 aesthetic images, not
a video but perhaps
14:37:30 in its material use
and the conjuring of
14:37:33 space.

14:37:34 I guess the backdrop

14:37:35 of kitsch art

14:37:38 , I think the rendering of the space

14:37:41 for me all the way I read it

14:37:44 is as perhaps a

14:37:47 hatred Tokyo

14:37:48 where pop

14:37:50 is celebrated.

14:38:06 The space is meant to
be interacted with.
14:38:09 I felt the choice of materials in its

14:38:12 ability be

14:38:13 found just about everywhere

14:38:14 reads differently

14:38:18 but it was interesting in
a sense where materiality
14:38:22 is not really

14:38:24 of significance in the sense

14:38:25 we are not interacting with

14:38:28 the material

14:38:30 as such but rather

14:38:33 as Howard contributes
to form the space.
14:38:44 There are walls and what
almost appears to be a bed.
14:38:50 It does have an element of a room

14:38:52 , encouraging

14:38:53 people to spend time in it

14:38:56 , which I think

14:38:58 crosses the threshold
to participatory art.
14:39:01 It is interesting – within
the first three videos,
14:39:05 I am reading it as perhaps
an articulation
14:39:09 of trying to convey those ideas
within a video setting.
14:39:13 They don't look look like

14:39:15 for me video art

14:39:16 but perhaps

14:39:19 a contextualisation of the
space in a video platform
14:39:23 where, in the first video

14:39:25 , we see the use of

14:39:27 the camera

14:39:31 mimicking a convergence

14:39:34 or culmination

14:39:37 – those bright colours

14:39:40 , almost an abstract form

14:39:42 through an act of layering,

14:39:46 whereas, there is repetition.

14:39:51 What is interesting with
the third period you
14:39:56 video – and I know this

14:39:59 through my exposure

14:40:01 to means

14:40:02 – but

14:40:03 it has

14:40:08 a mean quality, the
fortnight dances.
14:40:12 I am not sure if people
are familiar with that,
14:40:15 but it does remind me of

14:40:17 a game

14:40:18 , which I believe is
a form of celebration
14:40:23 in the game itself,

14:40:25 so a lot of aesthetics can be traced

14:40:27 to the internet space
where then becomes
14:40:30 manifested in the real

14:40:32 .

14:40:35 LECTURER: Great.

14:40:37 I'm also getting sponge Bob

14:40:40 , Sponge

14:40:43 Bob, Justin Williams

14:40:47 , Michaela and some artistic

14:40:50 references as well.

14:40:51 Lots of hands up.

14:40:53 Let's go to Rebecca

14:40:55 , Oliver and then Melody.

14:40:58 SPEAKER:

14:41:01 To me there is an escapist view
on reality, taking a trip
14:41:12 and escaping for the
time that it gives
14:41:15 , but there is this

14:41:16 almost a collage

14:41:18 of a new

14:41:19 reality

14:41:22 and a fantasy-based one

14:41:24 , but there is

14:41:26 , in the second one,

14:41:28 with the fabric

14:41:30 ,

14:41:31 for me, it is

14:41:35 overwhelming in terms
of texture and colour
14:41:39 and

14:41:41 when it reaches full capacity,

14:41:43 this kind of slight anxiety

14:41:45 with it being

14:41:47 too much

14:41:48 stimuli

14:41:51 .

14:41:53 LECTURER:

14:41:55 I guess, for me,

14:41:57 that building of the clothes

14:42:00 definitely sits

14:42:02 in a less positive space

14:42:08 , unless perhaps it is a casting off

14:42:10 of something

14:42:12 , so good

14:42:20 could either be a casting for
accumulation in terms of a limited
14:42:24 amount of space, as
shown by the frame
14:42:33 .

14:42:33 That, too, engenders a bit
of anxiety on my part.
14:42:37 Oliver was next.

14:42:39 Vector Oliver,

14:42:41 Melody

14:42:43 , Doug and

14:42:45 Cristina.

14:42:54 SPEAKER: They are really
evocative for me.
14:42:58 The stop one evokes

14:42:59 a late-night

14:43:01 Rage video

14:43:03 five for me.

14:43:07 The dance one without the music

14:43:12 , and also some of the material
use of the paper and cutting
14:43:17 , of children's television

14:43:19 , so craft

14:43:23 projects and caricatures and those
kind of things and even some of the
14:43:28 still images.

14:43:41 We don't have a white

14:43:44 cube feeling as opposed
to the clothing video
14:43:47 – more a gallery space
or studio space
14:43:50 .

14:43:51 It feels a little

14:43:52 more incongruous

14:43:55 in the 3 to me and does not have

14:43:58 those collage elements

14:43:59 , so

14:44:01 I reflected on

14:44:03 how those two are related.

14:44:06 It is also a longer duration

14:44:09 .

14:44:09 I was just thinking about that.

14:44:12 LECTURER:

14:44:15 Rebecca, your hand was up.

14:44:18 You are not…

14:44:20 You did not mean into

14:44:22 the app.

14:44:23 No.

14:44:26 Melody?

14:44:27 SPEAKER: Regarding the video,

14:44:29 I see them as

14:44:32 expressions and subjective

14:44:35 expressions of the
self or the emotions,
14:44:38 so I am a party, fling,
trouble dance
14:44:42 – they are contextualising
the emotions
14:44:45 .

14:44:46 Trouble dance

14:44:48 , the eyes are pointed
down at the brow
14:44:52 and a little bit

14:44:55 troubled

14:44:56 and so you have this

14:44:59 juxtaposition of this really

14:45:02 kind of

14:45:05 … Two opposite emotions almost

14:45:07 , and then you have the
throwing of clothes
14:45:10 , throwing

14:45:13 upon the self, throwing up on
something else, and so this
14:45:17 expression of the emotion, the fling

14:45:19 all this throwing of the self, so I
see them as expressions of the self
14:45:24 and making references to the
emotions and sending them up, and
14:45:28 the top one,

14:45:29 I am a party is self explanatory
and this ecstatic state
14:45:37 that we work ourselves up into and
so I see them as very subjective
14:45:42 expressions.

14:45:43 LECTURER: Great.

14:45:44 Thank you.

14:45:46 SPEAKER:

14:45:50 (Inaudible)

14:45:53 I saw the first one it looks like

14:45:56 this very

14:45:58 happy (inaudible)

14:46:00 but the symbol is about teardrops

14:46:03 (inaudible)

14:46:05 in this region,

14:46:07 figurative, so the sad

14:46:10 feeling and oppression

14:46:13 and symbolised by the stacking

14:46:16 of clothes,

14:46:18 so

14:46:20 humour

14:46:21 represented by

14:46:23 dancing.

14:46:26 It means very happy but

14:46:28 (inaudible)

14:46:30 trouble and emphasises
the feeling of
14:46:32 a person

14:46:36 (inaudible) and

14:46:38 the use of very bright colour

14:46:39 in this space,

14:46:42 so the opposite feeling
compared to that
14:46:46 emotion, but on the surface,
it is very happy and cheerful
14:46:50 , so

14:46:50 the artist layering those two

14:46:53 contrasts

14:46:55 and

14:46:59 there was a mention of colour

14:47:01 (inaudible)

14:47:04 and the artist

14:47:08 uses the objects

14:47:10 around them and

14:47:13 makes an architectural

14:47:14 space.

14:47:17 LECTURER: Great.

14:47:20 Just before we go to
Douglas and Cristina,
14:47:23 I wanted to pick up on

14:47:26 few things that have come up

14:47:28 and reflect as well.

14:47:30 I feel like maybe what
we are looking at as well
14:47:36 are almost tests for a bigger thing
because there are various iterations,
14:47:40 so collage pieces, this costume

14:47:44 , the digital interface going
on in the first video
14:47:47 , and so I actually get the sense

14:47:50 maybe even these

14:47:53 … This is the beginning
of a larger work
14:47:56 , whole

14:47:56 film or longer

14:48:01 production and these are the various
components that would go into that
14:48:05 and there are a lot of

14:48:07 potential spaces to
develop that character
14:48:09 out into a larger narrative

14:48:12 .

14:48:13 It is like it is funny
but there is something
14:48:17 manic and excessive about this

14:48:19 gleeful character that
is trapped in the corner
14:48:23 of this very highly compressed,
highly layered room,
14:48:27 so it feels to me like

14:48:29 equally joyful but
kind of disturbing
14:48:31 , and the darker elements

14:48:35 of that could be developed
into a larger narrative piece
14:48:38 .

14:48:39 Douglas

14:48:40 ?

14:48:42 LECTURER: I think

14:48:48 there has been a raising of
the hand but not digitally.
14:48:52 SPEAKER: I don't have the option

14:48:55 , the raised hand option.

14:48:57 SPEAKER: You can jump in.

14:49:01 SPEAKER: I wanted to add something
because it came to mind as I was
14:49:06 looking at the video, the first
one, where she is dancing
14:49:10 .

14:49:10 It really resonates with
the Hindu goddess
14:49:13 Kali

14:49:15 and I guess that

14:49:17 narrative around

14:49:19 the narrative where there is

14:49:21 this chaos,

14:49:24 and as everyone mentioned, this

14:49:26 celebration

14:49:28 , but I can't help but think

14:49:30 there is also this

14:49:33 experimentation

14:49:34 and testing out

14:49:38 prospective in the other two videos

14:49:42 of where there is the kaleidoscope
layers of videos
14:49:46 and it is almost like

14:49:50 … We agree there is playfulness

14:49:54 but it is almost saying there is

14:49:56 the digital layering
of what you are seeing,
14:49:59 and in the second video below it,

14:50:03 with all the fabric being thrown on

14:50:06 , it feels like it is the same

14:50:09 but in a physical

14:50:11 sense

14:50:13 , so these layers of fabric

14:50:15 piled up

14:50:16 two of the same kind of

14:50:20 version as the digital

14:50:21 format about it

14:50:23 , so it is kind of working on

14:50:27 , through different platforms,

14:50:30 the same concept.

14:50:33 That is kind of what I am getting.

14:50:37 LECTURER: Thanks.

14:50:38 Douglas?

14:50:39 SPEAKER: My initial thought

14:50:42 with the figures

14:50:43 …

14:50:45 I thought it was Playschool on acid

14:50:49 , and then also it reminded me

14:50:51 of… There is a YouTube

14:50:54 … Going back 10 years now

14:50:58 … It had a multiple series

14:51:00 and was called

14:51:01 Don't

14:51:03 Hug

14:51:05 Me

14:51:06 ,

14:51:08 I

14:51:10 Am

14:51:12 Scared.

14:51:13 It's

14:51:16 morphs into

14:51:19 horrific territory.

14:51:21 What was the dance video

14:51:23 called?

14:51:25 Trouble Dance.

14:51:28 The sheer excess of it all

14:51:31 , doing the little

14:51:33 movements,

14:51:35 there is a juxtaposition

14:51:38 – if it is trouble, not a good thing

14:51:42 – but it is like

14:51:43 , "I will keep going through life

14:51:46 because all the bad
things happen with me
14:51:51 .

14:51:52 Anxiety." I definitely

14:51:54 relate to that

14:51:57 with semester.

14:52:00 There is some

14:52:02 distance

14:52:04 .

14:52:05 It is not just like

14:52:07 joyful

14:52:09 ;

14:52:12 manic is probably the right

14:52:14 description.

14:52:16 LECTURER:

14:52:19 Entrapment.

14:52:22 SPEAKER:

14:52:24 Loud and visually

14:52:26 drowning in colour static

14:52:29 is the vibe I am getting

14:52:33 , describing things.

14:52:34 Overwhelming.

14:52:35 In general, I love it.

14:52:37 But then again,

14:52:40 that is playing up to my

14:52:44 aesthetic.

14:52:44 That is where it is at for me.

14:52:47 LECTURER: Thank you.

14:52:49 A few last comments

14:52:50 before we go to Rachael.

14:52:52 We have got Cristina, Darren

14:52:55 and I am conscious, Steve,

14:52:58 you might want to

14:53:00 add

14:53:03 to that as well.

14:53:06 Darren?

14:53:06 Sorry,

14:53:08 it is Cristina.

14:53:11 SPEAKER:

14:53:14 I will try to put this into words

14:53:17 so it makes sense.

14:53:19 Colours, everyone

14:53:21 and this (inaudible)

14:53:24 making and it feels like

14:53:26 (inaudible)

14:53:28 are doubling up of paper and collage

14:53:31 all around the rooms

14:53:33 (inaudible) very intense

14:53:36 , almost like

14:53:37 our creativity

14:53:42 (inaudible) sometimes and also
it has very bright colours
14:53:45 and reflects

14:53:46 an element of melancholy

14:53:49 and somehow,

14:53:52 because it is a room where
all this is happening,
14:53:56 it feels a little claustrophobic
at the same time,
14:53:59 so I really love it

14:54:01 .

14:54:02 Very intense.

14:54:04 But I think it is a colourful way

14:54:07 to describe a

14:54:10 (inaudible) space.

14:54:13 LECTURER: Great.

14:54:14 Thanks, Cristina.

14:54:16 Darren?

14:54:19 SPEAKER:

14:54:20 It is interesting

14:54:22 , perhaps

14:54:24 analysing each of the
individual components
14:54:28 and trying to formulate some logic

14:54:30 , or within the

14:54:32 framework of

14:54:33 collage works

14:54:37 , it seems like with the exception
of the occasional letters
14:54:41 that appeared in the green

14:54:42 Arctic and

14:54:45 and perhaps

14:54:47 some more discernible shapes

14:54:50 like the Moti Farr perhaps

14:54:51 what might be some ornament

14:54:56 .

14:54:56 None of the shapes

14:54:58 are actually

14:55:00 … Have a solid

14:55:02 form, if you may.

14:55:06 There is this idea of mixing

14:55:08 and maxing and tearing and cutting

14:55:11 within the more

14:55:13 formal structure

14:55:15 ,

14:55:17 and narrative

14:55:19 is not of concern.

14:55:21 It almost seems there is
a process of tearing up
14:55:24 and reconstructing

14:55:26 take centre place rather than

14:55:28 trying to,

14:55:30 without trying to fit some

14:55:34 narrative structure in there.

14:55:36 LECTURER: In taking
on that notion of what
14:55:39 semiotic Lee we might
be presented here with
14:55:42 with regards to

14:55:44 locating this in a particular space

14:55:49 and we often come back to
the subjective and personal
14:56:06 and there are sketches
and the potential for
14:56:09 ultimately as part
of a larger project
14:56:12 being resolved and it is

14:56:15 maybe akin to Lisa's comment

14:56:19 of a Kali style installation

14:56:23 .

14:56:30 I would be interested

14:56:33 in how either is specific or
as related by emanating from
14:56:37 one individual, the artist

14:56:39 and a group of concerns

14:56:40 as to how

14:56:45 spatially within

14:56:45 an installation context

14:56:48 they might be considered

14:56:49 to interrelate

14:56:52 , and maybe further,

14:56:55 given the video

14:56:57 elements of this

14:57:00 as to the further exploration

14:57:02 concerning technology

14:57:06 and also technology
in a broad sense,
14:57:08 so whether

14:57:10 the cardboard collage

14:57:14 or as we might more often
refer to technology,
14:57:17 through digital

14:57:21 and that span of technologies

14:57:25 as to what

14:57:27 might be

14:57:28 worth exploring

14:57:29 to develop players

14:57:32 beyond those individual elements

14:57:34 of the installation where, for me,

14:57:39 it could really

14:57:41 … Presuming a lot of our reading

14:57:44 about it being about the subjective,
the internal, external
14:57:50 , what could be accessed

14:57:52 …

14:57:56 SPEAKER: Is it OK if I talk there

14:58:03 LECTURER:
Sure.

14:58:04 SPEAKER: I have to run at three.

14:58:07 I thought it was really interesting

14:58:10 what Stephen was saying

14:58:13 , and some of the comments

14:58:19 , and we are looking at these videos
determined by the same form, the
14:58:22 YouTube channel, and how the things
would interrelate in a space where
14:58:28 you could (inaudible) with the scale

14:58:29 or timing

14:58:34 , and then, therefore, it still
wouldn't be a narrative, like Darren
14:58:44 says, because I think
it is anti-narrative, but we would be able
to really examine (inaudible) installation
and technology space
14:58:45 , and I guess I wanted to say

14:58:48 it is

14:58:49 particularly functional

14:58:51 (inaudible)

14:58:53 punk

14:58:54 (inaudible)

14:58:57 and something about that in there.

14:58:59 And that purging…

14:59:02 I never thought about it

14:59:04 in terms of accumulation

14:59:07 .

14:59:07 I had not seen this video before

14:59:10 , are being discarded,

14:59:13 but there is a likeness to the work

14:59:16 , even in

14:59:18 terms of the relationship

14:59:19 but flinging

14:59:22 SPEAKER:

14:59:23 Just

14:59:26 (inaudible) I thought
was interesting
14:59:28 but that is just my

14:59:31 take on it.

14:59:33 I am going to go.

14:59:35 Good luck.

14:59:49 LECTURER: We are almost
10 minutes over.
14:59:52 We really need

14:59:54 to go to Rachael.

14:59:58 Is it OK we go to Rachael and
maybe continue in the chat?
15:00:15 We have got to stay on time, people.

15:00:18 Rachael?

15:00:21 SPEAKER: Let's do it.

15:00:25 SPEAKER: Rachael, you are on

15:00:27 mute.

15:00:32 SPEAKER: The feedback was amazing,
all the things I was working with
15:00:37 and looking at the spaces of
femininity and with the fabric
15:00:40 , I kept having the feedback

15:01:25 Why would I want to build a part of the world when they want to be in this world? And there is so much that is stuffed up about the world.
15:01:25 I don't want to escape into the world, but at the same time I do want to escape. I don't want to be a creator of that world either.
15:01:25 But I will be because I am an artist in this moment. It is all those dualities between who a.m., what I am doing, how they relate to other people.
15:01:25 I suppose how we relate to one another. Part of me thinks about those installations, and also that they could be
15:01:26 collaborative
15:01:32 so people could
15:01:34 build,
15:01:37 so people could add elements to the artwork.
15:01:43 With the Fling video,
15:01:47 I thought that I had enough materials to fit
15:01:52 -- buildable, have all this material I have collected over years and
15:01:56 years, one of those things, because my mum sewed
15:01:59 growing up, she used to make a close.
15:02:10 I have this fabric.
15:02:11 I always had this aspiration to make myself close from this fabric,
15:02:15 there is this really intense anxiety that I have around making the
15:02:18 close, wearing the clothes, and then I just collect more fabric.
15:02:22 It was really liberating.
15:02:23 I love doing the piece where I got the big wall, it was meant to be
15:02:28 an different part of another idea.
15:02:29 They all sort of merged.
15:02:31 I just got to throw all of the fabric
15:02:39 and it is like that discarding of emotion is
15:02:42 --
15:02:52 emotions, catharsis, and ideas around femininity, expectations,
15:02:54 identity.
15:02:55 The yoga mat, and there is also the black work pants as well.
15:02:58 There is these ideas about self-improvement, you know, which is also
15:03:02 why
15:03:04 I did the courses well, it is doing study of self-improvement, we
15:03:08 all want to get better at things.
15:03:10 Yeah.
15:03:13 I have sort of realised
15:03:15 the potential for video
15:03:20 so that I can kind of get away from using so many craft materials.
15:03:26 I don't know why I have so many of them.
15:03:28 (Laughs) I try and get rid of stuff and it comes that,
15:03:32 it is a bit
15:03:34 (inaudible) obsessive,
15:03:36 crafting.
15:03:41 Is there anything else that you want me to address in particular?
15:03:48 STEVEN RHALL: Sorry.
15:03:49 Rebecca?
15:03:51 REBECCA:
15:03:53 (Inaudible)
15:03:55 RACHEL
15:03:56 :
15:04:00 That one was really difficult to make and installing it in my
15:04:04 bedroom
15:04:05 on that week was really full on, I had to actually take everything
15:04:09 down because it was too overwhelming.
15:04:11 Also making the costume was really intense, and I kept having
15:04:17 these visions that I would just run over and flip my car.
15:04:25 (Laughs) Are probably still will do that at some point, that will be
15:04:29 part of the installation.
15:04:30 That figure of, it is kind of like the long nose, it is kind of this
15:04:35 ambition, and this tongue, which is also
15:04:37 like a Christmas stocking,
15:04:40 it is this hunger to do more and more.
15:04:43 You know,
15:04:46 it is something about consumerism, ambition,
15:04:49 and escapism
15:04:52 .
15:04:52 All of the things that
15:04:54 might drive us in a negative way
15:04:59 in parts of our lives.
15:05:00 Parts of my life.
15:05:04 In society, that was really difficult one to make.
15:05:11 I will probably do some other things of the costume though, because
15:05:15 the costume is kind of hilarious (Laughs)
15:05:17 I want to take it to Princess park-and-ride around.
15:05:20 (Laughs)
15:05:20 Do some COVID-19 exercise, take the bins out.
15:05:22 The bin outing.
15:05:24 (Laughs)
15:05:27 KATE JUST:
15:05:31 We need to put you with whaler who was in last year's cohort
15:05:35 who pranced around the suburbs of South Yarra
15:05:37 in a topiary
15:05:40 jumpsuit
15:05:41 outfit.
15:05:45 RACHEL
15:05:49 : And Christina's dog.
15:05:50 KATE JUST:
15:05:51 And Doug has been
15:05:56 flashing some (inaudible), the Masters of contemporary art.
15:06:00 We have got quite the costuming collective going on here.
15:06:04 There is definitely room for a parade.
15:06:08 Chelle,
15:06:11 she has got on her special jacket for
15:06:17 it.
15:06:18 The bird mask, we have a lot of costuming potential in this cohort.
15:06:22 Astrid Waring chairs.
15:06:25 Leanne, object stacker.
15:06:28 It is a performative cohort.
15:06:30 No doubt.
15:06:42 RACHEL: That sounds wet.
15:06:43 A lot has come out of it because they have done a lot of costume
15:06:48 parties in my life, there is something about being in they party
15:06:52 space that can be interesting and terrifying as well.
15:06:54 That double edge.
15:06:55 KATE JUST: Almighty.
15:07:02 It is time for break.
15:07:03 It is very:06.
15:07:04 We are going to come back at 3:25.
15:07:06 Then we have Leanne,
15:07:10 it is a video room.
15:07:12 It is video room week.
15:07:13 Video of rooms a week.
15:07:17 We will leave a little time at the end for
15:07:20 any questions
15:07:21 , prior to assessment.
15:07:24 This is our last full group meet
15:07:26 with me and Steve.
15:07:32 You will see Steve tomorrow and
15:07:39 you will be in theory, but you won't see the two of us together
15:07:43 again before assessment was not if you have any questions, you can
15:07:47 put in the chat.
15:07:48 We will see you in 20 minutes.
15:07:50 SPEAKER: Chelle, can I ask you a question?
15:07:52 KATE JUST:
15:07:56 We are doing at the end of the class.
15:07:59 SPEAKER: I just want to our Chelle a question.
15:08:02 It is an Auslan question?
15:08:03 STEVEN RHALL:
15:08:04 3:25.
15:08:04 KATE JUST:
15:08:05 See you soon.
15:08:09 SPEAKER:
15:08:11 Chelle?
15:08:13 CHELLE DESTEFANO:
15:08:15 Yeah?
15:08:15 SPEAKER:
15:08:16 How are you?
15:08:18 I have a quick question.
15:08:21 My housemate is a paediatrician,
15:08:31 and she is doing a presentation and she wants to know if she has the
15:08:35 correct way of saying, "I am your doctor, and I am your nurse." Can I
15:08:40 show you what she thinks it is and you tell me if it is right or not?
15:08:45 OK.
15:08:45 So,, "I am your doctor.
15:08:47 Doctor.
15:08:49 .
15:08:50 "
15:08:53 That is what he did I think.
15:08:55 "I am your nurse
15:08:57 ."
15:08:58 Nurse.
15:09:08 SPEAKER: You have got to remember the Melbourne sign is three
15:09:11 fingers, and nurse is double at the bottom.
15:09:13 SPEAKER: OK.
15:09:16 And the grammar is just gesturing towards yourself and the other
15:09:19 person?
15:09:23 CHELLE DESTEFANO:
15:09:26 Icon appoint to yourself.
15:09:30 Your, with the fist out.
15:09:33 Put your elbow down.
15:09:39 Doctor
15:09:46 .
15:09:49 SPEAKER: I'm your doctor.
15:09:51 SPEAKER:
15:09:53 In Melbourne you can sign
15:09:57 D
15:09:57 R
15:09:59 or doctor.
15:10:01 You can do
15:10:02 D
15:10:03 R
15:10:04 the doctor.
15:10:13 Or doctor, either way.
15:10:14 SPEAKER: Thank you.
15:10:16 And
15:10:18 , "
15:10:22 I am your nurse." SPEAKER:
15:10:24 Joined them in the middle.
15:10:25 SPEAKER:
15:10:29 OK.
15:10:29 She will be so happy.
15:10:30 Thank you so much.
15:10:39 SPEAKER: I am pleased for her.
15:10:40 I'm really happy she is doing it.
15:10:43 It is a beautiful thing.
15:10:44 That is great.
15:10:45 Happy to help.
15:10:46 SPEAKER: Thank you.
15:10:47 I will let you have your break, Chelle.
15:10:49 And Wendy.
15:10:50 SPEAKER: Alright.
15:10:50 Thank you.
15:11:06 Chelle
15:11:11 SPEAKER:
15:11:15 I missed you,'s typing, I got stuck.
15:11:18 What you typed, it was beautiful what you typed up.
15:11:26 SPEAKER: Beautiful scar.
15:11:27 SPEAKER: Beautiful, your staff.
15:11:31 -- Scarth
15:11:34 f
15:11:34 .
15:11:36 Did you make it?
15:11:38 For art?
15:11:39 No.
15:11:50 Art?
15:11:50 Is that art?
15:11:58 Well.
15:12:03 A powerful woman, that is amazing.
15:12:05 I love that.
15:12:09 Well.
15:12:12 W
15:12:12 ow
15:12:12 .
15:12:17 That is amazing to, the other one is amazing.
15:12:19 Both of them.
15:12:31 Do it again.
15:12:34 Friday, is it?
15:12:38 You are doing Frieda, aren't you?
15:12:50 SPEAKER: (Inaudible)
15:12:59 SPEAKER:
15:13:01 Of course.
15:13:02 Friday.
15:13:04 I could not sing on the small gallery screens.
15:13:14 Frieda, yep.
15:13:21 I thought maybe that was the case.
15:13:23 I saw that, yeah.
15:13:24 Love it, unreal.
15:13:29 Great.
15:13:29 It is amazing, how exciting.
15:13:38 Anyway, I better let you go and have a break, we will all have our
15:13:42 break and see you back soon.
15:13:44 Yeah.
15:13:49 Type, it is frustrating.
15:13:50 Thank you.
15:13:51 Thank you.
15:13:59 Maybe we can chat more on the phone.
15:14:01 SPEAKER:
15:14:02 If you could
15:14:08 message her, or email her, she doesn't have access to the chat.
15:14:13 SPEAKER: I will text her today.
15:14:17 After class, we text.
15:14:18 SPEAKER:
15:14:23 After class, that would be great.
15:14:25 Thank you, buy, see you soon.
15:20:06 (
15:20:06 B
15:20:06 re
15:20:07 a
15:20:07 k
15:20:07 )
15:20:10 SPEAKER:
15:20:15 Page 16, is that we put all the inspiration?
15:20:19 Is the images of our work in process?
15:20:24 Do we put the inspiration there as well, that is kind of what I want
15:20:28 to do us.
15:20:29 SPEAKER: I think everyone's process will be different.
15:20:34 For you might be journalling, for me it might be (inaudible),
15:20:37 working out
15:20:39 or constructing of things.
15:20:47 OLIVER: Everyone looks relaxed was not you were all on top of it.
15:20:51 REBECCA
15:20:52 :
15:20:53 (Inaudible)
15:20:58 SPEAKER: I have not been creating anything.
15:21:00 I've just been – writing mode.
15:21:05 SPEAKER: Rebecca is really organised though.
15:21:08 SPEAKER:
15:21:17 Especially with the essay writing, it doesn't matter how many hours
15:21:20 I put into it, I am starting from a position where I don't know
15:21:24 anything about it.
15:21:26 I was saying to Astra the other day that I am probably going to take
15:21:30 a writing course, a day's worth, whatever, just to learn how to write
15:21:34 an analytical research peace.
15:21:35 I just don't know.
15:21:37 SPEAKER: That book is really good that Sally recommended.
15:21:42 SPEAKER: It is a little too late for this.
15:21:45 SPEAKER: I guess so, yeah.
15:21:47 I wish someone had given it to me last year.
15:21:50 SPEAKER: What is the book, sorry?
15:21:52 SPEAKER: It is called
15:21:56 Writing about Contemporary Art.
15:22:00 It would have saved me about two really bad essays.
15:22:06 SPEAKER: I'm surprised though, Oliver, you have bad essays.
15:22:13 SPEAKER: He wouldn't.
15:22:14 SPEAKER: I do.
15:22:15 Terrible.
15:22:15 I do.
15:22:19 SPEAKER: I don't know if I believe it, but if you say so.
15:22:23 SPEAKER:
15:22:24 Who else is using an artwork in the essay?
15:22:27 I am.
15:22:28 OK.
15:22:28 That is good.
15:22:31 SPEAKER: (Inaudible)
15:22:38 SPEAKER: OK.
15:22:39 Good.
15:22:39 SPEAKER: Oliver, what is the name of the right of the book you said?
15:22:43 SPEAKER: His name is… Hold on.
15:22:48 SPEAKER:
15:22:50 Who else hasn't started
15:22:51 writing?
15:22:53 SPEAKER:
15:23:03 I've done my research.
15:23:04 I wrote an email today, does that count?
15:23:07 SPEAKER: I wrote an email today of the question for my research.
15:23:10 SPEAKER: Gil Williams as the writer of the
15:23:13 book.
15:23:13 Do you want me to paste in the chat?
15:23:17 SPEAKER:
15:23:23 Did you get your copy online or did you get a copy from Sally?
15:23:28 SPEAKER: It is in the library.
15:23:29 The South back -- Southbank library.
15:23:31 Speak
15:23:33 SPEAKER: (Inaudible)
15:23:35 (Multiple speakers)
15:23:41 SPEAKER: On the MCA Facebook group
15:23:53 , I'm not sure his name, and second year, he posted an equivalent on
15:23:57 there.
15:23:57 SPEAKER: I saw that.
15:23:58 SPEAKER: In lieu of our closed lab, that is the only reason.
15:24:02 SPEAKER: Memory of the world, that has got a few books on it.
15:24:16 SPEAKER: Got to read this book.
15:24:18 About how to write on temporary art.
15:24:20 SPEAKER: And just a really bad reader, I think.
15:24:23 It is just not how my brain works.
15:24:25 I can read, but I am just so slow at it.
15:24:29 SPEAKER: Me too, Doug.
15:24:30 I have the same problem.
15:24:31 I sleep immediately.
15:24:32 SPEAKER: Especially when it's 10:30.
15:24:34 You know, I suspect they may be mildly dyslexic.
15:24:37 I have read that paragraph how many times now?
15:24:40 SPEAKER:
15:24:46 I get that too.
15:24:47 SPEAKER: It is interesting that we are so creative and we choose to
15:24:51 speak through images, it seems like
15:24:53 the course has such a heavy written component.
15:24:55 (Laughs)
15:24:59 Do we paint our way out of this?
15:25:02 With installations?
15:25:02 SPEAKER: We can paint our way
15:25:04 out of it.
15:25:05 SPEAKER:
15:25:06 Pictures.
15:25:07 SPEAKER:
15:25:14 I think it is really good though, I think there is so many things I
15:25:19 did not know how to explain and now that I have read all this stuff
15:25:23 about, I think there is people that already figured it out for me.
15:25:27 Put it into a really nice words, now I can just look at that.
15:25:32 I think it has been awesome.
15:25:33 It is just finding that, finding the right text.
15:25:36 SPEAKER:
15:25:43 I have definitely gained a lot more out of this six months then I
15:25:47 got last year.
15:25:48 SPEAKER: Really.
15:25:49 That is interesting.
15:25:50 SPEAKER: That is not to shit on last year.
15:25:52 SPEAKER: Too late.
15:25:53 SPEAKER: (Laughs)
15:25:58 I got a lot of useful stuff out of last year, but just in terms of
15:26:03 framing and researching and working out where and how I fit in the
15:26:06 world.
15:26:07 SPEAKER: How many people did last year's course?
15:26:09 SPEAKER: There were almost 30 of us.
15:26:11 SPEAKER: 30, 35-ish.
15:26:12 SPEAKER:
15:26:22 Is everyone here from last his postgraduate course?
15:26:24 SPEAKER: No.
15:26:25 SPEAKER: There was me, Astrid, Leanne, Oliver, Melody, and another
15:26:28 person, Emily got him but she did not end up getting into the course.
15:26:32 This current year course.
15:26:33 I think she got in but then withdrew or something.
15:26:36 SPEAKER: Emily and I did it in (inaudible).
15:26:38 We did not have J
15:26:40 aye
15:26:41 in the theory subject.
15:26:43 Who did we have
15:26:47 … Do you remember, Emily?
15:26:54 SPEAKER: I had Norman.
15:26:55 I think he is in the painting department.
15:26:59 Norbert., Sorry, maybe that is it.
15:27:03 SPEAKER: Norbert, and Toby.
15:27:06 SPEAKER: We had Jay and Renee.
15:27:09 I absolutely adore Rene.
15:27:11 She is…
15:27:14 SPEAKER:
15:27:17 J is nice to no
15:27:18 .
15:27:18 SPEAKER:
15:27:21 That is only taking a jab at him.
15:27:24 SPEAKER:
15:27:26 Rene is so nice, you are like…
15:27:31 SPEAKER: He is direct.
15:27:32 STEVEN RHALL:
15:27:33 Everyone else
15:27:35 otherwise
15:27:38 came from a vast array of
15:27:41 , I guess, stages in their
15:27:42 practice?
15:27:44 I guess,
15:27:46 the certificate is
15:27:48 otherwise…
15:27:55 Directly leading into the Masters.
15:27:57 It is a pathway, hence so many people come from that.
15:28:00 It sort of does take
15:28:02 as a cohort a whole range of
15:28:04 people that while they are
15:28:08 … Very unique individual circumstances
15:28:14 to what may have
15:28:16 informed their practice
15:28:18 beforehand,
15:28:21 and even why they
15:28:23 go to the MCA,
15:28:26 because a lot of you might agree
15:28:31 while even myself I had a particular idea
15:28:33 ,
15:28:35 I go to this program because it makes sense as to
15:28:39 the next stage of my practice.
15:28:44 Only sort of learning what it provided me while I was in it, may be
15:28:49 similar to what you were saying, Doug?
15:28:51 SPEAKER: It is kind of like
15:28:53 you can't
15:28:56 … Without having the growth
15:28:59 , either conceptually,
15:29:00 materially,
15:29:06 by being absorbed and immersed, and then you can actually look back
15:29:10 and go, "
15:29:12 I can definitely see how what I used to do, what are used to thinkers
15:29:17 like that.
15:29:17 " I'm sure that the end of the Masters I will be like
15:29:21 , "Yeah.
15:29:22 Those quote
15:29:31 hop, skip, jump.
15:29:32 It is always growing and learning and sitting through what you do and
15:29:36 don't want to take on board.
15:29:38 All of that jazz.
15:29:39 SPEAKER: All that jazz.
15:29:40 KATE JUST: Chorus.
15:29:41 STEVEN RHALL:
15:29:42 OK.
15:29:45 SPEAKER: Sidebar.
15:29:47 All that
15:29:54 caps jazz, had the idea that it is Chicago the musical and he had it
15:29:59 coming, but it is about all the other referencing styles the archer
15:30:03 cargo.
15:30:03 You know how these referencing styles get you down, like APA,
15:30:06 anyway… Doesn't matter.
15:30:10 STEVEN RHALL: Nice side note,
15:30:12 Doug.
15:30:12 Thank you.
15:30:15 Do you feel it
15:30:20 is your internet connection and you are happy to share your screen,
15:30:23 Leanne?
15:30:26 SPEAKER: Yep.
15:30:27 I'm sharing my screen, if it goes dodgy just let me know.
15:30:31 STEVEN RHALL:
15:30:33 No worries.
15:30:34 SPEAKER: I would just say, I don't know if everyone saw the note, it
15:30:38 is an installation.
15:30:43 I will show the video, and there is photo for more detail but we
15:30:48 don't have to look at them.
15:30:49 They are just that if anyone wants to.
15:30:52 Should I just show the video and that is it?
15:30:55 KATE JUST: Can I just… Having watchers, did you did do this this
15:30:59 week?
15:30:59 Is this a space event are working?
15:31:01 SPEAKER: I did on Saturday.
15:31:03 We assembled, we took it up that day, we took down that night.
15:31:07 We (inaudible) on the mattress that is our bedroom frame.
15:31:10 I would just show the video then?
15:31:13 STEVEN RHALL: Yes, please.
15:31:34 (Video plays) STEVEN RHALL:
15:31:36 Some of you would not have seen this.
15:31:40 We will have is that the objective please.
15:31:45 --
15:31:47 You start.
15:31:50 SPEAKER:
15:31:54 Are we raising hands?
15:31:56 STEVEN RHALL: Go, Doug.
15:31:57 SPEAKER:
15:32:00 We are in a room that is lit from above, I think.
15:32:03 No?
15:32:04 You can see a room that has an array
15:32:07 of different
15:32:08 , let's say household objects.
15:32:11 That are strung from
15:32:13 the ceiling
15:32:19 in different heights.
15:32:23 By, I am going to say fishing line,
15:32:27 just because I can barely see it, it appears to be thin
15:32:33 and quite strong to hold up some of those heavier objects
15:32:36 will stop
15:32:37 We can see a bedframe in the middle of the room
15:32:40 ,
15:32:45 and an array of other
15:32:49 domestic household
15:32:52 items that are strung up above
15:32:55 and around the bedframe.
15:32:59 It does not appear any of the objects
15:33:04 are touching the ground, other than maybe one of the courts.
15:33:07 The objects are casting
15:33:09 shadows and silhouettes on the wall.
15:33:15 How is that?
15:33:16 KATE JUST: Great.
15:33:17 Thank you.
15:33:18 We have got Meredith next?
15:33:24 Meredith, I can see you, are you muted?
15:33:27 SPEAKER:
15:33:34 There appears to be a light source coming from the left-hand side of
15:33:38 the frame, as the shadows are being cast, there are being shadows
15:33:41 cast on the wall.
15:33:43 On the bed there is a picture
15:33:45 , I've just missed what that picture is.
15:33:48 On the bed head.
15:33:51 I could not see that.
15:33:56 STEVEN RHALL: The image mounted to the bed head.
15:33:59 SPEAKER: Yes, an image mounted to the bed head.
15:34:02 I think
15:34:12 … I will just wait.
15:34:14 I can't see.
15:34:15 I think the fan is working, operational, and it is moving.
15:34:18 The blades of the fan are moving.
15:34:20 Yep.
15:34:21 I will leave it there.
15:34:22 STEVEN RHALL: Great.
15:34:23 Astrid?
15:34:23 SPEAKER:
15:34:29 I was going to say there are some objects like the toilet paper and
15:34:33 the fan
15:34:39 , and the dress, I guess, there is some movement in the objects.
15:34:43 While some of the objects are still.
15:34:45 There is also the book with an illustration
15:34:48 of a
15:34:48 power plug.
15:34:55 And the object seemed to all be domestic objects that can be found
15:34:59 within the house.
15:35:03 Although some of them are used for outside, like the gloves.
15:35:06 But predominantly they are stored inside.
15:35:12 The bed also has movement as well, with the cups
15:35:18 and a basket of fruit.
15:35:19 Some glasses as well.
15:35:23 Which is interesting that there is movement and there is this
15:35:27 fragile things on there as well.
15:35:29 I will let someone else…
15:35:30 STEVEN RHALL: Great.
15:35:31 Emily?
15:35:31 SPEAKER:
15:35:37 The ceiling and the space, we can't fully see in the video, but it
15:35:41 looks open.
15:35:42 Doesn't look like there is a joining ceiling, it looks like there
15:35:46 are some bars there that are potentially, the objects are hanging
15:35:49 from?
15:35:51 There is also to picture frames which are attached to the right-hand
15:35:54 wall.,
15:35:58 that are empty, or they contain like a white background,
15:36:06 and I was also noting that there is a twin matching set of mugs,
15:36:10 knives, spoons, and a fork.
15:36:12 And the utensils are positioned on either side of the bed.
15:36:16 STEVEN RHALL: Thank you.
15:36:18 Chelle, your objective reading?
15:36:35 CHELLE DESTEFANO:
15:36:37 I can see a balance of colours.
15:36:39 Of neutral
15:36:40 colours
15:36:45 , but there is a lot of variation
15:36:48 in shape.
15:36:50 The bed is wood,
15:36:55 and quite large.
15:36:56 You don't see that very often.
15:36:59 There is a variation of materials and fabrics,
15:37:05 and plastics.
15:37:09 There is some paper,
15:37:16 there is a lot of metal.
15:37:18 There is a lot of variety in the fabrics used, a great mix.
15:37:22 You can see a lot of shadows.
15:37:24 There is a lot of shadow in that.
15:37:26 And a lot of movement.
15:37:31 That is all from me.
15:37:35 STEVEN RHALL: Thanks, Chelle.
15:37:37 KATE JUST:
15:37:40 I don't know if anyone has noted… Sorry,
15:37:43 I missed the raised hands.
15:37:47 Before we go to Christina and Astrid,
15:37:50 I would just note 1 of the things I was going to mention which is
15:37:56 that it is positioned what is appeared to be in a corner space,
15:38:00 that has a concrete floor
15:38:01 and a wall that goes only halfway up to the ceiling.
15:38:06 I can't see what the ceiling is made of,
15:38:12 it seems like… I can't see it.
15:38:14 It almost has a factory looking ceiling.
15:38:18 So, here.
15:38:19 It looks like a gallery space or a studio space.
15:38:22 I guess that might even be subjective.
15:38:24 Christina?
15:38:28 SPEAKER:
15:38:30 There is electricity.
15:38:31 Power
15:38:34 to the installation so that the
15:38:36 light is on
15:38:38 and the fan is on.
15:38:44 There is also some food on the bed, there is some fruit and cheese.
15:38:49 STEVEN RHALL: Thank you.
15:38:51 Maybe in terms of
15:38:56 additional layers of some of these things,
15:38:58 and not
15:39:03 -- I know that is an electric toothbrush because I have got the same
15:39:07 one, it appears to be an IKEA bed frame.
15:39:10 The power adapter
15:39:15 , as it was described by Astrid, it seems to be a double adapter.
15:39:21 And the cable emanating from the basket looks like
15:39:23 CAT5 which is the cable that you use
15:39:29 to connect your computer generally to a modem.
15:39:32 As for the fruit,
15:39:34 potentially apples
15:39:36 .
15:39:41 Christina, you have based your hand again?
15:39:43 OK.
15:39:43 Very good.
15:39:46 Rebecca?
15:39:48 SPEAKER:
15:39:50 The frames on the wall
15:39:55 are both without picture, just the frame.
15:39:57 Also the image
15:39:59 attached to the bed head seems to be of a
15:40:07 landscape.
15:40:07 Just waiting.
15:40:09 A rural landscape.
15:40:11 Trees, grass
15:40:11 ,
15:40:14 a rocky background.
15:40:19 That is all from me.
15:40:25 STEVEN RHALL:
15:40:28 The lampshade is slightly
15:40:30 …
15:40:32 Convergent to the floor.
15:40:34 It is not parallel.
15:40:37 It has got a
15:40:40 sculptural
15:40:43 neck.
15:40:50 And maybe in consideration of
15:40:54 , you know, the space it is in there,
15:40:58 and again it is in a corner,
15:41:02 those two picture frames are on the right-hand side
15:41:04 and one in the distance seems to be
15:41:07 not parallel with the floor
15:41:08 either.
15:41:12 KATE JUST:
15:41:17 Astrid, Emily, Lisa, with their hands up?
15:41:20 Astrid?
15:41:20 SPEAKER:
15:41:24 I was just going to say that the objects are presented to us in a
15:41:29 way that is not
15:41:30 as familiar as we might
15:41:33 locate them in an environment,
15:41:45 a lot of them are suspended, although there are things like the
15:41:49 coathanger with the address on it which we usually see suspended.
15:41:52 Things like a broom, normally we locate that leaning against the
15:41:56 wall, where a lot of these things are kind of lifted up, giving us
15:42:00 the opportunity to look at them from different perspectives.
15:42:03 STEVEN RHALL: Borderline.
15:42:04 KATE JUST: Borderline subjective.
15:42:05 (Laughs)
15:42:16 SPEAKER: I was just going to speak to that the objects are placed at
15:42:20 different levels, the highest I can see is the belt, and the lowest
15:42:24 point being the cords of the lamp.
15:42:26 What is the other thing I was going to say?
15:42:29 I would just leave it at that, I've gone blank.
15:42:34 Sorry, I was just going to speak to the
15:42:37 … With the video,
15:42:41 the artist has said that it is an installation,
15:42:44 and the video kind of moves through the space
15:42:51 and it never appears to be still, to focus on one thing.
15:42:54 It does not use panning shots.
15:42:56 It gives… That is objective.
15:43:00 STEVEN RHALL: Very good.
15:43:01 Lisa?
15:43:04 SPEAKER:
15:43:07 The objects are floating in midair,
15:43:09 they are all
15:43:12 home objects from home.
15:43:14 There is movement
15:43:15 created
15:43:18 from the fan
15:43:18 .
15:43:27 SPEAKER: Can we look at the still images?
15:43:29 KATE JUST:
15:43:30 Yeah.
15:43:35 I think, are we ready?
15:43:36 I think timing wise we are ready to go subjective.
15:43:39 Of course, people joining
15:43:41 in next can continue to addressed
15:43:44 subjective things if they would like to.
15:43:47 Leanne,
15:43:51 are you sharing the still images,
15:43:58 or are you…?
15:43:59 SPEAKER: Is that OK?
15:44:00 What would you like me to do?
15:44:02 KATE JUST:
15:44:03 Having got the PDF open?
15:44:04 SPEAKER: Can you see it?
15:44:06 KATE JUST: No.
15:44:07 We can just leave the video.
15:44:10 I think you have to unshared and then share again.
15:44:34 SPEAKER: Can you see that OK?
15:44:36 KATE JUST:
15:44:37 Yeah.
15:44:38 Can you zoom in on it a bit?
15:44:40 STEVEN RHALL:
15:44:41 Can we go full-screen?
15:44:42 SPEAKER:
15:44:45 It is full-screen and think.
15:44:50 STEVEN RHALL: Down the bottom on that toolbar…
15:44:53 KATE JUST:
15:44:58 It says 91%, I think it needs to say 100%.
15:45:01 SPEAKER: Happily see that?
15:45:03 I cannot see that.
15:45:04 STEVEN RHALL: Second from the right,.
15:45:08 SPEAKER: Should I go through all the images?
15:45:18 STEVEN RHALL: Just, you can scroll it will I guess.
15:45:21 We are all looking at the same space here.
15:45:24 We have had a really good look by the video, unlike these stills
15:45:28 really gave us a sense of the Connecticut or the motion
15:45:31 based aspects of this installation.
15:45:34 In some ways it is somewhat mirrored
15:45:42 through, say, for example, the toilet paper is in different
15:45:45 positions in these images here.
15:45:47 Perhaps noting objectively as well
15:45:55 that there is the light source of the lamp suspended, but that
15:45:59 second light source seems to shift throughout the images.
15:46:01 While it is casting a shadow from
15:46:07 the bed, onto the bed had, there is a shop where the light source
15:46:12 seems to be closer to the ground.
15:46:14 Which is always lighting from underneath.
15:46:20 So, you shopped
15:46:28 -- stop sharing there.
15:46:29 KATE JUST: I was thinking something was wrong with my screen.
15:46:32 Having trouble.
15:46:35 SPEAKER: Sorry.
15:46:35 It just popped back to Zoom, I don't know why.
15:46:38 I will just share it again.
15:46:50 STEVEN RHALL: You know, it has been mentioned in that even so much
15:46:54 as to generalise, these are domestic objects.
15:46:56 Maybe breaking that down a bit further, particularly
15:47:00 let's say the place setting
15:47:03 of the cutlery
15:47:05 , cups,
15:47:08 accoutrements
15:47:13 to wait we met have an a dining table.
15:47:16 However, it is on the bed.
15:47:18 We are calling it a bad but, you know,
15:47:20 it does not have a mattress either.
15:47:24 Even just in that sort of initial location
15:47:27 , see that image on the right there,
15:47:29 you have the light coming from underneath
15:47:32 was up one of the ones I had noticed.
15:47:36 For some reason it has that
15:47:38 ,
15:47:43 it has an ominous, horror
15:47:44 es
15:47:45 que
15:47:51 when things are lit from underneath.
15:47:53 Just finishing what I was saying about particularities
15:47:55 , perhaps having a meal together.
15:47:57 Cat five
15:47:59 communication
15:48:02 , the extension from this interior space.
15:48:05 Then of course
15:48:06 the objects
15:48:11 around maintenance of the house, the brush,
15:48:13 the gloves, the closed source.
15:48:17 -- Clothes horse.
15:48:20 Maintenance of oneself, I guess it is
15:48:24 , the materials is another symbology and meaning
15:48:27 over the past few months.
15:48:31 As for the movement,
15:48:33 we could say
15:48:36 comparatively to all these sorts of elements
15:48:39 that are contained within the domestic
15:48:42 and movement, it is otherwise quite
15:48:46 , for me,
15:48:50 it is across the entire space profile
15:48:52 , that encounter.
15:48:57 How is that operating to other people?
15:48:59 KATE JUST:
15:49:04 We have got a whole bunch of hands up now.
15:49:07 We can go in order.
15:49:08 Maybe, if you like we should go back to the video even that it is
15:49:13 such a Connecticut work.
15:49:14 If others agree?
15:49:15 We have got Chelle, Darren, Doug.
15:49:19 There is others that I will start with those three.
15:49:22 Chelle?
15:49:34 CHELLE DESTEFANO:
15:49:36 For me
15:49:37 ,
15:49:39 I fill like
15:49:40 –
15:49:42 well,
15:49:45 how do I describe it?
15:49:46 It is like a ghost.
15:49:56 It is very like Harry Potter, that is what it reminds me.
15:50:02 I was just thinking about the technology and all the heavy objects
15:50:05 that are hanging from the ceiling.
15:50:07 It makes me wonder about that.
15:50:09 On the way you have used the objects,
15:50:11 in different space.
15:50:12 I have been thinking about
15:50:15 the special
15:50:23 … Sorry, I can't see properly.
15:50:31 The special meals, eating together.
15:50:35 Maybe with friends, potentially with friends.
15:50:40 It could be in any setting actually.
15:50:43 It could be like
15:50:49 Mad Hatter, a party, the Mad Hatter party.
15:50:51 That looks great too.
15:50:54 I love that.
15:50:54 I just love it.
15:50:56 I think it looks great.
15:51:02 KATE JUST: Thanks, Chelle.
15:51:03 Hang on, I can't see.
15:51:05 Thanks, Chelle.
15:51:05 I am also getting a Mary Poppins
15:51:08 , bed knobs and broomsticks, magical,
15:51:10 kine
15:51:10 tic
15:51:13 feeling from this work.
15:51:15 Next we have Doug?
15:51:18 SPEAKER:
15:51:23 I was literally just about to say similar things.
15:51:26 KATE JUST: Stolen!
15:51:27 SPEAKER:
15:51:30 You have taken everyday objects and the action of having them from
15:51:33 being on the ground to being suspended
15:51:35 ,
15:51:38 it is like you are taking the every day and the mundane and creating
15:51:44 … Making them sort of magical, otherworldly,
15:51:47 in terms of the vibe,
15:51:48 .
15:51:51 I was also reminded of
15:51:52 … What are their names?
15:51:55 I think it is Corel ear
15:51:57 wells?
15:52:02 In terms of they suspend
15:52:10 similarly things from the roof, but a lot more light sources, a lot
15:52:14 more dense, a lot more silhouettes.
15:52:23 This has a playfulness to us that those works don't.
15:52:26 The fact that you have got cords mentally coming out of a basket
15:52:30 strung from the ceiling, yeah.
15:52:31 Using a table but the bed frame.
15:52:34 It has got sort of whimsical
15:52:37 qualities to it that I like.
15:52:45 I think that will do.
15:52:46 STEVEN RHALL:
15:52:48 Thanks, Doug.
15:52:48 Darren?
15:52:49 SPEAKER:
15:52:52 Think the first thing I will talk about is perhaps
15:52:55 the use of
15:52:58 the (inaudible).
15:52:59 Am assuming fishing line
15:53:02 to suspend.
15:53:02 I think the intentional choice
15:53:04 to use a transparent
15:53:06 material suggests really that
15:53:10 they should not be viewed as part of the works,
15:53:13 as compared to your tying it with rope
15:53:19 … I think there we can kind of agree that
15:53:22 the idea of suspending the objects in the air
15:53:26 is really at
15:53:28 the focus.
15:53:30 But also what is interesting is that
15:53:32 , you know, besides
15:53:42 … Going back to the idea of (inaudible), the idea of suspending the
15:53:46 objects in the air, it really does actually bring about a meaning.
15:53:49 I particularly wonder if
15:53:52 reading it from the still photograph, I am interested in P hats
15:53:57 -- perhaps if it would work differently
15:53:59 if they were not moving.
15:54:01 I feel like there is a kinaesthetic
15:54:07 element to it, I want to be able to walk through it, touch it, push
15:54:12 it, and make my way through it.
15:54:14 But I think it reads differently if the objects are suspended in a
15:54:18 fixed time in air.
15:54:19 Then it would be about, almost as a sort of
15:54:22 (inaudible) temporal reading
15:54:23 into
15:54:27 memory.
15:54:27 Particularly with the ideas of domestic objects
15:54:30 , a lot of these objects can be found
15:54:37 within domestic spaces, that way I am reading it and I guess perhaps
15:54:41 through the lens of well -- as well
15:54:44 -- the last name a company outs, yeah,
15:54:48 these domestic spaces
15:54:58 are powerful for the individual but also because they are universal
15:55:02 items they become allegory.
15:55:03 What is interesting is that
15:55:07 it is not a deconstruction of a bedroom, or a general bedroom
15:55:11 setting, because, I guess,
15:55:12 you could
15:55:13 eat embedded, me included.
15:55:20 But the idea that there is a thing for two, 2 cups,
15:55:24 the picture frame behind the bed,
15:55:28 I think that is where it really starts delving into personal
15:55:31 narrative.
15:55:31 Rather than trying to reconstruct
15:55:33 a sort of
15:55:38 typological setting.
15:55:39 I feel like these objects tend to be
15:55:41 embedded with personal memories.
15:55:49 This is once again may be reading too much into the artist,
15:55:52 's
15:55:56 personal interactions, the idea of fleeting this, homes,
15:56:00 not constantly having to move.
15:56:04 And also, once again, it can be a reflection of
15:56:09 , you know, your essential items in the space
15:56:14 like COVID-19.
15:56:14 Which I guess does play a part in meeting those objects, anyway
15:56:18 stop KATE JUST:
15:56:21 That is great.
15:56:22 Thank you.
15:56:22 I'm just aware we have like 10 people in the chat.
15:56:26 I would also like to add in, I might go after like five people go.
15:56:31 We have probably only got another 15
15:56:34 to 20 minutes.
15:56:35 If people can sorta be conscious of the number in the chat.
15:56:40 So, Rebecca is next?
15:56:41 SPEAKER:
15:56:43 I had the pleasure of seeing this
15:56:47 installation live and my first impressions were
15:56:51 the eeriness, the sound of the fan rattling,
15:56:54 and also it was a particularly windy day
15:56:56 and the shadow of the
15:56:58 studio
15:57:01 , the roller door,
15:57:04 was just adding to the sense of
15:57:06 just the anxiety.
15:57:11 But I also think following Leanne's photos or illustration
15:57:18 on Instagram, and a lot of these items that are suspended, they are
15:57:22 also what she had drawn.
15:57:24 It is revealed in a different light.
15:57:26 Once that she had illustrated our light
15:57:28 and colourful, and exist as just a single object.
15:57:31 Here they are
15:57:32 kind of
15:57:34 suspended in this kind of surreal scene
15:57:42 that I think touches on some kind of domestic anxiety because
15:57:46 similar to what Darren said, the personal
15:57:48 narrative I was personally interested in, the cheese,
15:57:51 the rural landscape, that is a different narrative
15:57:55 to the other objects.
15:57:56 That are suspended.
15:57:57 That is all.
15:57:59 KATE JUST: Thank you.
15:58:01 Emily?
15:58:09 SPEAKER: I was just going to comment that I suppose, I see the
15:58:13 objects of it as thoughts as well.
15:58:17 Particularly with that they are taking up so much of the scene, it
15:58:21 reminds me of daydreaming, and also thinking about
15:58:23 and imagined, the imagination of the others.
15:58:25 I think also the kinetic objects of
15:58:28 the properties, and the way that the items move
15:58:31 gives them their self identity
15:58:40 .
15:58:41 I guess because they are removed from that context that we use them
15:58:44 in an everyday sense, they seem to gain this new autonomy.
15:58:48 STEVEN RHALL: Great.
15:58:49 Thanks.
15:58:49 Meredith?
15:58:52 You are on mute, Meredith.
15:59:00 SPEAKER: I like the moving image and I wish I could actually walk
15:59:04 through it and experience it.
15:59:05 And the domestic items that are floating
15:59:07 give me a sense
15:59:11 that they are
15:59:13 …
15:59:16 That the domestic life is in flux
15:59:23 .
15:59:23 I have just noticed the picture on the bed is what looks like an
15:59:27 Australian landscape,
15:59:30 and there is a French cheese lead on the bed.
15:59:33 Maybe there is a mixture of two cultures there is well.
15:59:37 I actually really like the piece.
15:59:39 STEVEN RHALL: That is a good point.
15:59:43 The French cheese inhabiting
15:59:48 , I recently ran into Leanne at an open house inspection,
15:59:51 a bit of inside information
15:59:53 where the gentleman she was with
15:59:55 sounded French.
15:59:59 That painting, for me, it reminds me of that (unknown term)
16:00:02 , I could be wrong.
16:00:04 We had Christina next?
16:00:08 SPEAKER:
16:00:10 I agree
16:00:16 of how all the things are suspended in the air, and they are
16:00:19 (inaudible).
16:00:20 We usually guide our lives to them
16:00:23 , and then suddenly
16:00:26 they are close inside the house.
16:00:29 They are isolated, and we have to live with them.
16:01:10 The way our everyday life
was suspended and
completely different (inaudible) the same way objects

16:01:10 are changing
and slightly different
(inaudible) having a life

16:01:10 of their own.
Similar.
LECTURER:

16:01:11 Thanks.
Lisa?
SPEAKER:

16:01:11 I guess I just see
… It reminds me of the drawings
created prior

16:01:13 to this installation

16:01:16 and I see this as a different view

16:01:18 or inspiration of the

16:01:20 inanimate

16:01:22 objects utilised

16:01:24 as inspiration for the drawings.

16:01:27 I see the two

16:01:31 I see the 2 cups and two servings
of knives and forks
16:01:35 as a unity or a couple together

16:01:37 within this realness

16:01:38 of what is happening

16:01:41 within the world at the moment

16:01:43 , and I agree

16:01:46 about the identity of the cheese

16:01:48 and maybe the painting

16:01:50 reflecting the country here

16:01:54 and belonging here.

16:01:56 Thank you.

16:01:57 LECTURER: Thanks, Lisa.

16:01:59 Kayleigh?

16:02:02 SPEAKER: I think there is a sense of

16:02:05 uncanny nests

16:02:06 and encountering

16:02:12 this feeling of home
but in a floaty sense
16:02:16 and also reminds me of
a surrealist painting
16:02:36 .

16:02:37 The lamp, within the video,

16:02:43 makes it relate to

16:02:44 (inaudible).

16:02:47 LECTURER: Great.

16:02:48 Oliver

16:02:48 ?

16:02:53 Mute.

16:02:56 SPEAKER: I don't want to take much

16:03:00 time and everyone has
said everything mostly.
16:03:04 I find it really interesting the
presence of electricity in this
16:03:07 work, how it lights itself

16:03:09 and the fan creates the

16:03:11 kinetic motion

16:03:13 that makes everything move,

16:03:16 and how that is intrinsic
to the peace and there
16:03:20 is this

16:03:22 purposefully left,

16:03:25 the sketch of the double adapter

16:03:27 inside the sketchbook

16:03:30 , and also the empty
frames on the walls.
16:03:36 I don't know if I can decode it,
but I find that fascinating.
16:03:41 LECTURER: Great.

16:03:42 Thank you.

16:03:49 I cannot hear you.

16:03:51 There you go.

16:03:53 SPEAKER:

16:03:58 I think I agree with most

16:04:04 , talking about the sense of home

16:04:06 ,

16:04:09 a place

16:04:12 of living,

16:04:14 constantly

16:04:15 floating

16:04:17 .

16:04:18 This is an everyday object

16:04:20 , domestic,

16:04:21 but at the same time

16:04:23 it is not like

16:04:25 what we see every day.

16:04:27 It reminded me of a

16:04:33 (inaudible)

16:04:36 and domestic life and operating

16:04:38 .

16:04:40 It is also like a dream

16:04:42 , not real

16:04:44 , kind of confused

16:04:46 ,

16:04:48 multiple layers

16:04:50 (inaudible)

16:04:51 reality and a dream

16:04:53 .

16:04:56 LECTURER: If it is OK

16:04:59 , could I jump in

16:05:01 before you,

16:05:04 Melody?

16:05:10 I will respond to some things

16:05:12 said.

16:05:13 For me there is something
about the bed
16:05:16 , and as I read it,

16:05:19 the objects from the artist's home

16:05:21 being lifted and

16:05:22 grounded

16:05:24 , off the floor.

16:05:27 With the reference to

16:05:31 the broomsticks, I read this

16:05:35 swelling as a chaos
that is destabilising
16:05:38 but also is whimsical

16:05:40 and kind of romantic.

16:05:41 I read that she is

16:05:48 the cheese and cups are like a

16:05:51 magic carpet

16:05:54 , go to an internet place
like a carpet or bed
16:05:58 on a journey somewhere.

16:05:59 I know it is made of domestic

16:06:03 banal items, like the
toothbrush and broom.
16:06:05 There is something about

16:06:10 the cheese in the corner and
even the landscape painting
16:06:14 that suggests

16:06:14 these two

16:06:16 people object can go on a
journey together somewhere
16:06:19 through imagination

16:06:29 .

16:06:32 The only thing I wanted to add

16:06:34 , with

16:06:37 her stacking things
in the background,
16:06:42 although maybe they are supposed to
be installations, I think there is
16:06:46 some capacity for them
to work as film works
16:06:49 or video works.

16:06:50 It seems to be a compromise or limit

16:06:53 , presented in this way,

16:06:55 but I can see as the beer pans in

16:06:58 , how it creates a different

16:07:00 spatial dynamic

16:07:04 viewing it through cinema and you
wouldn't have the same tactile,
16:07:08 tangible experience.

16:07:08 It is almost like

16:07:12 the wires are almost
invisible in the video.
16:07:24 SPEAKER:

16:07:25 I was about to mention the

16:07:29 intimacy and the coupling
with in it and the romance.
16:07:32 That was really all.

16:07:35 SPEAKER: Sorry.

16:07:40 When I saw this,

16:07:42 I really first thought

16:07:45 , particularly because
I love these images
16:07:49 ,

16:07:51 of Salvador Dali

16:07:53 suspended with water and objects

16:07:55 , and what Darren said

16:07:58 , with the objects

16:08:01 , kind of reading this
as a still image
16:08:05 , you would read it like these

16:08:07 are suspended in time,

16:08:10 but with this is a video
and we see them moving,
16:08:14 I read this as something
that is suspended in time
16:08:18 but is still moving
in the time in a way,
16:08:21 so things are still happening but
there is an element of feeling
16:08:26 a bit stuck for me on this,

16:08:28 and I just wanted to add that.

16:08:31 LECTURER: It has that

16:08:34 dual operation

16:08:36 of containment

16:08:39 but definitely an energy

16:08:41 or a fluid must

16:08:43 within even the

16:08:45 everyday space

16:08:47 of the home

16:08:49 , wherever that may be

16:08:51 , and totally

16:08:56 , the suggested ritual

16:08:58 of having meals together

16:09:01 , the ritual of sharing a bed

16:09:04 , the landscape on the bed

16:09:08 is like where we travel to

16:09:10 , and we

16:09:11 might assume and hope

16:09:14 if it is based on real life,

16:09:17 it comes to be a space
where the empty frames
16:09:20 find their own expression,

16:09:22 suggesting a bit more

16:09:23 of a groundedness

16:09:26 that this lacks

16:09:29 through the use of the suspended

16:09:32 … The suspension of the work

16:09:34 .

16:09:36 There was Rachael

16:09:40 .

16:09:40 SPEAKER: I wanted to add

16:09:45 the landscape and the PowerPoints

16:09:47 are the only two representations

16:09:49 of things that are not physically

16:09:53 in the installation

16:09:54 and there is an interesting dialogue

16:09:56 between the depiction

16:09:59 of the landscape,

16:10:01 which is a

16:10:03 Nam at your painting

16:10:11 and the

16:10:12 double adapter

16:10:15 , which would distribute

16:10:18 resources,

16:10:23 but everything is offkilter, so an
extra conversation about how things
16:10:27 are not working.

16:10:28 LECTURER: I'm not sure about

16:10:30 if it is intentional or not,

16:10:32 but that style of double adapter,

16:10:34 I think one of them is around

16:10:36 the wrong way, so to speak,

16:10:39 whether that, even beyond it being

16:10:41 presumably

16:10:44 the hand of the artist

16:10:48 potentially more representations of
the other objects within that book,
16:10:52 that it is acting somewhat
as an entry point
16:10:55 or a key to the logic of the work

16:10:58 .

16:10:59 I am not sure.

16:11:01 LECTURER:

16:11:05 Are there any other thoughts
before we open up to Leanne?
16:11:13 No?

16:11:15 We are ready for you, Leanne.

16:11:19 SPEAKER: Should I stop the video?

16:11:21 LECTURER:

16:11:23 Maybe so we can see you.

16:11:28 SPEAKER: Thanks, everybody

16:11:30 , for your feedback.

16:11:34 It was delightful listening
to what everyone had to say
16:11:37 , and it was all great

16:11:39 , and I tried to make
notes of everything.
16:11:43 Some readings were things
that made a lot of sense
16:11:46 but that I had not
consciously intended
16:11:48 yet because I did not want it

16:11:51 to be something I thought
about too much
16:11:54 .

16:11:54 Those of you

16:11:55 who saw whet started with
the drawing of the objects,
16:11:59 that was phase 1.

16:12:00 Phase 2 was doing something
with real objects
16:12:03 because I wanted to try out

16:12:05 installation

16:12:06 and the physical experience

16:12:08 .

16:12:08 That was phase 3

16:12:10 , and I did not want it to be planned

16:12:15 but to come out in a way that
felt right and figure out
16:12:19 what it was from there but I did
want it to have an uncanny feeling.
16:12:24 When I set it up in the daytime,

16:12:27 it looks playful and fun,
so that is how the lighting
16:12:31 came in, the movement
and creepy noises.
16:12:34 I don't know what to talk about.

16:12:37 I am really happy when it is a bit

16:12:40 ambiguous because
I think my intention
16:12:42 is only part of the work

16:12:44 and how people interpret
the Metaphor
16:12:48 really brings another
dimension to it,
16:12:50 which is really interesting

16:12:52 .

16:12:53 I wanted

16:12:54 to stage something private in public

16:12:57 and show a claustrophobia

16:12:59 , of being

16:13:00 stuck in my bedroom

16:13:02 for the past 3.5 months

16:13:08 that I share with my partner.

16:13:10 I wanted to bring those domestic
objects of the house into one
16:13:14 space, almost imagine that, but at
the same time… There are personal
16:13:19 things in there, but collective ones
as well with everybody being in a
16:13:23 state of flux, as well as my

16:13:26 transience, my state of flux

16:13:28 , and where the suspended
thing comes in.
16:13:34 Then I wanted to talk to
the idea of gendered space
16:13:38 and the fears that come
out of being stuck
16:13:41 in the house

16:13:42 again, so I wanted to allude to

16:13:44 maternal ghosts

16:13:45 who have gone through much worse

16:13:48 than anybody does in this generation

16:13:50 , and also show fears

16:13:55 through, for example,
the close source
16:13:59 that was looming like a spider
in the corner about to attack
16:14:03 , the belt shaped like a snake.

16:14:05 Little things like that

16:14:07 .

16:14:07 I like the idea

16:14:09 of working

16:14:16 within limitation

16:14:18 so I did not have to buy anything

16:14:21 to make it.

16:14:22 It was all my stuff.

16:14:24 Thanks to Rebecca

16:14:25 who lent me the fishing line

16:14:27 .

16:14:28 Are there any questions
in particular
16:14:30 that anybody has?

16:14:31 SPEAKER: I was curious

16:14:33 – because it is a corner

16:14:36 installation

16:14:37 in a sense,

16:14:39 so not a small space

16:14:41 but like a compressed

16:14:43 little corner in a way

16:14:45 and I wondered about

16:14:50 how you might imagine
this work growing
16:14:53 or if you had a huge gallery space

16:14:56 , how would you imagine
seeing this work
16:14:59 either extend or expand

16:15:02 or turn into other
rooms or other spaces
16:15:05 .

16:15:06 I was curious about that.

16:15:08 SPEAKER: I

16:15:11 liked it was in a claustrophobic
space because I like the feeling
16:15:16 of being closed in, even though it
didn't necessarily achieve that.
16:15:20 I haven't thought

16:15:21 how it might work in other spaces.

16:15:24 I have only imagined
it in small spaces.
16:15:26 I had a thought the week before

16:15:29 about how to use the space.

16:15:31 I hadn't thought about it yet.

16:15:33 LECTURER: Any other
questions or thoughts?
16:15:35 Rebecca?

16:15:37 SPEAKER:

16:15:39 Yes.

16:15:42 I was interested in the

16:15:44 picture and landscape

16:15:46 .

16:15:50 SPEAKER: That is from my

16:15:53 Nanna's house.

16:15:56 She died a few years ago and
I love that little painting
16:16:01 analogue the artist

16:16:04 – I love the artist.

16:16:19 The reading

16:16:23 of it being the rural and the
meeting of French and Australian
16:16:27 – that was brilliant.

16:16:29 I had not thought about that

16:16:31 – but it is probably
exactly why I did it.
16:16:35 Lots of nice little
things like that.
16:16:37 LECTURER: Can I ask a question about

16:16:39 … There was this

16:16:42 everything is suspended within

16:16:44 the space, the decisions around

16:16:46 the placement

16:16:49 of the painting, for example,
on the bed head
16:16:52 , where

16:16:55 , related as to the dining setting

16:16:59 … The dining setting, I see that as

16:17:02 you wanted

16:17:03 to maybe emphasise

16:17:05 two people sharing something

16:17:09 , that the bed became

16:17:10 a handy support

16:17:12 to be able to fix

16:17:15 their location to each other as
opposed to whether they were just
16:17:20 flailing around

16:17:22 .

16:17:23 My first impression

16:17:26 was

16:17:29 of the tornado in the Wizard of Oz

16:17:32 ,

16:17:32 similar to those

16:17:37 … We could even say

16:17:38 the cinematic trope

16:17:41 of in between spaces

16:17:44 or going from one to another

16:17:47 , but maybe apart from
the practicality
16:17:50 of what I am assuming
later the placement
16:17:53 of the utensils on the bed,

16:17:55 are there any other

16:17:57 decisions or logic

16:18:00 around that sort of coupling
of those items on the bed?
16:18:04 SPEAKER: The main idea
was to try and show
16:18:08 almost feeling so stuck in the space

16:18:13 that you to do everything in it.

16:18:16 The bedroom becomes the dining room
and the laundry and the bathroom
16:18:20 and the living room and
everything in the house
16:18:23 … You feel like you are stuck in that
one space doing everything in one
16:18:28 space.

16:18:29 That is where it started.

16:18:31 Other meanings come off
once it is there.
16:18:34 It never really turns out exactly
how you imagine it.
16:18:37 That was the initial idea.

16:18:39 LECTURER: Yes, and in mentioning

16:18:41 turning out and trying

16:18:43 (inaudible) try installations,

16:18:45 so maybe this is a bit removed

16:18:47 from what you have done previously.

16:18:49 SPEAKER:

16:18:50 I have never

16:18:52 done anything like this before.

16:18:54 I meant

16:18:55 to say that, too.

16:18:57 It was fun.

16:18:58 LECTURER:

16:18:58 It is

16:19:00 such a big

16:19:01 jump in your practice

16:19:03 , really.

16:19:04 SPEAKER: At last

16:19:05 !

16:19:07 I did not plan for

16:19:10 it to be Canada.

16:19:12 I love suspending things.

16:19:22 Everything I presented last year

16:19:27 was hanging.

16:19:28 In some video shots it was
hard to see the bed was
16:19:32 suspended, so started swinging
things and it made
16:19:35 it look more airy when

16:19:38 things this way.

16:19:40 People brought up the idea
of ghost and memory
16:19:43 , so that is why it became kinetic
and not just hanging still.
16:19:47 LECTURER: Can I ask

16:19:49 what your thoughts were around

16:19:50 Kate's reading or suggestion

16:19:52 around

16:19:56 its potential

16:19:58 for video

16:20:04 output?

16:20:05 SPEAKER: I thought that was
interesting and it made me wish I
16:20:09 had better video skills because
the video is not great.
16:20:13 You can see that messy corner
with half a bookcase
16:20:16 hanging out.

16:20:17 I thought that was really interesting
and I definitely
16:20:20 would be interested
in trying that out.
16:20:24 LECTURER: I just thought it
was very engaging as a video
16:20:28 , even as a kind of test

16:20:31 for a presentation

16:20:32 .

16:20:33 It is quite engaging

16:20:35 to see it that way because
you don't really see
16:20:39 the suspension.

16:20:40 You do a little bit, but you lose

16:20:42 the focus on it, whereas

16:20:45 , in the real, you
would really notice
16:20:48 the devices

16:20:49 .

16:20:49 Rebecca will have a good comparison

16:20:51 because you have seen both.

16:20:54 SPEAKER:

16:20:58 More a question on if
you wanted to suspend it
16:21:01 and not have it as a
focal point in the real
16:21:05 , but what do people do around that

16:21:08 ?

16:21:09 I also did not find it

16:21:11 distracting when I saw it.

16:21:13 Maybe that was a conscious

16:21:14 decision not to focus on
it and see it as a whole
16:21:21 , but curious as to what
can be done about that.
16:21:24 LECTURER: Cristina?

16:21:27 SPEAKER:

16:21:30 Between the moving
image and photograph,
16:21:33 I like both but I
found the photograph
16:21:35 very intriguing

16:21:38 because it captures the moment
and it has a very theatrical
16:21:43 and dramatic sense.

16:21:46 I like how the shadows
are on the wall
16:21:50 .

16:21:50 I like

16:21:51 the stillness of the photograph

16:21:53 .

16:21:53 I found

16:21:55 it powerful.

16:21:57 I like the movement as well.

16:21:59 But I think the movie grand

16:22:04 it captures my feeling more.

16:22:07 SPEAKER:

16:22:11 More lively than the
first two photos.
16:22:14 We try different things.

16:22:16 SPEAKER: I really

16:22:18 like them.

16:22:19 I could imagine a nice,
huge photograph
16:22:22 or the whole installation, but with

16:22:24 the quality of a picture

16:22:26 (inaudible)

16:22:27 .

16:22:31 LECTURER: The photograph
is like a Greek painting.
16:22:34 It gives you that feeling
of a floating world
16:22:37 , a surrealist

16:22:38 picture

16:22:39 , and perhaps more

16:22:44 kind of a suspension of disbelief

16:22:47 than both the real and the film
because you see the device,
16:22:51 whereas in the photograph,

16:22:52 it looks like almost a digital…

16:22:55 You are not sure – is a
digital, real, a collage
16:22:59 ?

16:23:00 There you see the corner on
the ceiling but I wonder,
16:23:04 if you didn't, I think
it would be harder
16:23:07 to read and more mysterious.

16:23:12 Silence.

16:23:13 (Laughs)

16:23:17 SPEAKER: I wish I could
have invited you all.
16:23:21 I wish it would have been OK.

16:23:24 Next time would be nice.

16:23:26 LECTURER: Next time.

16:23:27 Next year

16:23:28 !

16:23:29 Hopefully not, right?

16:23:31 Hopefully next month.

16:23:36 SPEAKER: Can we come back
for the second semester?
16:23:39 Everybody goes back to work.

16:23:41 Vector everybody else

16:23:42 gets to have their life.

16:23:44 When do we?

16:23:51 You have some wild

16:23:53 sound going on

16:23:56 in your video world today.

16:23:57 SPEAKER: I

16:23:59 will say coronavirus.

16:24:02 LECTURER:

16:24:04 That is this one, right?

16:24:10 I think

16:24:12 …

16:24:15 We still cannot promise
you as a group
16:24:19 , we cannot say yes,
this is happening,
16:24:24 but I am watching the planning
stages, and it is getting closer and
16:24:29 closer and closer, and so,

16:24:30 we are now at that point
where it looks like
16:24:34 the plan we put forward to get
people who need to return to the
16:24:39 campus, who need to be there
on campus, it does look
16:24:43 very likely, but is
not confirmed yet
16:24:45 .

16:24:46 It looks likely to be approved

16:24:48 because our numbers fit within
what would be allowed
16:24:51 based on the health planning

16:24:54 , and then, in terms of
installation spaces,
16:24:57 it also means people could install

16:24:59 for their assessments

16:25:00 , but there is

16:25:02 not, in our plan

16:25:03 , in weeks

16:25:05 1 to 5, the small group

16:25:07 teaching is not confirmed

16:25:10 yet, so that would
happen in a second
16:25:13 stage, but I am looking at

16:25:15 going back, so I would be there

16:25:21 for days a week.

16:25:23 If students are there, there
has to be a start over there,
16:25:27 so at the very least, I would be
there almost every single day, and I
16:25:33 thought, even if people were not on
campus, we could still meet outside
16:25:37 , could walk around, still meet each
other now in groups of 10, I think
16:25:42 , or maybe 20.

16:25:44 I have to check.

16:25:46 Now I think it is up to

16:25:48 20.

16:25:49 We could have arranged meeting times

16:25:51 outside the building

16:25:52 and have some people

16:25:53 in the building.

16:25:56 SPEAKER: No news on workshops

16:25:58 ?

16:26:00 LECTURER: That is all
part of planning.
16:26:02 The workshop

16:26:03 and libraries – every area

16:26:06 has its own planning put
forward for approval,
16:26:09 so we have all done hours

16:26:12 for the studio.

16:26:13 The workshops and libraries
have their own plan
16:26:16 and it involves people
getting back into the
16:26:19 spaces as well but I do not know

16:26:22 the re-detail on those areas because

16:26:24 I am the team putting them forward.

16:26:26 But I think we will
get back on there
16:26:30 and little incremental ways

16:26:33 , but I did that survey where I asked

16:26:36 you who needs to come back

16:26:38 .

16:26:39 I think there are seven people

16:26:41 in this

16:26:42 group you need a studio.

16:26:44 Maybe while I view here,

16:26:46 can you raise your hand if you are

16:26:51 one of those people think you are
one of those people in case I missed
16:26:56 anyone?

16:26:58 One, two, three, four, five

16:26:58 .

16:26:59 Hang on – am I missing someone?

16:27:02 One, two, three, four,
five, six, seven.
16:27:05 LECTURER: Darren had his hand up.

16:27:08 SPEAKER: I can keep

16:27:11 working from home but I really
want to be around people.
16:27:14 It is a funny question.

16:27:17 LECTURER: What I did the plan is
I didn't say only seven people
16:27:21 need to be on campus.

16:27:24 What I did was said

16:27:26 … I did the survey to find out myself

16:27:29 , but then I put forward

16:27:31 that 17

16:27:33 people are in the class

16:27:35 and connected to the units

16:27:37 and suggested

16:27:40 … Because I could tell
from the sharing
16:27:43 of upstairs and downstairs

16:27:46 , that most people on the list

16:27:50 really needing not sharing with
someone else who really needs
16:27:53 , so I thought

16:27:55 … We also had a putdown

16:27:57 for days, not every day,

16:27:58 so I would have to look

16:28:02 at the document.

16:28:03 There is no telling you the days now

16:28:06 because it could change.

16:28:08 But I had the first years for

16:28:10 two days

16:28:13 (inaudible) and I
had the second years
16:28:16 for an overlap day with
you and another 1.5 days
16:28:20 , so I predicted for equal access

16:28:23 for first and second years
which I hope goes forward.
16:28:28 According to the plans I have seen,
we could all feedback on campus
16:28:33 because

16:28:34 rulings around space mean that
actually two people in a stable
16:28:38 studio is actually compliant

16:28:39 , so even in a shared studio

16:28:41 , but we are trying

16:28:46 to minimise access in the first five
weeks so we can watch it and so we
16:28:52 don't have an outbreak and so we can
stay on campus, so the idea would be
16:28:58 we would want people (inaudible)
where they could but I predicted
16:29:02 everyone who wanted
to be back to be able
16:29:05 , to try to be.

16:29:06 Once we get half of young campers,

16:29:09 the others will want to come,

16:29:11 so I don't want to make decisions

16:29:13 on behalf of everyone now.

16:29:19 SPEAKER:

16:29:21 The next student committee
meeting is on Tuesday
16:29:24 The next student committee meeting
is on Tuesday, June 16, so in a
16:29:29 fortnight, so if you have any other
stuff you want to holler at me,
16:29:34 feel free to

16:29:35 do it through group chat
or a private message.
16:29:38 LECTURER:

16:29:39 Cool.

16:29:40 Thanks for being the representative.

16:29:44 Michele has a hand raised.

16:29:50 SPEAKER: Go ahead.

16:29:55 I heard it is possible or

16:30:01 hopefully the University would allow
this but we would really need
16:30:14 to fight this hearted to

16:30:21 hard

16:30:25 but we might need to get

16:30:27 signatures on a petition perhaps.

16:30:29 I don't know.

16:30:30 I'm sure it will be fine
at that time next year.
16:30:34 Maybelline there will be a vaccine

16:30:37 hopefully next year.

16:30:38 We would have to fight really
hard for it to get approval.
16:30:43 LECTURER: It never hurts to dream.

16:31:02 Individuals will not be able to sign
petitions to change health codes.
16:31:06 It will all come from the top down,
rules about travel and all that, so
16:31:11 we could get 50 signatures but it
will not be on the basis of what we
16:31:17 want, it will be on the basis of
governmental recommendations for
16:31:21 health and Venice be a gnarly, I
don't know if anyone saw this but it
16:31:26 could move to 2022.

16:31:51 Until there is

16:31:56 a resumption of flights,

16:32:00 that will not happen,
even for research.
16:32:02 Hands up.

16:32:03 Astrid and then…

16:32:10 SPEAKER:

16:32:15 A suggestion for next semester

16:32:20 , if it goes ahead, that not all of
us can have access to the studio
16:32:25 spaces towards the later end, then
potentially even it would be great
16:32:30 to be able to just use a space

16:32:32 , to rent a space or a project
space or one of the rooms
16:32:37 or something to present
or install something
16:32:40 , to document and that kind of thing.

16:32:43 LECTURER: The Arctic and

16:32:44 Room is allocated

16:32:46 to us

16:32:47 for the classes

16:32:48 .

16:33:14 The room access would
be hard to negotiate.
16:33:17 They have the rooms
empty for periods of
16:33:23 time and cleaning and so forth but
we would have room in the stables
16:33:27 and spaces there.

16:33:29 I found that this week the first
year show is still booked
16:33:33 , the CA art space in
the first week and
16:33:37 we could still do it but it would
involve people dropping off their
16:33:41 work and I would install it
with a couple of students
16:33:45 or a technician who wants to do that
so we would not all be in the room
16:33:51 at the same time so after
assessment, Kim will send you a link
16:33:56 to meet up to talk about that.

16:33:58 She is back to saying she
will do the first year show
16:34:02 , but she will do the
Instagram take over…
16:34:05 She will do the second years

16:34:07 , and I will run

16:34:09 second-year if we can access it.

16:34:12 Kylie thinks it will go
ahead but we don't have
16:34:19 all the information on the return
yet but it is planned and the spaces
16:34:24 allocated as well.

16:34:25 Oliver?

16:34:26 SPEAKER: That is what I was
going to raise – the thing
16:34:30 I am missing the most is the ability
to install work and just have that
16:34:38 dimensional, so that is really good
news, and the exhibition as well, the
16:34:42 reading space and installation.

16:34:44 I wanted to know your background.

16:34:47 What am I voting on?

16:34:48 LECTURER: You don't
have to relate for a
16:34:52 – vote for anything.

16:34:54 The Vice Chancellor

16:34:58 sent a letter to stop
asking them to take a 2%
16:35:02 permanent staff

16:35:03 asking them to take 80%

16:35:05 pay cut to ensure

16:35:09 casuals and fixed term

16:35:15 staff could keep their jobs at when
you read the fine print on what they
16:35:20 asked us to do what they were
not actually guaranteeing
16:35:24 was any number of jobs
would be secure at all.
16:35:31 They were asking us to sign away
enterprise bargaining rights
16:35:35 that took 10 years to get in place.

16:35:38 It could

16:35:39 result

16:35:42 in them or easily firing people

16:35:45 and a whole bunch of other horrific

16:35:47 measures.

16:35:54 Unfortunately if it were that simple
of us giving some salary to save
16:35:58 other jobs, of course
people would do it,
16:36:01 but it is actually a sneaky
document that is trying to get
16:36:06 university staff to sign away their
rights in the middle of a crisis
16:36:10 which is putting everybody at risk

16:36:12 , so I am a union delegate
and I take my
16:36:16 vote no and I will

16:36:18 Zoom into all meetings now.

16:36:20 SPEAKER: Thank you.

16:36:23 The two any other…

16:36:29 LECTURER:

16:36:40 Any other…

16:36:44 SPEAKER: Would with
that in the same work
16:36:47 ?

16:36:52 If there is an installation, can
people access it, go to the space
16:36:57 and would Instagram

16:37:00 be running at the same time as
an alternative mode of access?
16:37:04 LECTURER:

16:37:08 There are a few answers to that and
we will build clarity on that as we
16:37:13 move forward with it, but I guess
the Instagram bit is guaranteed
16:37:17 .

16:37:18 No matter what happens,
it will be live
16:37:21 during the time, so works would be
selected and curated appearing there
16:37:26 and it also means people who
maybe don't feel comfortable
16:37:30 to come to campus or do not

16:37:32 elect to want to be in the physical
show can still put a work into the
16:37:38 Instagram , so that
is providing access
16:37:40 for everyone in the cohort.

16:37:42 It is optional, so not everyone
has to be in the show.
16:37:47 The physical space would be people
who are then putting the physical
16:37:51 adoration of the work in the show.

16:37:53 – Iteration.

16:37:55 We would not be pedantic
about saying the
16:37:59 picture has to be the installation
in the space.
16:38:02 It could be a secondary version
relating to that and we will not
16:38:07 that out through conversations
with you.
16:38:09 SPEAKER: I can put

16:38:10 two submissions down.

16:38:11 LECTURER:

16:38:16 I am not sure.

16:38:17 It might have the same title.

16:38:20 The second year wondered.

16:38:21 SPEAKER: Give them different names.

16:38:23 LECTURER: That is a different

16:38:25 … A good idea.

16:38:29 LECTURER: And interspace project.

16:38:31 LECTURER: Intergalactic.

16:38:33 LECTURER:

16:38:35 Yes.

16:38:37 It is potentially

16:38:42 an opportunity where you
might have something
16:38:47 in the physical space and something
that relates to it in the digital
16:38:51 space

16:38:51 .

16:38:54 Capitalising on that.

16:38:57 It could become part of the work.

16:39:10 SPEAKER: I wanted to ask about

16:39:12 (inaudible) doesn't happen
like the one before
16:39:15 – we send you photos

16:39:17 or details

16:39:24 … How does it happen?

16:39:26 LECTURER: It is in assignments
in LMS and you have to update
16:39:30 or upload the PDF

16:39:33 before the deadline and

16:39:34 we assess you

16:39:38 .

16:39:39 It is all there, very
detailed, is a PDF
16:39:42 and it even tells you what
has to go on what page,
16:39:46 so it has become very standardised

16:39:50 so it is equal and fair and we can
assess them in a timely way online
16:39:56 , and so I would say

16:39:58 like I said before –
make sure you upload
16:40:01 your PDFs may be in
before the Monday
16:40:04 in case you have any issues
or concerns doing it
16:40:07 and you will not miss the deadline.

16:40:10 SPEAKER: I read the PDF
but I don't know how
16:40:13 is it happening.

16:40:14 Do we have a

16:40:18 Zoom appointment like
we had last time?
16:40:21 LECTURER: You do not appear
at your own assessment.
16:40:24 You will not be there.

16:40:27 We have already sent the
schedule to supervisors,
16:40:30 so we all have online

16:40:34 together on Sim and we talk about
the work and remarket to the rubric,
16:40:39 average it and have the moderation.

16:40:41 Zoom

16:40:48 The scores

16:40:50 will remain not visible
until they are
16:40:52 all release.

16:40:53 It is a bit

16:40:59 different.

16:40:59 The studious subject you
will get it somewhere
16:41:02 between the 3rd to 5 July

16:41:04 , a mark will be released,

16:41:06 and

16:41:08 once that is released,

16:41:13 we will make it visible through
LMS through the function
16:41:16 and you can see the
comments in there
16:41:22 .

16:41:22 LECTURER: Likewise with professional
perspectives.
16:41:24 SPEAKER:

16:41:25 A difference with the

16:41:27 Corona thing going on

16:41:33 (inaudible).

16:41:34 LECTURER: You can see

16:41:36 from the Rubik up there
for practice one,
16:41:39 if you put all components in

16:41:41 in the correct order
and without deviating
16:41:44 from the structure

16:41:45 that is suggested,

16:41:47 you get the baseline 25 points

16:41:49 .

16:41:50 Everybody gets it.

16:41:52 So, that is giving

16:41:56 … That means even if
you have just a very
16:41:59 basic, satisfactory

16:42:00 submission, for the other points

16:42:02 , you would still pass

16:42:04 because

16:42:06 essentially it is giving you

16:42:07 booster points,

16:42:10 so the remaining 75 points

16:42:12 have a value

16:42:13 …

16:42:15 They are

16:42:18 evaluative

16:42:20 , so

16:42:27 innovative, creative, successfully
resolved, but the first 25 points
16:42:31 – did you upload it?

16:42:33 In the right order?

16:42:37 Yes, you get 25 points.

16:42:39 That is how everybody
gets the extra boost.
16:42:41 LECTURER: As opposed to the entire…

16:42:44 LECTURER: 100 points
being evaluative.
16:42:47 LECTURER: So you are

16:42:50 already up 25 where, hypothetically,

16:42:57 you would only need
another 25 to pass.
16:42:59 LECTURER: That is right, and to get
other 25 is like a fairly
16:43:04 satisfactory baseline submission

16:43:05 , so basically, as long as
you do what you are told,
16:43:09 you will all pass.

16:43:11 But what we want

16:43:14 is obviously for you to do well,
and I feel really confident
16:43:19 you will do very well
because, having seen
16:43:21 what everyone has produced over this

16:43:23 semester, I am totally impressed

16:43:25 by the level of incredible work

16:43:28 you have made despite the
conditions and limitations
16:43:31 .

16:43:32 Really, we were astounded

16:43:33 .

16:43:35 SPEAKER: Thanks, mum.

16:43:37 (Laughs)

16:43:40 LECTURER: You are welcome.

16:43:42 SPEAKER: Wade we found

16:43:48 Where do we find this

16:43:52 ? LECTURER: I will share my screen.

16:43:55 Here we go.

16:43:56 Hang on.

16:43:59 Can you see this?

16:44:04 SPEAKER: Yes.

16:44:05 LECTURER: Studio practice one

16:44:07 , here in assignments

16:44:12 .

16:44:12 Studio practice one, assessment
details and submission portal
16:44:15 , and here

16:44:17 are the details, everything you need

16:44:29 to submit, page 1, cover
page, subject code.
16:44:32 Page 2, the artist statement.

16:44:34 I won't read it all.

16:44:36 I will let you have a read of it.

16:44:39 Process or background work.

16:44:41 Age 6 to 15 up to 10 pages of
images and links to video works
16:44:46 with the maximum time of 15 minutes.

16:44:51 If it is longer than 15 minutes,

16:44:55 we will not be able to
watch more than that time
16:44:59 in the assessment so listing time
codes you want us to review.
16:45:05 Page 16 is a references page, and
down below you can all see here
16:45:10 where you get 25 points here

16:45:12 for submitting the components
including the paragraph,
16:45:15 the evidence of work
undertaken, your artist
16:45:18 statement, required word count etc,

16:45:21 and this is how you get
the remaining points here
16:45:24 .

16:45:25 It is based on evaluation

16:45:28 of a high level of originality
and refinement
16:45:31 , down to the further end,

16:45:33 which is

16:45:36 saying it is not demonstrating

16:45:39 any competencies expected in the
development of a not to stick work
16:45:44 which I would not expect anyone
in this cohort to get
16:45:48 unless you did not submit.

16:45:49 Stephen, maybe you can help me

16:45:52 by telling me

16:45:55 because you have done
this without the subject
16:45:58 where they actually submit.

16:46:01 Is it on the bottom of
the LMS, down the button?
16:46:05 SPEAKER:

16:46:07 I am fairly

16:46:09 certain the location you
are showing us now is
16:46:12 where you submitted.

16:46:14 You cannot see it given
we are not students.
16:46:17 SPEAKER: It is at the
top of the blue button.
16:46:20 SPEAKER: (Inaudible)

16:46:21 publish button

16:46:25 is for us

16:46:27 called submit assignments.

16:46:29 Vector perfect.

16:46:31 When we go to

16:46:35 (inaudible) grade

16:46:37 , we will have come to the final

16:46:40 mark on the basis of

16:46:42 five marks being averaged and
comments here that we will add.
16:46:46 I will stop sharing

16:46:48 .

16:46:50 LECTURER: I think that answers
your question, Astrid
16:46:53 , that was placed in the chat as to

16:46:56 (inaudible) works.

16:46:58 That will be referred to as things.

16:47:00 There is a certain amount of time

16:47:03 we have to watch video works

16:47:05 .

16:47:06 A lengthy duration –

16:47:10 just give us the timecode

16:47:12 – a minute 30, whatever,

16:47:14 pertinent M11's

16:47:19 you want us to not miss.

16:47:37 … The second page

16:47:38 ?

16:48:05 LECTURER: Every page
has requirements.
16:48:07 The first has requirements about
putting in your student number.
16:48:11 The second page is about your artist

16:48:13 statement.

16:48:14 The last pages references.

16:48:16 I would have it open
while doing the PDF
16:48:19 and almost ticking it off

16:48:21 – I have done this and
that until you have
16:48:25 got all the components.

16:48:27 If you have any questions,

16:48:30 let me know.

16:48:30 Read it really carefully
before starting.
16:48:32 SPEAKER: Will do.

16:48:33 Thank you.

16:48:35 LECTURER: Darren?

16:48:35 SPEAKER: In terms of

16:48:37 finished work

16:48:39 , I'm curious as to what constitutes

16:48:42 finished work

16:48:43 , vertically since we are not

16:48:45 specifically working

16:48:49 towards a finished body of work

16:48:53 , so more specifically
within my explorations,
16:48:55 I have made stuff

16:48:57 which

16:49:04 on its own is finished work but I
don't consider it finished work
16:49:09 because it does not fit into the rest
of the body of work that I have
16:49:14 determined.

16:49:15 LECTURER: I would take
it to mean basically
16:49:18 , summarising

16:49:19 your best work

16:49:23 , and because also in a first
year of a masters program
16:49:27 where you are reinventing yourself,

16:49:29 you may have made 10 complete the

16:49:38 different things that don't have a
close relationship to each other in
16:49:42 seeking to find out who you are and
what you want to do and that is
16:49:48 perfectly fine, so you might have 10
completely different works, but that
16:49:52 is still your finished work or your
best work and then you might have
16:49:57 the things you decided are trash and
you do not love them at all in the
16:50:03 background work section, so
it is really up to you.
16:50:06 It is like putting your
best foot forward.
16:50:09 What are you most proud of?

16:50:11 You could even include a work, for
example, a video that you have done
16:50:16 a draft edit of and you have not done
any more to it that you think it is
16:50:23 good and indicative of your process
and investigation, think it is
16:50:27 worthy of including in that section.

16:50:29 That would be fine.

16:50:31 SPEAKER: Sure.

16:50:32 LECTURER: Does that answer it?

16:50:34 Sorry, Steve – go ahead.

16:50:36 LECTURER: If there is any anxiety
– I don't know whether this, even
16:50:40 unfinished, might go in the
privileged section or background
16:50:43 section.

16:50:44 We were not penalised – that you as
the student should have had it the
16:50:49 other way around.

16:50:50 Perhaps in making those decisions
about what you are privileging, it
16:50:54 is part of a process just as it would
have been a presentation within a
16:50:59 gallery space.

16:51:00 LECTURER: Yes.

16:51:01 That is right.

16:51:02 Any other questions?

16:51:04 Melody?

16:51:04 SPEAKER:

16:51:07 Based on those last comments
unfinished work and also the gallery
16:51:11 space, if your work is not
specifically targeted
16:51:13 to a gallery space that
could be publishable
16:51:16 in other realms,

16:51:18 that is considered also

16:51:19 …?

16:51:23 LECTURER: Some people might
have made video work
16:51:25 that they would have in a really

16:51:28 … Installed environment or something

16:51:30 (inaudible) or a video link

16:51:32 and there is no

16:51:35 … You can hear my loud family

16:51:40 in the background, the dogs
going, everyone is awake
16:51:42 .

16:51:43 That is all fine.

16:51:45 You might, though, say, footnotes,

16:51:48 so you could say, "Here
is a video link
16:51:51 in an installation

16:51:54 ." A node, not a paragraph,

16:51:56 that you might say

16:51:59 , "In an installation environment,

16:52:02 this is how I would install it."

16:52:05 You could also include notes

16:52:08 about how you would do installation

16:52:10 on the first page

16:52:12 , you could give

16:52:14 ideas and information there as well.

16:52:16 Melody?

16:52:20 SPEAKER: Just because I'm conscious
of gallery bias and if I'm working
16:52:24 with film that is for a festival
or other contexts
16:52:27 (inaudible) gallery, I'm
conscious of (inaudible).
16:52:29 LECTURER: We do not have that bias.

16:52:32 You could say this is

16:52:34 a filmic work

16:52:36 and the intended outcome
would be a cinema
16:52:39 .

16:52:40 You just tell us.

16:52:41 The only thing that
matters is we know
16:52:44 the specificity.

16:52:45 We do not have the buyers.

16:52:47 SPEAKER: Will.

16:52:49 LECTURER: We expect

16:52:51 your cinematic

16:52:53 leanings.

16:53:07 Also a little sad because next
semester your teachers will be
16:53:11 on studio practice to

16:53:13 , will be Stephen and Kim Donaldson

16:53:20 , and in the second… I have to
tell my children to be quiet.
16:53:25 Hang on one second.

16:53:34 Sorry.

16:53:35 I should

16:53:36 turn myself off

16:53:39 mute some time

16:53:42 so you can hear how that goes down.

16:53:45 It is really funny.

16:53:47 Kim and Stephen

16:53:48 will be the teachers
of studio practice two
16:53:51 until week five

16:53:53 , and then week 629

16:53:55 , you will have Stephen

16:53:57 and

16:53:59 I cannot remember the order.

16:54:14 You will have three teachers across
the semester giving you more access
16:54:18 to people across the yellow.

16:54:20 The only person you will not
have is your teacher will be
16:54:24 unknown there, who you
will have next year
16:54:32 and I will touch

16:54:36 teach the second-year seminar

16:54:41 .

16:54:42 I will miss you, will miss our class,
and I have loved teaching you in the
16:54:48 group, and it has been a really
amazing pleasure and I'm looking
16:54:52 forward to seeing you more one-to-one
in the second semester
16:54:56 but I will really miss this
amazing group of humans.
16:55:00 I have loved getting to know you
and your work this semester.
16:55:05 SPEAKER: Thanks, Kate.

16:55:06 We will miss you, too.

16:55:08 SPEAKER: Thanks, Kate.

16:55:11 SPEAKER: I thought we were going
to do a catch up at the end of the
16:55:16 semester once all assessments
were done, maybe have a picnic
16:55:20 or something within the 20 person
thing, which I think we will all fit
16:55:25 under, so Stephen and Kate, if you
are free, I am sure I speak for all
16:55:30 of us when I say you
are welcome to come.
16:55:34 Vector I would love to.

16:55:36 SPEAKER: Goodbye.

16:55:37 Thank you for semester one, Kate.

16:55:39 LECTURER: Stephen has been my amazing
co-pilot and will still be the
16:55:43 pilot.

16:55:48 LECTURER: I feel very privileged

16:55:52 and what a great cohort to
get to know over the first
16:55:56 semester, and we will continue next

16:55:59 semester

16:56:00 and there is forever the shifting of

16:56:04 staff

16:56:06 , and I think it will be great

16:56:09 to end the journey

16:56:13 with a coming home to mum

16:56:15 in the second semester
of second-year
16:56:18 ,

16:56:22 so if I was in that position,
I would be really keen
16:56:26 to see what you have done,

16:56:29 but that is not to say

16:56:31 we are all otherwise aware

16:56:34 of how people progress throughout
this program given the contact
16:56:39 is not contained by these classes,

16:56:41 that there are still the tutorials,

16:56:43 the various ways to engage
with different staff members
16:56:46 and other people of
the broader community
16:56:50 to help support the ongoing
development of your practice and
16:56:54 project.

16:56:54 SPEAKER: Are our supervisors
the same?
16:56:58 LECTURER: That is a good note.

16:57:01 I am glad you brought that up.

16:57:03 The supervisors, unless
you have had a change
16:57:06 , will be the same

16:57:08 , and because we are in
the last week of teaching
16:57:12 , for most people,

16:57:14 unless you have

16:57:15 organised something in advance, you
would have had your last supervision
16:57:21 for the semester by this week and
you will not have another one to one
16:57:26 , for most of you, until semester
two, so probably a good idea to
16:57:31 reach out

16:57:34 to your supervisors if they have not
reach out to you to have those lost
16:57:40 meetings or lost communications
before the assessment and even just
16:57:43 right before August, again, we
are back, I think it is 3 August
16:57:50 to reach out to them and get a
schedule in advance again for
16:57:55 semester two.

16:57:56 Michele has a hand up.

16:58:00 SPEAKER: I am a bit
confused actually.
16:58:02 I know we finished today, this week

16:58:04 , but we go back

16:58:10 – August 3, is that right?

16:58:13 Are you saying the semester
start August 3.
16:58:15 We have such a long
break, two months.
16:58:18 Is that right?

16:58:20 LECTURER: Technically the
assessment is not until
16:58:22 the 23rd

16:58:23 and 25th of June, so you
are preparing assignments
16:58:27 for all your subjects
between now and then
16:58:30 and then

16:58:31 you are assessed late
June and then we have
16:58:34 essentially what is a five-week
planning period
16:58:36 for semester two and you are off

16:58:39 on a break and we are
all back together
16:58:42 , so it is really a five-week

16:58:47 break

16:58:50 after your assignments
are all handed in.
16:58:53 SPEAKER: OK.

16:58:54 The other question

16:58:56 … Sorry.

16:58:58 Wills

16:59:03 you still be the supervisor?

16:59:06 LECTURER: If you will have me.

16:59:08 SPEAKER: Of course

16:59:10 I would.

16:59:13 Definitely want you.

16:59:17 (Inaudible)

16:59:19 lovely, Kate.

16:59:23 Electric alright, my beauties,

16:59:24 I have

16:59:27 kept you trapped long enough.

16:59:30 It is 4:59 PM.

16:59:31 What should be do

16:59:32 as our last Zoom

16:59:34 ?

16:59:34 Something funny?

16:59:39 SPEAKER: A photo.

16:59:44 LECTURER: Take a photo

16:59:46 , yes.

16:59:48 LECTURER: I guess we could

16:59:50 do a screenshot.

16:59:54 LECTURER: I will screenshot us.

16:59:56 Hang on.

16:59:59 LECTURER: Are there any objections

17:00:10 to that being shared
beyond the class?
17:00:16 LECTURER: No?

17:00:18 Everyone is OK with that?

17:00:20 LECTURER: Or tell us privately

17:00:22 otherwise.

17:00:23 SPEAKER:

17:00:24 (Inaudible)

17:00:25 LECTURER:

17:00:27 We can all go into laser's studio

17:00:30 tonight at 6 PM.

17:00:31 Did you see that?

17:00:33 Lisa is being featured

17:00:34 as part of

17:00:35 Reconciliation

17:00:37 Week and you can log on

17:00:39 online.

17:00:41 SPEAKER: It is through Instagram.

17:00:44 It will be shared on Instagram.

17:00:46 Which I have not done before,

17:00:49 so it should be interesting.

17:00:51 LECTURER: It is

17:00:53 exciting.

17:00:55 SPEAKER: We

17:00:57 will be (inaudible)

17:00:59 , Lisa.

17:01:02 LECTURER: It is

17:01:03 amazing.

17:01:05 We will be there.

17:01:07 LECTURER: What you
did on the weekend
17:01:10 , Kate

17:01:12 (inaudible)?

17:01:13 LECTURER:

17:01:18 I did a lecture in my
studio on the weekend
17:01:21 but it didn't have captions so I

17:01:25 try to find out afterwards

17:01:28 .

17:01:29 You have to use

17:01:32 US YouTube to get captions on that.

17:01:34 Then I sent it to

17:01:37 Shell.

17:01:41 Make sure they record
it and upload it
17:01:44 to YouTube so it can be captioned

17:01:47 and watch later.

17:01:51 SPEAKER: Alright.

17:01:52 Sounds good.

17:01:53 I have to pick up my boy.

17:01:56 LECTURER: Alright, everybody have