Relevant bibliographies by topics / Painting, Australian 21st century

Academic literature on the topic 'Painting, Australian 21st century'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Painting, Australian 21st century"

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Wilkin, Karen. "Kyle Staver: History Painting in the 21st Century." Hopkins Review 11, no. 1 (2018): 100–102. http://dx.doi.org/10.1353/thr.2018.0015.

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Birden, Hudson, and Sue Page. "21st century medical education." Australian Health Review 31, no. 3 (2007): 341. http://dx.doi.org/10.1071/ah070341.

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Australian universities provide good examples of how to meet the growing challenges to the training of doctors that have resulted from information overload in traditional curricula, new models of care, including multidisciplinary team dynamics, and the rigours of evidence-based practice.
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da Silva, Filipe Rocha. "Nanoscale and Painting." Leonardo 41, no. 4 (August 2008): 350–54. http://dx.doi.org/10.1162/leon.2008.41.4.350.

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Filipe Rocha da Silva creates very large paintings depicting extremely small, almost invisible figures. In this text he tries to explain why he does so and considers the possible relationship of these works to nanoscale phenomena and technology, which have been so influential in the 21st century.
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Whyte, Ann. "Positioning Australian Universities for the 21st Century." Open Learning: The Journal of Open, Distance and e-Learning 16, no. 1 (February 2001): 27–33. http://dx.doi.org/10.1080/02680510124902.

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Vanclay, J. K. "Educating Australian foresters for the 21st century." International Forestry Review 9, no. 4 (December 2007): 884–91. http://dx.doi.org/10.1505/ifor.9.4.884.

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Bishop, Paul, and Brad Pillans. "Introduction: Australian geomorphology into the 21st century." Geological Society, London, Special Publications 346, no. 1 (2010): 1–6. http://dx.doi.org/10.1144/sp346.1.

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Krylova, I. "Painting by electrodeposition on the eve of the 21st century." Progress in Organic Coatings 42, no. 3-4 (September 2001): 119–31. http://dx.doi.org/10.1016/s0300-9440(01)00146-1.

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Tennant, Marc, and John K. McGeachie. "Australian dental schools: Moving towards the 21st century." Australian Dental Journal 44, no. 4 (December 1999): 238–42. http://dx.doi.org/10.1111/j.1834-7819.1999.tb00226.x.

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Duckett, Stephen J. "Health workforce design for the 21st century." Australian Health Review 29, no. 2 (2005): 201. http://dx.doi.org/10.1071/ah050201.

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The Australian health workforce has changed dramatically over the last 4 years, growing in size and changing composition. However, more changes will be needed in the future to respond to the epidemiological and demographic transition of the Australian population. A critical issue will be whether the supply of health professionals will keep pace with demand. There are current recorded shortages of most health professionals, but this paper argues that future workforce planning should not be based on providing more of the same. Rather, the roles of health professionals will need to change and workforce planning needs to place a stronger emphasis on issues of workforce substitution, that is, a different mix of responsibilities. This will also require changes in educational preparation, in particular an increased emphasis on interprofessional work and common foundation learning.
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Meade, Bobby W., Theodore Hopwood, and Sudhir Palle. "Kentucky Transportation Cabinet Moves Its Bridge Painting into the 21st Century." Transportation Research Record: Journal of the Transportation Research Board 1795, no. 1 (January 2002): 51–56. http://dx.doi.org/10.3141/1795-06.

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Dissertations / Theses on the topic "Painting, Australian 21st century"

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Fozard, Roxanne. "Ghostcards of WA: An exhibition of oil paintings on linen – and – Repositioning the Denkbild: A painting investigation into deaths in custody in 21st century Western Australia: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2017. https://ro.ecu.edu.au/theses/2155.

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Having a personal connection through several family members to the life and work of Ngaanyatjarra Elder Mr Ward, I found his death in custody in outback Western Australia unsettling and incomprehensible. As the circumstances of his death were revealed, I became aware of glaring omissions in the telling of his story and the circumstances that led to his death. Through my engagement with the subsequent media reporting, official documents and personal conversations, I recognised a profound lack of understanding of difference and otherness within a shared history and space in Western Australia. The initial aim of my project was to investigate the incomprehensible through the lens of Ngaanyatjarra Elder Mr Ward’s death; however, ethically, this proved a difficult path to negotiate. Through my research, I came to understand that the continued use of the dominant language of the coloniser, which is embedded in social practices and academic discourse is, in part, continuing to perpetuate white privilege. The ethical problems raised inspired me to develop an approach, which although oblique, would nevertheless enable fresh insight into otherness and difference in a multi-cultural society. The particular concern of this practice-led research project is not to exploit the trauma of others but to raise awareness of this social space through my work, giving rise to new understandings and possible relations. This research gathered key texts from Walter Benjamin and Theodor Adorno, to facilitate the transfer of the written form of Denkbild, a literary device manipulating the codes of language to visualise the process of thought, into a painting practice. The Denkbild (thought-image) is a Euro-centric genre of exploratory philosophical writing, crafted in response to a society witnessing tremendous change as a result of the devastating impact of WWI and WWII. Through this creative project, the challenge was to re-activate the Denkbild through painting and accompanying text to investigate deaths in custody and interrogate the connected issues of ethics, politics and inequality, which is written into the shared spaces of Western Australia. The Denkbild is then developed further with the addition of Henri Lefebvre’s threedimensional spatial application of dialectical thinking and the creative practice of selected Australian artists. Through this addition, the binary dialectical framework of the Denkbild is expanded to reflect contemporary thinking on the concept of space as a social product. This perspective emerges to enable fresh insight into Aboriginal understandings of space as representing an ‘eternal now’, such that a mutual understanding of space is manifested. My painting practice reflects and informs this transition, as I moved from the painting studio to selected locations to record information and experiences that developed my research position. To achieve the project’s aims, I engaged in reflexivity and praxis as the methodological tools to guide my research. Through painting, my research extended across interdisciplinary fields including visual arts practices, philosophical history and literature, to interrogate a spatial dynamic, revealing marginalised insights and connecting interrelationships between sites. For the purpose of this research, the paintings, exhibitions and exegesis function on two levels: as an avenue into mediation of Western Australian culture and as a methodological approach to visual art practice. My research culminated in the exhibition, Ghostcards of WA 2017 at the Spectrum Project Space, ECU, Mount Lawley. This project is significant as it renews the Denkbild to further the unique relationship between conceptual and representational categories that binds together experience, object and practice to form an interrogative tool for critical inquiry. In the application of this method to a Western Australian context, new thinking is encouraged through the inclusive reading of space and the collapsing of misunderstandings perpetuated in historicism through a shared recognition of the inherent value of space/sites which— far from being incomprehensible, reactive, nostalgic and solipsistic—are comprehensible, active, prescient, abundant and social.
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Robb, Charles. "The Self as Subject and Sculpture." Thesis, Monash University, 2008. https://eprints.qut.edu.au/16903/1/16903.pdf.

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This paper analyses and contextualises the artist’s exploration of self-portraiture through the sculptural bust format. Conventionally, the portrait bust epitomises an antiquated view of the human subject as fixed, finite and knowable. The classicistic allusion of the form seems the perfect embodiment of a pre-modern and hopelessly idealised view of subjectivity and its capacity to be represented. This paper will show how, despite these impressions, the portrait bust is in fact a highly volatile sculptural form in which presence and absence are brought into question. When used as a vehicle for self-portraiture the bust yields a spectrum of instability, both literal and metaphoric, that calls into question the clarity of notions of subject and object and challenges the ideas of authority and representation more broadly. By providing an historical overview of the role of the portrait bust, this paper will map the field of content inherent to the portrait bust and discuss its application in contemporary self-portraiture. As the work of Mike Parr, Janine Antoni and Marc Quinn demonstrates, the classical certainty that permeates the bust format can indeed heighten the capacity of the form to represent uncertainty: an ambiguity that makes it a highly potent form for sustained studio investigation and experimentation. This paper will provide an overview of this experimental scope and application, by discussing the author’s process of sculptural self-portraiture in relation to aspects of ‘likeness’, expression, truncation and reproduction that occur in the form.
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Bryant, Benjamin R. "The artist as shaman." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327289.

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Albert Einstein is one indisputable luminary who in my opinion exemplifies the balance, brilliance, and altruism I look for in my heroes. Subsequent to his dream of riding a beam of light to the edge of the universe, with the tools of calculus and physics, he radically changed our understanding of the universe. But the dream came first, and everybody dreams.I believe everyone has something incredible to offer. In my creative project paintings I attempt to demonstrate with the tools of paint and canvas my peculiar dream of the cosmos from macrocosm to microcosm.I ride the beam of light using paint and canvas, in my creative project paintings I celebrate my fascination with that intuitive element we all share. I also celebrate those who have gone before with the wisdom to seek an understanding and discernment of the genius we all share, have access to, and indeed must thoughtfully and carefully awaken for our species to evolve past its current halting material, ideological, and technological adolescence.
Department of Art
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Peterman, Aaron L. "Judgement." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1347734.

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The objective of this creative project is the creation of sculptures and paintings that make statements concerning judgment and its subsets, fault, blame, martyrdom, self-sacrifice, and absolution. The group of pieces shown at the Thesis Exhibition explores recurring themes and iconography within a historical context, while addressing issues in a contemporary social framework. Repetitive elements and images such as self-portraits, the pointing finger, and the heart, are set in the present, but layered with the iconography and history of Saint Sebastian. The techniques used to achieve these works are metal casting and fabrication, casting using a variety of materials, woodworking, and oil painting. These techniques, along with materials such as wood, steel, plaster, wax, and branches congeal to form a body of work that is conceptually harmonious.
Department of Art
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Cecil, Joseph S. "The figure as an exploration of cultural/self identity." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371197.

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The primary objective of this creative project was the exploration of cultural and self identity and the painting techniques used for their creation. The paintings are an attempt to portray through the use of the human figure and symbolic elements to communicate my personal struggle relating to events in my past, present, and future. In these three large paintings I have explored an approach reminiscent to German Expressionism style along with more contemporary motifs which are derived from my research and past experiences in painting at Ball State University. It was very important for me to spend time researching artist involved in the German expressionist movement, because they have been an integral part of reshaping the way I approach art. This body of work required a variety of traditional oil painting techniques including: canvas construction, under painting, stumbling, and glazing.
Department of Art
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Mason, Anthony, and n/a. "Australian coverage of the Fiji coups of 1987 and 2000: sources, practice and representation." University of Canberra. Communication, 2009. http://erl.canberra.edu.au./public/adt-AUC20090826.144012.

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For many Australians, Fiji is a place of holidays, coups and rugby. The extent to which we think about this near-neighbour of ours is governed, for most, by what we learn about Fiji through the media. In normal circumstances, there is not a lot to learn as Fiji rarely appears in our media. At times of crisis, such as during the 1987 and 2000 coups in Fiji, there is saturation coverage. At these times, the potential for generating understanding is great. The reporting of a crisis can encapsulate all the social, political and economic issues which are a cause or outcome of an event like a coup, elucidating for media consumers the culture, the history and the social forces involved. In particular, the kinds of sources used and the kinds of organisations these sources represent, the kinds of themes presented in the reporting, and the way the journalists go about their work, can have a significant bearing on how an event like a coup is represented. The reporting of the Fiji coups presented the opportunity to examine these factors. As such, the aim of this thesis is to understand the role of the media in building relationships between developed and developing post-colonial nations like Australia and Fiji. A content analysis of 419 articles published in three leading broadsheet newspapers, The Sydney Morning Herald, The Australian and The Canberra Times, examined the basic characteristics of the articles, with a particular focus on the sources used in these articles. This analysis revealed that the reports were dominated by elite sources, particularly representatives of governments, with a high proportion of Australian sources who provided information from Australia. While alternative sources did appear, they were limited in number. Women, Indian Fijians and representatives of non-government organisations were rarely used as sources. There were some variations between the articles from 1987 and those from 2000, primarily an increase in Indian Fijian sources, but overall the profile of the sources were similar. A thematic analysis of the same articles identified and examined the three most prevalent themes in the coverage. These indicated important aspects of the way the coups were represented: the way Fiji was represented, the way Australia's responses were represented, and the way the coup leaders were represented. This analysis found that the way in which the coups were represented reflected the nature of the relationship between Australia and Fiji. In 1987, the unexpected nature of the coup meant there was a struggle to re-define how Fiji should be understood. In 2000, Australia's increased focus on Fiji and the Pacific region was demonstrated by reports which represented the situation as more complex and uncertain, demanding more varied responses. A series of interviews with journalists who travelled to Fiji to cover the coups revealed that the working conditions for Australian media varied greatly between 1987 and 2000. The situational factors, particularly those which limited their work, had an impact on the journalists' ability to access specific kinds of sources and, ultimately, the kinds of themes which appeared in the stories. The variation between 1987 and 2000 demonstrated that under different conditions, journalists were able to access a more diverse range of sources and present more sophisticated perspectives of the coup. In a cross-cultural situation such as this, the impact of reporting dominated by elite sources is felt not just in the country being covered, but also in the country where the reporting appears. It presents a limited representation, which marginalises and downplays the often complex social, cultural and historical factors which contribute to an event like a coup. Debate and alternative ways of understanding are limited and the chance to engage more deeply with a place like Fiji is, by and large, lost.
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Lyssa, Alison. "Performing Australia's black and white history acts of danger in four Australian plays of the early 21st century /." Thesis, Electronic version, 2006. http://hdl.handle.net/1959.14/714.

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Thesis (MA)--Macquarie University (Division of Humanities, Department of English), 2006.
Submitted in fulfilment of the requirements for the degree of Masters in English in the Division of Humanities, Dept. of English, 2006. Bibliography: p. 199-210.
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Hattam, Katherine, and katherine hattam@deakin edu au. "Art and Oedipus." Deakin University. School of Communication and Creative Arts, 2003. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20070816.121927.

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Nimmo, Heather. "Three plays : The other woman, Banana split, Awa' the crow road ; and an essay, Writing the end." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/645.

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The Other Woman is an eighty-minute stage play which asks the question: Do women really play the political game differently? A high-flying politician can't admit to a small mistake. A woman kills herself. Does her mother want justice or revenge? Banana Split is a ninety-minute comedy for two actors which investigates life after divorce, the connections between risk and reward, and the implications of doubling (or coupling). The play asks a number of questions: Is it riskier to stay or to go? Which is the more damaging to a relationship-nostalgia for a golden age or the fantasy of a perfect future? Awa’ the Crow Road is a half-hour play for radio. Two brothers are brought to Australia from Scotland, as children. Their father tells them;' We're here. We're Australian. We're not going back.' One brother goes back 10 Scotland. never to return. The other stays in Australia, never to leave. Thirty years pass. They meet again when their father is 'awa' the crow road'. The essay, Writing the end, examines selected literary and performance theory on endings from the perspective of the playwright who must write the end but avoid 'a strangulation'. Later sections of the essay use the endings of the three plays that make up the creative project, to illustrate more specific aspects of writing the end.
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Millward, William H., University of Western Sydney, and of Performance Fine Arts and Design Faculty. "Beneath the surface : the role of intuition in the creative process." THESIS_FPFAD_XXX_Millward_W.xml, 1998. http://handle.uws.edu.au:8081/1959.7/308.

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One question raised when creating, evaluating and appraising art work is 'How do we know what we know?' This exegesis attempts to answer this by establishing the important role intuitive knowledge plays in decision making in general, and within the author's own art practice specifically. The study reviews some of the literature on intuition from philosophical and psychological perspective in order to validate intuitive knowledge and intuitive decision making within contemporary art practice. However, just because intuition may drive the process, it does not mean that the product of intuitive practice is necessarily good or has any value. Consequently, the importance of aesthetics, and the values of integrity, honesty and truth are explored from a philosophical perspective. These are discussed in relation to the art practice of other artists from this century as well as that of the writer. Having constructed a philosophical framework to work within and be guided by, the final part of this study documents the development of the practical work and how this framework influences the art practice and the outcomes of that practice. It is hoped that the results of the study will reassert the validity and relevance of this form of art practice and philosophy within contemporary art practice.
Master of Arts (Hons) (Visual Art)
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Books on the topic "Painting, Australian 21st century"

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Power + colour: New painting from the Corrigan collection of 21st century Aboriginal art. Melbourne, Australia: Macmillan, 2012.

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McDougall, Derek. Australian foreign relations: Entering the 21st century. Frenchs Forest, N.S.W: Pearson Education Australia, 2008.

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Linda, Michael, and Art Gallery of South Australia., eds. 21st century modern: 2006 Adelaide Biennial of Australian art. Adelaide, S. Aust: Art Gallery of South Australia, 2006.

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The colonial image: Australian painting, 1800-1880. [Canberra]: Australian National Gallery, 1987.

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Wang, Xudong. Master of art in 21st century: Wang Xudong. Richlands, B risbane: Australian National Multicultural Press, 2010.

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Wang, Xudong. Master of art in 21st century: Wang Xudong. Richlands, B risbane: Australian National Multicultural Press, 2010.

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Keyes, Mary, Thomas John, and Andrew Dickinson. Australian private international law for the 21st century: Facing outwards. Oxford: Hart Publishing, 2014.

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Art, Martin Browne Fine. Martin Browne Fine Art: 20th century Australian and New Zealand painting, November 1993. Paddington, NSW: Martin Browne Fine Art, 1993.

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Radford, Ron. 19th-century Australian art: M.J.M. Carter Collection, Art Gallery of South Australia. Adelaide: Art Gallery Board of South Australia, 1993.

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Bonyhady, Tim. The colonial image: Australiam painting 1800-1880. Chippendale, Australia: Ellsyd Press, 1987.

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Book chapters on the topic "Painting, Australian 21st century"

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Sunderland, Graham, and Ian Stewart. "Police leadership in the 21st century." In Australian Policing, 39–54. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-5.

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Birch, Philip, Michael Kennedy, and Erin Kruger. "Examining Australian policing in the 21st century." In Australian Policing, 1–4. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-1.

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Prenzler, Tim, and Rick Sarre. "Community safety, crime prevention, and 21st century policing." In Australian Policing, 283–98. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-21.

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Koul, Rekha B., Rachel Sheffield, and Leonie McIlvenny. "STEM, TVCs, and Makerspaces in the Australian Curricula." In Teaching 21st Century Skills, 171–88. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-4361-3_10.

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Brick, Jo. "Manoeuvre in the 21st century." In Australian Perspectives on Global Air and Space Power, 160–69. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003230656-19.

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Thomas, Stuart D. M. "Public health and its interface with police practice in the 21st century." In Australian Policing, 253–66. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003028918-19.

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Walsh, Michael. "The Rise and Rise of Australian Languages." In Endangered Languages in the 21st Century, 9–20. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-3.

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Nash, David. "A Note on an Australian Homophone Loanshift." In Endangered Languages in the 21st Century, 258–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003260288-20.

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David Walton. "China and Japan in Australian Foreign Policy." In China-Japan Relations in the 21st Century, 355–75. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4373-4_15.

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Summers, Jane, and Melissa Johnson. "Segmentation of the Australian Sport Market." In Global Perspectives in Marketing for the 21st Century, 481–86. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-17356-6_147.

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Conference papers on the topic "Painting, Australian 21st century"

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Shields, Rebecca, and Ritesh Chugh. "Preparing Australian High School Learners with 21st Century Skills." In 2018 IEEE International Conference on Teaching, Assessment, and Learning for Engineering (TALE). IEEE, 2018. http://dx.doi.org/10.1109/tale.2018.8615207.

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Wallace, Patrick T., and Steve Lee. "Gear error corrections on the Anglo-Australian Telescope." In 1994 Symposium on Astronomical Telescopes & Instrumentation for the 21st Century, edited by Larry M. Stepp. SPIE, 1994. http://dx.doi.org/10.1117/12.176174.

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von der Heidt, Tania, Patrick Gillett, Michael B. Charles, and Neal Ryan. "Contractual arrangements and their implications for the provision of an Australian HSR system." In 2009 Second International Conference on Infrastructure Systems and Services: Developing 21st Century Infrastructure Networks (INFRA). IEEE, 2009. http://dx.doi.org/10.1109/infra.2009.5397867.

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Smith, Warren F., Troy M. Anforth, and Andrew M. Crane. "A Survey of Concurrent Engineering Design Practice in the Australian Automotive and Maritime Industries." In ASME 2000 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2000. http://dx.doi.org/10.1115/detc2000/dtm-14575.

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Abstract It is our contention that engineering design in the 21st century requires a holistic systems approach that is flexible, adaptable and able to cope with change. Such an approach would draw on integrative design philosophies such as concurrent engineering. This paper presents a review of current design practice within two major Australian engineering sectors in an effort to benchmark the “state of practice” and allow for some assessment of the paradigm shift perceived to be required to take it to the “state of research” with respect to concurrent engineering.
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Rocha Pires, Catarina, Leslie Carlyle, Kate Seymour, and Susana França de Sá. "A NEW PIGMENTED WAX-RESIN FORMULATION FOR INFILLING AND REINTEGRATING LOSSES IN PAINTINGS: TESTING ITS WORKABILITY IN TWO CASE STUDIES." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13476.

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A new pigmented wax-resin formulation introduced and tested for its suitability as a material to infill and reintegrate losses in paintings. This formulation contains Cosmoloid H80 microcrystalline wax and Regalrez® 1126 hydrogenated hydrocarbon resin, in a ratio of 1.5:1 (wax:resin, parts by weight), and is mixed with dry pigments and/or inert fillers (such as chalk, kaolin, or aluminium hydroxide). After extensive research on the properties and the stability of various formulations, the most successful one was applied on two canvas paintings with very diverse characteristics: a 17th century oil painting, and a 21st century acrylic painting. In this paper, the different application methods used are described step-by-step. These consisted of using the new formulations not only solely as infilling materials (by adding inert fillers to the wax-resin mixture), but also as materials capable of infilling and reintegrating a loss in one single step (by adding pigments to the wax-resin mixture). The possibility of imprinting and carving texture, as well as of sculpting the infills to recreate brushstrokes, was also tested and verified and is described in detail here.
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Carter, Nanette. "The Sleepout." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a3999pm4i5.

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Going to bed each night in a sleepout—a converted verandah, balcony or small free-standing structure was, for most of the 20th century, an everyday Australian experience, since homes across the nation whether urban, suburban, or rural, commonly included a space of this kind. The sleepout was a liminal space that was rarely a formal part of a home’s interior, although it was often used as a semi-permanent sleeping quarter. Initially a response to the discomfort experienced during hot weather in 19th century bedrooms and encouraged by the early 20th century enthusiasm for the perceived benefits of sleeping in fresh air, the sleepout became a convenient cover for the inadequate supply of housing in Australian cities and towns and provided a face-saving measure for struggling rural families. Acceptance of this solution to over-crowding was so deep and so widespread that the Commonwealth Government built freestanding sleepouts in the gardens of suburban homes across Australia during the crisis of World War II to house essential war workers. Rather than disappearing at the war’s end, these were sold to homeowners and occupied throughout the acute post-war housing shortage of the 1940s and 1950s, then used into the 1970s as a space for children to play and teenagers to gain some privacy. This paper explores this common feature of Australian 20th century homes, a regional tradition which has not, until recently, been the subject of academic study. Exploring the attitudes, values and policies that led to the sleepout’s introduction, proliferation and disappearance, it explains that despite its ubiquity in the first three-quarters of the 20th century, the sleepout slipped from Australia’s national consciousness during a relatively brief period of housing surplus beginning in the 1970s. As the supply of affordable housing has declined in the 21st century, the free-standing sleepout or studio has re-emerged, housing teenagers of low-income families.
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Collins, Pauline Therese. "The Benefits of an action reflective assessment using role-plays in teaching mediation." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9192.

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Introducing action reflection learning into a law course to instil life-long learner skills and enable students to adapt to a new style of lawyering is essential if 21st Century lawyer needs are to be met. The paper describes the assessment, and the use of active reflective learning in a mediation course taught in an Australian law school. The benefits of such learning are described with specific attention to law teaching. Student reflections indicate the notable difference this teaching method had for their learning and development of a conflict resolution advocacy style.
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Howley, Peter, Ayse Bilgin, and Elena Prieto. "Engaging students and teachers through statistics towards greater connection and social responsibility." In Teaching Statistics in a Data Rich World. International Association for Statistical Education, 2017. http://dx.doi.org/10.52041/srap.17308.

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Arresting statistical anxiety and connecting students with statistics is critical in the big data age and for future generations to be socially responsible citizens. This paper outlines a national project-based learning activity, which facilitates interdisciplinary projects, engages students from varied backgrounds with varying areas of interest, and develops key communication, research and statistical skills aligned with national school curriculum outcomes. Allowing students to take the lead, determine the context and self-diagnose are powerful motivators. A mentoring model connecting industry, primary, secondary and tertiary educators has been invaluable to the project’s success. Australian school teachers are saying “21st Century learning at its best”, “motivates and engages students”. Mentors are saying “I was inspired by their keenness”, “provides students a unique opportunity”. Students are saying “engaging, educational and enjoyable”. Over 1000 students engaged with the competition in 2016.
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Benter, Markus M., Ian G. Bywater, and Ken E. Scott. "Low Ash Fuel and Chemicals From the Convertech Process." In ASME 1998 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/98-gt-351.

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A new, efficient process for reducing the ash content, drying and fractionating raw lignocellulosic materials into chemicals and a dry solid end product, eminently suitable as a fuel for conventional boilers or for milling to a fine powder for gas turbine firing, shows strong potential for renewable power generation. The dry, low ash solids, termed “Cellulig™”, will also be suitable for gasification and to drive gas turbines. Sustainable liquid and gaseous fuels will become increasingly necessary in the 21st century to reduce dependence on imported fuels, to replace dwindling supplies of oil and natural gas and to avoid environmental damage from green house gases. Convertech Group Ltd. has built a demonstration biomass processing plant at Burnham, Canterbury, New Zealand, with investment from the energy industry and the Australian Energy Research and Development Council. The essential chemical and process engineering elements are described and the current and future development opportunities outlined.
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Souliotou, AZ. "TRANSFORMATIONS OF MONA LISA: THE CASE OF A DISTANCE EDUCATION ART-ANDTECHNOLOGY PROJECT." In The 7th International Conference on Education 2021. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/24246700.2021.7131.

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Mona Lisa by Leonardo Da Vinci has been subject to numerous and various transformations in the form of (re)interpretations, reproductions, replicas, appropriations and parodies. Mona Lisa is far more than a mere Renaissance portrait or a symbol of its time. Instead Mona Lisa is radically connected with artistic movements and practices throughout the history of art as well as with the 20th and 21st century visual culture, visual commerce and social media imagery. This paper presents an activity in a higher education Department of Early Childhood where students experimented with digital tools and made a collective artwork of digital transformations of Mona Lisa. This digital experiment was a distance education project which took place during the COVID-19 pandemic restrictions in Greece. At first, students were given examples of appropriations and parodies of Mona Lisa from the history of art as well as from the visual culture. Then students gave their own "responses" through making digitally transformed versions of Mona Lisa which they put together in a collective digital mosaic. Clones, distortions, semi-transparencies, repositions and other transformations within 75 Mona Lisa versions render this collective artwork a composition with reference to pixel structure. Students' collective artwork contributed to the deeper understanding of Da Vinci's masterpiece and increased their confidence and familiarity with Renaissance painting. The case of this activity proves that digital culture is a catalyst for art history learning and creativity in the classroom. Furthermore, this activity fosters collaborative learning through distance education and turns out to be a vehicle for empowering learners in a digital world, as well as for developing linguistic, numerical and multisensory skills through digital creativity. Keywords: Mona Lisa, Leonardo Da Vinci, distance education, higher education, digital art, participatory practices, community resilience
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Reports on the topic "Painting, Australian 21st century"

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Kholoshyn, I., T. Nazarenko, O. Bondarenko, O. Hanchuk, and I. Varfolomyeyeva. The application of geographic information systems in schools around the world: a retrospective analysis. IOP Publishing, March 2021. http://dx.doi.org/10.31812/123456789/4560.

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The article is devoted to the problem of incorporation geographic information systems (GIS) in world school practice. The authors single out the stages of GIS application in school geographical education based on the retrospective analysis of the scientific literature. The first stage (late 70 s – early 90s of the 20th century) is the beginning of the first educational GIS programs and partnership agreements between schools and universities. The second stage (mid-90s of the 20th century – the beginning of the 21st century) comprises the distribution of GIS-educational programs in European and Australian schools with the involvement of leading developers of GIS-packages (ESRI, Intergraph, MapInfo Corp., etc.). The third stage (2005–2012) marks the spread of the GIS school education in Eastern Europe, Asia, Africa and Latin America; on the fourth stage (from 2012 to the present) geographic information systems emerge in school curricula in most countries. The characteristics of the GIS-technologies development stages are given considering the GIS didactic possibilities for the study of school geography, as well as highlighting their advantages and disadvantages.
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