Статті в журналах з теми "Hammersley's process"

A generalization of Markov point processes is introduced in which interactions occur between connected components of the point pattern. A version of the Hammersley-Clifford characterization theorem is proved which states that a point process is a Markov interacting component process if and only if its density function is a product of interaction terms associated with cliques of connected components. Integrability and superpositional properties of the processes are shown and a pairwise interaction example is used for detailed exploration.

A generalization of Markov point processes is introduced in which interactions occur between connected components of the point pattern. A version of the Hammersley-Clifford characterization theorem is proved which states that a point process is a Markov interacting component process if and only if its density function is a product of interaction terms associated with cliques of connected components. Integrability and superpositional properties of the processes are shown and a pairwise interaction example is used for detailed exploration.

Data-driven models are essential tools for the development of surrogate models that can be used for the design, operation, and optimization of industrial processes. One approach of developing surrogate models is through the use of input–output data obtained from a process simulator. To enhance the model robustness, proper sampling techniques are required to cover the entire domain of the process variables uniformly. In the present work, Monte Carlo with pseudo-random samples as well as Latin hypercube samples and quasi-Monte Carlo samples with Hammersley Sequence Sampling (HSS) are generated. The sampled data obtained from the process simulator are fitted to neural networks for generating a surrogate model. An illustrative case study is solved to predict the gas stabilization unit performance. From the developed surrogate models to predict process data, it can be concluded that of the different sampling methods, Latin hypercube sampling and HSS have better performance than the pseudo-random sampling method for designing the surrogate model. This argument is based on the maximum absolute value, standard deviation, and the confidence interval for the relative average error as obtained from different sampling techniques.

Este trabalho tem origem na tese de doutorado que objetivou compreender a experiência da radioterapia oncológica para os pacientes sob referencial teórico-metodológico da antropologia interpretativa e do método etnográfico. Os informantes foram 10 pacientes de ambos os sexos, na faixa etária de 34 a 80 anos. Os dados foram coletados de março a agosto de 2007 por entrevistas semiestruturadas e observações participantes. Pela análise interpretativa proposta por Hammersley e Atkinson, construímos os núcleos de significados - Alterações na vida do sobrevivente ao câncer e à radioterapia e O sobrevivente controlando a sua vida e tecendo as teias do futuro. Entendemos que a enfermagem ultrapassa a dimensão biológica do cuidar quando compreende as teias tecidas pelos sobreviventes oncológicos para o ajuste à nova vida, pois eles percebem os limites existenciais, incorporam a doença e o tratamento, inserindo-os num processo liminar que persiste para o resto da vida.

Kaip teigiama Jeffrey, Walford, Delamont ir Atkinson Wiley tarptautinių edukologijos etnografinių tyrimų vadove (Beach, Bagley and Marques da Silva, 2018) keliuose publikuotuose skyriuose, Hammersley ir Atkinson Etnografija: principai praktikoje – viena iš dažniausiai cituojamų edukologijos etnografinių tyrimų publikacijų Šiaurės Europoje, ypač Jungtinėje Karalystėje. Pirmą kartą 1983 metais išleistoje knygoje etnografija aprašoma kaip tyrimo metodas, kuriuo siekiama giliau suprasti lokalias žinias ir kultūrą bei reprezentuoti šią kultūrą ją aprašant. Autoriai pažymi, kad „etnografija apima tiesioginį ir netiesioginį dalyvavimą žmonių gyvenime – stebint, kas vyksta, klausantis, kas sakoma, pateikiant esminius klausimus, renkant visus įmanomus duomenis, kurie padės atskleisti nagrinėjamą problemą – pagrindinį tyrimo objektą“ (1983, p. 1.). Panašių idėjų pateikia ir kiti autoriai. Pasak Trondman, Willis ir Lund (2018), šių idėjų ištakos – 1907 metais Paryžiuje pradėta diskusija apie etnografinius tyrimus, jų galimą vaidmenį ir vertę socialiniam teoretizavimui. Į šią diskusiją įsitraukė tokie socialinių mokslų atstovai, kaip antai Emile Durkheim ir René Worms. Pastarasis pradėjo diskusiją. Pasak jo, etnografija – metodas pavaizduoti „primityvias visuomenes“. Durkheim teigė, kad etnografinis tyrimas yra prasmingesnis ir gali suteikti patikimą pagrindą analizuojant kultūras, kultūros procesus ir jų istorinę raidą visose visuomenėse, ne tik vadinamosiose primityviose. Vėliau šiuo principu vadovavosi Čikagos sociologijos mokykla (angl. Chicago School of Sociology). Pastaraisiais dešimtmečiais Jungtinėse Amerikos Valstijose ir Jungtinėje Karalystėje šiuo principu remiantis nusakomi edukologijos etnografinių tyrimų parametrai. Edukologijos etnografiniai tyrimai pasklido ir kitose šalyse. Šiame straipsnyje apžvelgiama edukologijos etnografinio tyrimo istorinė raida ir šiuolaikiniai iššūkiai, ypač Europoje.

Introductions to ethnographic research for university students in Macedonia are understandably starkly different from the often idealized ‘first encounters’ we read in classical anthropological texts, what Hammersley and Atkinson call “the Western ‘rite of passage’”. Students from Macedonia, during their four-year studies, conduct fieldwork in urban and rural areas of their home country, usually focusing on a different geographic region every year. Through this experience, students are introduced to a ‘foreign’ field that is often very familiar – the language is common and the general cultural context is shared. In such a fieldwork context, the question of ethnicity, as a general category of importance in the self-identification of communities and citizens of the region, as well as a category frequently present in the rhetoric of various political groups, cannot be withheld. As such, the aim of this paper is to highlight the need for including ethnicity in conversations about fieldwork in Southeastern Europe, especially in introductory courses on research methodologies. In this sense, it is not only the ethnic identity of our interlocutors that comes to interest, but that of the researcher as well, for whom it can represent either a barrier or a tool with the ability to aid the research process. The paper will examine introductory reading materials and practices in ethnography, and attempt to synthesize understandings of auto-reflexive examples of fieldwork in multi-ethnic communities or multi-ethnic ethnographic encounters by anthropologists from Macedonia to propose methods that ethnicity can be included as a significant factor and characteristic of the researcher in teaching ethnography in the Southeastern European region.

Abstract. Although a nationwide study focusing on the evolution of low flows in Czechia was conducted in the past, a need for the revision of the results has arisen. By means of the trend analysis, which specifically considers the presence of significant serial correlation at the first lag, the former study highlighted areas where 7-day low flows increase or decrease. However, taking into account only the lag-one autoregressive process might still have led to the detection of so-called pseudo-trends because, besides short-term persistence, also long-term persistence may adversely influence the variance of the test statistic when the independence among data is required. Therefore, one should carefully investigate the presence of persistence in time series. Before the trend analysis itself, the authors' previous studies aimed at the discrimination between short memory processes and long memory processes employing jointly the Phillips–Perron test and the Kwiatkowski–Phillips–Schmidt–Shin test. This analysis was accompanied by the Hurst exponent estimation. Here, the subsequent identification of trends is carried out using three modifications of the Mann–Kendall test that allow different kinds of persistence. These include the Bayley–Hammersley–Matalas–Langbein–Lettenmaier equivalent sample size approach, the trend-free pre-whitening approach and a block bootstrap with automatic selection of the block length, which was applied for the first time in hydrology. The general results are similar to those presented in the former study on trends. Nevertheless, the divergent minimum discharges evolution in the western part of Czechia is now much clear. Moreover, no significant increasing trend in series incorporating Julian days was found.

Context: Sense-making, understood as meaning making or giving meaning to experience, is an integral part of everyday life, work and learning, and is a process critical in enabling people to recognise how and when to respond to situations appropriately so that they can resolve problems effectively (Weick et al., 2005). Earlier studies on sense-making in educational or organizational settings (e.g. Harverly et al., 2020; Weick et al., 2005) tended to focus on the sense-making process per se in particular setting such as classrooms or organizations, few of them have paid much attention to the sense-making process in blended learning (BL). BL in vocational training mainly aims to enable adult learners to apply what was learnt in classrooms to solve authentic problems in workplaces or simulated settings. High quality of sense-making is crucial to help the learners achieve the aim. This timely study is to offer a comparative look at how different dynamics of BL interplay together to mediate the quality of sense-making in achieving learning outcomes. The dynamics include industry and training connections, policy and institutional contexts, the inhabited pedagogical practices and curriculum design. Methods: This study adopted phenomenological (Moran, 2000) and semi-ethnographic approaches (Hammersley, 2010), including semi-structured interviews, observations, analysis of relevant documents (e.g. curriculum and learning materials) to capture the rich data in case studies to understand learners’ sense-making experience in BL. Researchers focused on seeking to understand how different environments, tools and artefacts mediate the quality of sense-making as the learners progressed through their learning journey. To triangulate the data, adult educators, curriculum designers and where possible, workplace supervisors, were also interviewed and observed for their perceptions and behaviours in learners’ sense-making in BL. Findings: The findings from two different BL courses (ICT and HR) surface that the degree to which learners’ sense-making is fragmented (low quality) or seamless (high quality) is mediated by the interplay of different contextual factors in BL in multiple ways, such as, the connections (or not) with industry, the use (or not) of authentic problems and tasks. Conclusion: The interplay between different dynamics in BL is of great importance to mediate the curriculum design and pedagogical approaches used in BL for high quality of sense-making of adult learners in vocational training.

Fixtures control the positions and orientations of parts in an assembly process. Inaccuracies of fixture locators or nonoptimal fixture layouts can result in the deviation of a workpiece from its design nominal and lead to overall product dimensional variability and low process yield. Major challenges involving the design of a set of fixture layouts for multistation assembly system can be enumerated into three categories: (1) high-dimensional design space since a large number of locators are involved in the multistation system, (2) large and complex design space for each locator since the design space represents the area of a particular part or subassembly surfaces on which a locator is placed, (here, the design space varies with a particular part design and is further expanded when parts are assembled into subassemblies), and (3) the nonlinear relations between locator nominal positions and key product characteristics. This paper presents a new approach to improve process yield by determining an optimum set of fixture layouts for a given multistation assembly system, which can satisfy (1) the part and subassembly locating stability in each fixture layout and (2) the fixture system robustness against environmental noises in order to minimize product dimensional variability. The proposed methodology is based on a two-step optimization which involves the integration of genetic algorithm and Hammersley sequence sampling. First, genetic algorithm is used for design space reduction by estimating the areas of optimal fixture locations in initial design spaces. Then, Hammersley sequence sampling uniformly samples the candidate sets of fixture layouts from those predetermined areas for the optimum. The process yield and part instability index are design objectives in evaluating candidate sets of fixture layouts. An industrial case study illustrates and validates the proposed methodology.

We describe a pilot project designed to assess the feasibility of re-use across 12 diverse qualitative datasets related to Human Immunodeficiency Virus (HIV) in the UK, from research projects undertaken between 1997 and 2013 – an approach which is chronically underused. First, we consider the sweeping biomedical changes and imperatives relating to HIV in this time frame, offering a rationale for data re-use at this point in the epidemic. We then reflexively situate the processes and procedures we devised for this study with reference to relevant methodological literature. Hammersley’s and Leonelli’s contributions have been particularly instructive through this process, and following their lead, we conclude with further considerations for those undertaking qualitative data re-use, reflecting on the extent to which qualitative data re-use as a practice requires attention to both the given and the constructed aspects of data when assembled as evidence.

AbstractWe obtain a new relation between the distributions $$\upmu _t$$ μ t at different times $$t\ge 0$$ t ≥ 0 of the continuous-time totally asymmetric simple exclusion process (TASEP) started from the step initial configuration. Namely, we present a continuous-time Markov process with local interactions and particle-dependent rates which maps the TASEP distributions $$\upmu _t$$ μ t backwards in time. Under the backwards process, particles jump to the left, and the dynamics can be viewed as a version of the discrete-space Hammersley process. Combined with the forward TASEP evolution, this leads to a stationary Markov dynamics preserving $$\upmu _t$$ μ t which in turn brings new identities for expectations with respect to $$\upmu _t$$ μ t . The construction of the backwards dynamics is based on Markov maps interchanging parameters of Schur processes, and is motivated by bijectivizations of the Yang–Baxter equation. We also present a number of corollaries, extensions, and open questions arising from our constructions.

This article reflects the methodological challenges presented in the research process, where the principle of 'following the field’ means that the researcher must also follow students engaged in online activities in their own homes. The ethnographic studies are a part of a PhD project on “NETeducation,” a full-scale development project in nursing education (Lyngsø, 2014). With a focus on online professional education as the starting point, the process of research will follow the shifting learning process, through phases in the virtual classroom and in the students’ own homes.Research in online contexts demands a rethinking of the traditional ethnographic approach (Hammersley, 2006; Hine, 2005), sharpening the focus on the online and offline contexts, and the shifting between them (Webster, da Silva, 2013). The methodological reflections in the first part of this article can relate to this division due to the “netstudents” activities in studying online at home. On the other hand, the dichotomy between online and offline contexts is found to be inadequate, during the observations conducted. In light of some preliminary findings, the challenges of observing online and offline activities almost simultaneously are considered, despite a dearth of literature existing on this subject.

Aun cuando en las últimas décadas la investigación ha relevado el liderazgo del director como factor clave para alcanzar buenos desempeños escolares (Hallinger & Murphy, 1985; Leithwood, 2009; Supovitz, Sirinides & Henry, 2010), éste también puede ser ejercido por otros agentes en las escuelas. Más recientemente diversos esfuerzos se han realizado para comprender cómo ciertos profesores influyen entre sus pares docentes (Bennett, Woods, Wise & Newton, 2007; Blandford, 2006; Busher, Hammersley-Fletcher & Turner, 2007) destacando su rol instruccional para asegurar el currículum y procesos de mejora (Busher, 2005a; Heng & Marsh, 2009). El presente artículo, bajo el proyecto Fondecyt Regular Nº 1161605, indaga sobre las expectativas de influencia de profesores en posiciones intermedias en las escuelas chilenas, a partir de una revisión bibliográfica y de experiencias internacionales. Se presenta un análisis sobre los enfoques, condiciones organizacionales, destacando oportunidades para potenciar el rol de mentor docente para mejor logro escolar.

The influence of fiber orientations on the crashworthiness of carbon fiber-reinforced polymer (CFRP) composite tubes was investigated to fill in the knowledge gap regarding the effects of fiber angle on the energy-absorbing potential of these tubes. This study adopted the Hammersley sequence sampling (HSS) method to generate a quasi-random distribution of the design objectives. Then, LS-DYNA was utilized for numerical quasi-static crushing tests to measure the specific energy absorption (SEA) and the crushing force efficiency (CFE) of a quasi-static CFRP tube at different fiber angles. The Kriging method was implemented to generate a surrogate model. Finally, Pareto results were extracted deterministically and probabilistically using the NSGAII algorithm. Fiber orientation angles are naturally exposed to uncertainties in the manufacturing process; thus, the main contribution of the study is illustrating the effects of fiber angle orientations on the energy-absorbing characteristics of CFRP tubes while incorporating uncertainties into the optimization procedure. Interestingly, the optimum fiber angle orientations revealed the potential advantage of using non-conventional angle-ply layouts by improving the CFE by up to 4% compared with the initial design configuration. The results also demonstrated the capability and superior performance of the optimization procedure in finding the global optima, and the necessity of conducting a probabilistic examination in similar studies.

The weight and modal performance of the vehicle wheels are two essential factors that affect the driving comfort of a vehicle. The main objective of this study is to present an efficient approach to reduce the weight and enhance the modal performance of the wheel by reducing the design time and computational cost. The alloy wheel rim is often used for lightweight wheel design. In this study, an approach is presented for the lightweight design of alloy wheel rims. An intelligent approach based on neural networks (NNs) is introduced to predict the optimum design parameters of the wheel rim during the wheel design phase and to improve the wheel optimization process. The Latin hypercube and Hammersley designs of the experimental methods were used to obtain a training dataset with finite element analysis. The NN and multiple linear regression (MLR) models were trained to predict the weight, first-mode frequency, and displacement values. A multi-objective genetic algorithm was employed to optimize the design decisions based on the predicted values. It was used to compute the optimum results with both the NN and MLR models for a better prediction accuracy of the wheel rim design parameters. The proposed approach allows designers to optimize design decisions and evaluate design modifications during the early stages of the wheel development phase. The surrogate-based optimization method plays an important role in the wheel rim optimization process, particularly when the optimization model is established based on computationally expensive finite element simulations, testing, and prototypes. The results show the effectiveness of the NN-combined genetic optimization approach in predicting the responses and optimizing the design decisions for the alloy wheel rim design by reducing engineering time and computational cost.

Introducción: Este artículo recoge parte de una investigación desarrollada en un aula universitaria, cuyo objetivo es contrastar la utilidad de una propuesta metodológica innovadora –los Proyectos de Trabajo- llevada a cabo, en la universidad de Córdoba, con el alumnado de segundo curso de Magisterio de la Especialidad de Educación Infantil.Método: Es una investigación enmarcada en un paradigma interpretativo, y en un enfoque etnográfico (McMillan y Schumacher, 2005) porque respetamos los contextos naturales –en este caso, el aula- como unidad de análisis e investigación. Optamos por el diseño de una investigación etnográfica porque parte de la presencia prolongada de la investigadora en el campo, por su interacción con los participantes, por el respeto del escenario natural donde transcurre la acción y porque no es un diseño predefinido, como nos indica Hammersley y Atkinson (2001: 224), más bien se trata de una estructura de ‘embudo’ que se va definiendo de forma emergente a medida que transcurre la acción. Utilizamos cinco instrumentos de recogida de información que se aplican de forma secuencial y complementaria: (1) Escala de Estimación Verbal; (2) Entrevista Semiestructurada a dos profesoras de 1º curso; (3) Diario de la Investigadora; (4) Grupos de Discusión y (5) Cuestionario de respuestas abiertas.Resultados: Al disponer de datos nominales aplicamos la técnica de análisis de contenido, y establecemos unidades de análisis molares, las cuales identificamos con las dimensiones de la investigación. Posteriormente, éstas se subdividen en categorías micro, tras un proceso de triangulación y acuerdo interjueces. Finalmente, presentamos las tablas y gráficos, los cuales nos muestran la evolución de las interacciones orales emitidas en los tres grupos de discusión realizados. Igualmente presentamos los resultados del cuestionario cumplimentado por todo el alumnado del aula implicado en el desarrollo de la innovación metodológica.Discusión o Conclusión: Destacamos la aproximación sociocognitiva que se produce entre los participantes en el transcurso de la elaboración del Proyecto de Trabajo. Podemos inferir el inicio de un espacio de intersubjetividad en el que se percibe un acercamiento de los posicionamientos individuales previos y un avance hacia propuestas compartidas. La percepción del alumnado es que los Proyectos de Trabajo les facilitan la adquisición de competencias profesionales, incrementan su nivel de motivación y les aproximan a la construcción de conocimientos funcionales, globales y prácticos.

We are our own subjects. How our subjectivity becomes entangled in the lives of others is and has always been our topic. (Denzin 27)This article reflects on the process of disclosing the ethnographic self, particularly in relation to the use of e-mails and social networking sites, such as Facebook. Previous work has examined virtual ethnography as the main research method or its place within a mixed method approach (Orgad; Hine, Virtual Ethnography; Fay; Greschke). My focus lies on the voluntary and involuntary intertwining of physical ethnographic work (i.e. going to a specific location to immerse oneself in a culture) and the virtual relations formed with informants in the course of such fieldwork. Connecting with informants on Facebook has brought a new dimension to the active approach of impression management that is encouraged in traditional texts on ethnography and participant observation (Hammersley and Atkinson; Taylor and Bogdan; Ellen). Examples are drawn from my experience of three phases of geographically located fieldwork for my thesis on Spanish- and English-language media and the Cuban-American community in Miami, Florida, and from online “repercussions” of my physical presence in the field.In an ideal (research) world, the process of immersing oneself in a culture, studying and understanding its values, dynamics and symbolism is paired with professional and personal distance and reflexivity. Most of the time, the reality of fieldwork does not adhere to this ideal (Kleinman and Copp). Data collection does not take place in a void. On the contrary, it is a personal, emotional, embodied and challenging experience in which the researcher’s persona is highly involved: “If informants are people and have rights that affect ethical practice, ethnographers are also human and have identities that affect research practice” (Brewer 99).The researcher’s identity has a strong influence on the research process, but the same holds true the other way around. Ethnographic encounters have an effect on the ethnographer’s sense of identity or sense of self. The researcher’s identity, just like the informant’s, is ever-changing and in a constant process of negotiation that continues throughout the ethnographic experience. As Sarah Pink (47) points out, individuals not only position themselves and their identity in relation to others, but also in relation to objects and discourses (see also: Miller).Therefore the process of relating to the field does not end with physically removing oneself from it (Coffey). Dealing, relating and “coming to terms” with the field and those we encounter is much more complex. The assumption made that the researcher would not be influenced by this, meaning that the field has no impact whatsoever on the one collecting data, has been challenged severely, often by feminist scholars among others, over the past decades (Hey; Roberts; Berger).Establishing and positioning oneself and one’s role in the field can be a daunting process (Lindner). It can be informed by fears of acceptance, uncertainties about conventions not (fully) understood yet and the underlying dynamics one still hopes to uncover. The process of role(s) and identity negotiation of the researcher in the field goes on when writing the field, going through field notes and making sense of what we have experienced (Okely). So even though strict temporal and spatial boundaries might never have existed to the extent ethnography textbooks would have us believe, the use of e-mails and social networking sites have brought the field even closer to home. I have structured the following reflections on disclosing the ethnographic self in face-to-face conversations, that is, exposures made while being physically present in the field, and those taking place online. However, it is worth remembering that this is an artificial distinction as they are clearly interlinked and can overlap in time. Disclosure in Face-to-Face ConversationsWith establishing and negotiating one’s identity in the field and fieldwork relations comes the question of how much to disclose of oneself. How much should informants know about me? There are obvious ethical requirements: Every researcher should be clear about scope and aim of the research project, institutional affiliations, the way data will be stored and used (Mauthner et al.). But beyond that, how much of myself do I have to expose? What stands in the way of a straight-forward answer is the undefined nature of relationships of those we meet in the field: “Fieldwork relationships are at once professional and personal, yet not necessarily readily characterized as either”(Coffey 39).Arguably, there is not one right way to proceed, as it depends on the kind of field the researcher is finding herself in, her personality, role, identity and the type of relationship she wishes to establish with informants. The process of relationship-building to the field as a whole as constructed in the ethnographer’s mind and to individuals in the field is of course ongoing and very likely to evolve and change over time. This applies not only to the relationships built but also to the researcher’s sense of self and how he or she relates to those encountered in the field. It is partly in and through these encounters that the researcher’s understanding of self is influenced, shaped and negotiated on a continual basis. During three phases of fieldwork in 2006, 2007 and 2008 I interviewed over 40 Hispanic journalists, media executives and active members of the Cuban-American community in Miami, Florida. How much was I willing to disclose of myself during these encounters and subsequent e-mail exchanges? Should I correct informants when they wrongly assumed I was British because I was based at a British institution? Do they need to know why I have chosen to research this particular topic and them as a group, why I was based at a Scottish university and what brought me to the U.K. in the first place? The answers were no secrets, but neither was I comfortable to share them with all informants I met in the field. Gender and age-related dynamics came into play here with the majority of interviewees being male and significantly older than me (Easterday). At times, I was uneasy when it came to talking about myself. While I defined the majority of my initial relations as mostly, though not entirely, professional, some interviewees did have a different take on this. In particular, I felt that one interviewee who after the interview started asking me personal questions about my move to Scotland, clearly overstepped an invisible line, although it would have been perfectly alright from my perspective to ask him questions similar, though different in tone, within the context of an interview. A further aspect of disclosure within the context of ethnographic work is the open discussion of the research process with informants. Although this can be very fruitful, it can also be source of scorn and end in closed doors, especially in the highly polarised field I was researching: Once interviews were finished, some interviewees would ask whom I had interviewed previously—maybe just out of interest, maybe to go on and suggest future interviewees. I had never considered in detail what kind of reactions interviewees might have by my naming of previous contacts because for one, reactions had so far been positive and secondly, all interviewees had some understanding of what research entails and that I would naturally want to speak to as many people and as many “sides” as possible. In one particular case, though, the interviewee showed clear disapproval of my talking to a journalist at a well-known Miami-based newspaper. At the time, I did not take this minor condemnation very seriously, but in retrospect it turned out that this interviewee could have been a valuable source for further information and contacts. It taught me that it is wise to hold my cards closer to my chest in such a sensitive environment. This does not mean, however, that secrecy and constant striving towards a neutral position is always the best way to proceed, nor a believable position to hold as Kloos (511) found out: “One of the clergymen in Eastern Flevoland asked me once: ‘Do you have any opinions of your own?’”Virtual Exposure and DisclosurePrevious studies underlined that relationships forged and maintained online mirror offline everyday-life contacts, interests, concerns and vice versa. (Castells; Miller and Slater) For ethnographers whose informants have ready Internet access, this can bring significant advantages as well as challenges. Contacting informants whom I had heard about but not yet met in person by e-mail proved an extremely useful approach. An e-mail allowed me to say a few words about myself and introduce my research project. If there was no response to the e-mail, I was much more comfortable to call the person at this stage—rather than before an e-mail had been sent. E-mails proved a very successful way in contacting informants, thanking people after the interview and exchanging further information that had been touched upon in conversation. What surprised me, however, was that e-mails were also used by interviewees to contact me months after I had been in touch with them and had physically left the field. On a couple of occasions, interviewees sent me information that they thought was essential for my research or, in fact, asked me to fill out a questionnaire and comment on matters relating to my research topic. My role in the field and my relation to informants had turned from researcher to research participant, or interviewee in this case.While e-mails offer a rather controlled environment when approaching informants, other information about the researcher might be more unpredictable and harder to control or manage. I sometimes found myself wondering what information about me informants would find when they Googled my name. How would they combine and make sense of their offline construction of me as a researcher with my virtual persona? And to which extent is impression management in the context of social networking sites feasible and perhaps to be recommended? Of course these questions do not solely apply in a research context. However, it is worth considering them in an effort of understanding the dynamics which underlie the research process. Even though my research methodology included an online component, such as the monitoring of selected blogs and discussion forums, the majority of the data was gathered in clearly defined periods of physical ethnographic work. The relationship that evolved via e-mails and on Facebook outside of fieldwork phases were initiated by informants. I could obviously have ignored these contacts, however, as someone involved in media research I thought it strange and discourteous not to respond or accept informants as “Friends,” while seeking them out offline.Disclosing (personal) information on Facebook can become a risky business due to the diverse relationship of the people merged through Facebook’s list of “Friends.” Facebook does not force users to define or distinguish between different types of relationships. In my role as a researcher, I have always been highly uneasy to put on detailed information about “What’s on my Mind,” the facility Facebook offers for bringing others up to date on what is happening in one’s life. Reporting to my “Friends,” including informants, that most of my time was spent struggling with the data I had gathered in the field, could undermine their view of me as a researcher and a person worth talking to. Apart from that, there were obvious faux-pas that I needed to avoid online. Joining a Ernesto “Che” Guevara Fan group—like wearing a ‘Che’ T-shirt or pin – is not a smart move when trying to build a relationship with Cuban exiles. But even expressing fairly main-stream political opinion did not seem a good idea. Without being aware of it at the time, I was trying to perform a “stable research self,” as opposed to a fragmented, continuously changing and relationally constructed one. Following Geertz’s line of thought, I furthermore hoped that “the natives” had a similar perspective to mine and would perceive me as the balanced, neutral researcher that I was trying to be (Geertz).Arguably, Facebook allows for personal information and entries to be hidden from some contacts. It gives users the option to group contacts, thereby specifying who gets to see what kind of information. However, all contacts can see all contacts, to allow for networking to take place. Given the politically-charged and polarised nature of the community I was researching—and keeping in mind the incident recounted above, with one informant disapproving of me talking to a certain journalist and subsequently breaking up all communication—being connected with some people can have unwelcome side-effects for the research process.Personal and intercultural variations when reading and making sense of social networking sites are a further aspect worth noting in this context. Dalsgaard (10-12) underlines the hierarchical nature which characterises the practical use of the Internet and often mirrors offline power constellations. Unlike earlier celebration of the horizontal communication devoid of power structures, Internet interaction reproduces and adds further stratifications and “forms of ranking—some hierarchical, some not”. This also holds true for the number of contacts on a social networking site:Networks consist of nodes, and in the ‘Facebook society’, every person is a node. But there are differences between nodes. Some are more central than others and function as the hub for many more transactions. Some may only have ten ‘connections’ or ‘friends’, while others may have several hundreds – notwithstanding that there is qualitative difference between relationships, that not all relationships are personal, that many ‘friends’ are perhaps what we would normally call acquaintances and so on. (Dalsgaard 10)Drawing on Goffman, Dalsgaard (12) argues that popularity on social networking sites, has a symbolic or performance-orientated character, as it can be safely assumed that not every contact is “an important relationship built on long-term mutual exchange of greetings, gifts, favours, opinions and so on.”Even the number of friends and contacts can be understood as disclosing something about ourselves. How many people from the field and from outside the field are on my list of contacts? Who is there and who is not? Which relations are not included, pursued online, kept secret or ignored? Concerns of how individual informants would read my Facebook profile have left me feeling uneasy while keeping my activities to a minimum. However, secrecy, inactivity—which is in a way an attempt of the impossible act of non-performance or disappearance, can be just as harmful as disclosure. During the time of research I kept wondering whether someone working towards a doctorate in communication studies should know how to “work” Facebook. My wariness of disclosing too much of myself, aspects of my identity that would threaten my performance as a “stable researcher self,” held other parts of my fragmented identity captive and disclosed. In a way, I was happy with the relational construction of myself as the doctoral researcher in face-to-face encounters, but online encounters, not initiated by myself, had a different quality to them. They led me to struggle with the authentic, stable and singular self that Facebook encourages people to present to the outside world.Concluding RemarksManaging and handling acts of disclosure in geographically located fieldwork has been explored in great depth in recent scholarship. Voluntary and involuntary disclosure of the researcher’s fragmented identity in the context of social networking sites is a new phenomenon, and an unexpected challenge for those who did not see virtual ethnography as part of their main methodology. Similar to the fading dichotomy of public/private, e-mails and social networking sites have torn down the temporal and spatial boundaries fieldwork and the performance of the ethnographic self has been associated with. For the researcher who is connected with informants on Facebook, or other social networking sites, this can mean an ongoing performance of the researcher’s role; a continuous relating and positioning to those encountered in the field. This process might fade out with the end of a project, turning the informant into an acquaintance, friend or someone who happens to be our “Friend” on Facebook but has little further impact on our life and sense of self. When researching a group of people with ready access to digital media, virtual ethnography should possibly be part of the mix from the start. Hine (Virtual Methods 8) has pointed out that defining what exactly ethnography entails is problematic in itself. Immersing oneself in the field can take many different forms. Ethnography as a method is flexible enough to encompass encountering informants on social networking sites. In itself, it is worth noting who is online, who is not and what kind of interaction the informant is looking for. However, gathering this type of information raises ethical questions about the research process. In my case, geographically located field work was considered and approved by the university’s ethics committee, but online encounters—outside the chosen methodology—were not covered. Dealings with research participants were therefore institutionally endorsed within temporal and spatial limits and this indisputably contributed to my sense of a professional research self. Being contacted by informants on a social networking site, significantly challenges this framework and clouds the terms of reference. Whose rules apply? Or are there no rules? Observing participants’ profiles as an add-on to previously collected data, though tempting it may be, seems not a good option. But then informants might monitor the researcher’s profile for their own purposes, be it general curiosity, entertainment, or simply an enjoyable free-time activity. Once again, traditional roles of researcher and researched are easily reversed in the online encounter. For the time being, ethical guidelines generally assume a situation in which the researcher in some form is seeking out the researched, not the other way around. With the proliferation of social networking sites and online encounters, standard institutional ethical protocols fall short here.Nonetheless, online encounters between researcher and researched also bear potential. Asymmetric power structures can shift with the informant being able to contact, construct the researcher and disclose aspects of the researcher’s identity, or rather online persona, on their own terms and in a less controlled environment. As the incidence recounted above shows, this can entail a role reversal which blurs the lines between researcher and researched and underlines the performative and relational aspect of self. Furthermore, this indicates a much more flexible approach to roles of the researcher and informant which allow for mutual disclosing and exchanging—if both parties are willing to let this happen. On the other hand, this potential shift in power does not absolve the researcher from the responsibility inherent in the research process. As with other aspects of ethnographic work, “there can be no set formulae, only broad guidelines, sensitive to specific cases” (Okely 32). The unexplored terrain and ongoing experimentation of integrating social networking sites into everyday life call for a heightened sense of reflexivity and ethical awareness in the research process.ReferencesBerger, Peter L. Invitation to Sociology. Harmondsworth: Penguin, 1966.Brewer, John. Ethnography. Buckingham: Open UP, 2000.Castells, Manuel. The Information Age: Economy, Society and Culture, Vol. 1, The Rise of the Network Society. Oxford: Blackwell, 2000.Coffey, Amanda. The Ethnographic Self: Fieldwork and Representation of Identity. London: Sage, 1999.Dalsgaard, Steffen. “Facework on Facebook: the Presentation of Self in Virtual Life and its Role in the US Election.” Anthropology Today 24.6 (2008): 8–12.Denzin, Norman K. Interpretive Ethnography: Ethnographic Practices for the 21st Century. London: Sage, 1997.Easterday, Lois, Diana Papademas, Laura Schoor and Catherine Valentine. “The Making of Female Researcher: Role Problems in Fieldwork.” Field Research: A Sourcebook and Field Manual. Ed. Robert G. Burgess. London: George, Allen and Unwin, 1982. 62–67.Ellen, Roy F. Ethnographic Research: A Guide to General Conduct. London: Academic Press, 1984.Fay, Michaela. “Mobile Subjects, Mobile Methods: Doing Virtual Ethnography in Feminist Online Network.” Forum: Qualitative Social Research 8.3 ( 2007). 23 Oct. 2009 < http://www.qualitative-research.net/index.php/fqs/article/view/278/612 >.Geertz, Clifford. “‘From the Native’s Point of View’: On the Nature of Anthropological Understanding.” Bulletin of the American Academy of Arts and Sciences 28.1 (1974): 26–45.Goffman, Erving. The Presentation of Self in Everyday Life. Harmondsworth: Penguin, 1971.Greschke, Heike Mónica. “Bin ich drin?—Methodologische Reflektionen zur ethnografischen Forschung in einem plurilokalen, computervermittelten Feld.” Forum: Qualitative Social Research 8.3 (2007). 23 Oct. 2009 < http://www.qualitative-research.net/index.php/fqs/article/view/279/614 >.Hammersley, Martyn, and Paul Atkinson. Ethnography: Principles in Practice. London: Tavistock, 1983.Hey, Valerie. “‘Not as nice as she was supposed to be’: Schoolgirls’ Friendship." Ethnographic Research: A Reader. Ed. Stephanie Taylor. London: Sage, 2002. 67–90.Hine, Christine. Virtual Ethnography. London: Sage, 2000.–––, ed. Virtual Methods: Issues in Social Research on the Internet. Oxford: Berg, 2005.Kleinman, Sherryl, and Martha Copp. Emotions and Fieldwork. London: Sage, 1993.Kloos, Peter. “Role Conflicts in Social Fieldwork.” Current Anthropology, 10.5 (1969): 509–512.Lindner, Rolf. “Die Angst des Forschers vor dem Feld. Überlegungen zur teilnehmenden Beobachtung als Interaktionsprozess.” Zeitschrift für Volkskunde 77 (1981): 51-66.Mauthner, Melanie, Maxine Birch, Julie Jessop and Tina Miller. Ethics in Qualitative Research. London: Sage, 2002.Miller, Daniel. The Comfort of Things. Cambridge: Polity, 2009.Miller, Daniel and Don Slater. The Internet: An Ethnographic Approach. Oxford: Berg, 2000.Okely, Judith. “Anthropology and Autobiography: Participatory Experience and Embodied Knowledge.” Anthropology and Autobiography. Ed. Judith Okely and Helen Callaway. London: Routledge, 1992. 1-28.Orgad, Shani. “How Can Researchers Make Sense of the Issues Involved in Collecting and Interpreting Online and Offline Data?” Internet Inquiry: Conversations about Method. Ed. Annette N. Markham and Nancy K. Baym. London: Sage. 33–53.Pink, Sarah. Doing Visual Ethnography. London: Sage, 2007.Roberts, Brian. Getting the Most out of the Research Experience: What Every Researcher Needs to Know. London: Sage, 2007.Taylor, Steven and Robert Bogdan, Introduction to Qualitative Methods: A Phenomenological Approach to the Social Sciences. New York: Wiley, 1975.AcknowledgementsI would like to thank my supervisors Prof. Philip Schlesinger, Prof. Raymond Boyle and Dr. Myra Macdonald for their advice throughout this project. My gratitude also to the Carnegie Trust for the Universities of Scotland for funding fieldwork in 2007 and 2008. Finally, a big thank you to the editors and reviewers of M/C Journal for their insightful comments.

Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this program, internal and external students work together to develop and deliver an exhibition of their own work in progress. The exhibition space has a professional website (‘CQUniversity Noosa Exhibition Space’), many community members and the local media attend exhibition openings, and the exhibition (which runs for three to four weeks) becomes an outcome students can include in their curriculum vitae. This article reflects on the experiences, challenges, and outcomes that have been gained through this process over the past twelve months. Due to this time frame, the case study is exploratory and its findings are provisional. The case study is an appropriate method to explore a small sample of events (in this case exhibitions) as, following Merriam, it allows the construction of a richer picture of an under-examined phenomenon to be constructed. Although it is clear that this approach will not offer results which can be generalised, it can, nevertheless, assist in opening up a field for investigation and constructing a holistic account of a phenomenon (in this case, the exhibition space as authentic learning experience and productive teaching tool), for, as Merriam states, “much can be learned from a particular case” (51). Jennings adds that even the smallest case study is useful as it includes an “in-depth examination of the subject with which to confirm or contest received generalizations” (14). Donmoyer extends thoughts on this, suggesting that the single case study is extremely useful as the “restricted conception of generalizability … solely in terms of sampling and statistical significance is no longer defensible or functional” (45). Using the available student course feedback, anonymous end-of-term course evaluations, and other available information, this case study account offers an example of what Merriam terms a “narrative description” (51), which seeks to offer readers the opportunity to engage and “learn vicariously from an encounter with the case” (Merriam 51) in question. This may, we propose, be particularly productive for other educators since what is “learn[ed] in a particular case can be transferred to similar situations” (Merriam 51). Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Background The Graduate Certificate of Creative Industries (Creative Practice) (CQU ‘CB82’) was developed in 2011 to meet the national Australian Quality Framework agency’s Level 8 (Graduate Certificate) standards in terms of what is called in their policies, the “level” of learning. This states that, following the program, graduates from this level of program “will have advanced knowledge and skills for professional or highly skilled work and/or further learning … [and] will apply knowledge and skills to demonstrate autonomy, well-developed judgment, adaptability and responsibility as a practitioner or learner” (AQF). The program was first delivered in 2012 and, since then, has been offered both two and three terms a year, attracting small numbers of students each term, with an average of 8 to 12 students a term. To meet these requirements, such programs are sometimes developed to provide professional and work-integrated learning tasks and learning outcomes for students (Patrick et al., Smith et al.). In this case, professionally relevant and related tasks and outcomes formed the basis for the program, its learning tasks, and its assessment regime. To this end, each student enrolled in this program works on an individual, self-determined (but developed in association with the teaching team and with feedback from peers) creative/professional project that is planned, developed, and delivered across one term of study for full- time students and two terms for part- timers. In order to ensure the AQF-required professional-level outcomes, many projects are designed and/or developed in partnership with professional arts institutions and community bodies. Partnerships mobilised utilised in this way have included those with local, state, and national bodies, including the local arts community, festivals, and educational support programs, as well as private business and community organisations. Student interaction with curation occurs regularly at art schools, where graduate and other student shows are scheduled as a regular events on the calendar of most tertiary art schools (Al-Amri), and the curated exhibition as an outcome has a longstanding tradition in tertiary fine arts education (Webb, Brien, and Burr). Yet in these cases, it is ultimately the creative work on show that is the focus of the learning experience and assessment process, rather than any focus on engagement with the curatorial process itself (Dally et al.). When art schools do involve students in the curatorial process, the focus usually still remains on the students' creative work (Sullivan). Another interaction with curation is when students undertaking a tertiary-level course or program in museum, and/or curatorial practice are engaged in the process of developing, mounting, and/or critiquing curated activities. These programs are, however, very small in number in Australia, where they are only offered at postgraduate level, with the exception of an undergraduate program at the University of Canberra (‘215JA.2’). By adopting “the exhibition” as a component of the learning process rather than its end product, including documentation of students’ work in progress as exhibition pieces, and incorporating it into a more general creative industries focused program, we argue that the curatorial experience can become an interactive learning platform for students ranging from diverse creative disciplines. The Student Experience Students in the program under consideration in this case study come from a wide spectrum of the creative industries, including creative writing, film, multimedia, music, and visual arts. Each term, at least half of the enrolments are distance students. The decision to establish an on-campus exhibition space was an experimental strategy that sought to bring together students from different creative disciplines and diverse locations, and actively involve them in the exhibition development and curatorial process. As well as their individual project work, the students also bring differing levels of prior professional experience to the program, and exhibit a wide range of learning styles and approaches when developing and completing their creative works and exegetical reflections. To cater for the variations listed above, but still meet the program milestones and learning outcomes that must (under the program rules) remain consistent for each student, we employed a multi-disciplinary approach to teaching that included strategies informed by Gardner’s theory of multiple intelligences (Gardner, Frames of Mind), which proposed and defined seven intelligences, and repeatedly criticised what he identified as an over-reliance on linguistic and logical indices as identifiers of intelligence. He asserted that these were traditional indicators of high scores on most IQ measures or tests of achievement but were not representative of overall levels of intelligence. Gardner later reinforced that, “unless individuals take a very active role in what it is that they’re studying, unless they learn to ask questions, to do things hands on, to essentially re-create things in their own mind and transform them as is needed, the ideas just disappear” (Edutopia). In alignment with Gardner’s views, we have noted that students enrolled in the program demonstrate strengths in several key intelligence areas, particularly interpersonal, musical, body-kinaesthetic, and spacial/visual intelligences (see Gardner, ‘Multiple Intelligences’, 8–18). To cater for, and further develop, these strengths, and also for the external students who were unable to attend university-based workshop sessions, we developed a range of resources with various approaches to hands-on creative tasks that related to the projects students were completing that term. These resources included the usual scholarly articles, books, and textbooks but were also sourced from the print and online media, guest speaker presentations, and digital sites such as You Tube and TED Talks, and through student input into group discussions. The positive reception of these individual project-relevant resources is evidenced in the class online discussion forums, where consecutive groups of students have consistently reflected on the positive impact these resources have had on their individual creative projects: This has been a difficult week with many issues presenting. As part of our Free Writing exercise in class, we explored ‘brain dumping’ and wrote anything (no matter how ridiculous) down. The great thing I discovered after completing this task was that by allowing myself to not censor my thoughts by compiling a writing masterpiece, I was indeed “free” to express everything. …. … I understand that this may not have been the original intended goal of Free Writing – but it is something I would highly recommend external students to try and see if it works for you (Student 'A', week 5, term 1 2015, Moodle reflection point). I found our discussion about crowdfunding particularly interesting. ... I intend to look at this model for future exhibitions. I think it could be a great way for me to look into developing an exhibition of paintings alongside some more commercial collateral such as prints and cards (Student 'B', week 6, term 1 2015, Moodle reflection point). In class I specifically enjoyed the black out activity and found the online videos exceptional, inspiring and innovating. I really enjoyed this activity and it was something that I can take away and use within the classroom when educating (Student 'C', week 8, term 1 2015, Moodle reflection point). The application of Gardner’s principles and strategies dovetailed with our framework for assessing learning outcomes, where we were guided by Boud’s seven propositions for assessment reform in higher education, which aim to “set directions for change, designed to enhance learning achievements for all students and improve the quality of their experience” (26). Boud asserts that assessment has most effect when: it is used to engage students in productive learning; feedback is used to improve student learning; students and teachers become partners in learning and assessment; students are inducted into the assessment practices of higher education; assessment and learning are placed at the centre of subject and program design; assessment and learning is a focus for staff and institutional development; and, assessment provides inclusive and trustworthy representation of student achievement. These propositions were integral to the design of learning outcomes for the exhibition. Teachers worked with students, individually and as a group, to build their capacity to curate the exhibition, and this included such things as the design and administration of invitations, and also the physical placement of works within the exhibition space. In this way, teachers and students became partners in the process of assessment. The final exhibition, as a learning outcome, meant that students were engaged in productive learning that placed both assessment and knowledge at the centre of subject and project design. It is a collation of creative pieces that embodies the class, as a whole; however, each piece also represents the skills and creativity of individual students and, in this way, are is a trustworthy representations of student achievement. While we aimed to employ all seven recommendations, our main focus was on ensuring that the exhibition, as an authentic learning experience, was productive and that the students were engaged as responsible and accountable co-facilitators of it. These factors are particularly relevant as almost all the students were either currently working, or planning to work, in their chosen creative field, where the work would necessarily involve both publication, performance, and/or exhibition of their artwork plus collaborative practice across disciplinary boundaries to make this happen (Brien). For this reason, we provided exhibition-related coursework tasks that we hoped were engaging and that also represented an authentic learning outcome for the students. Student Curatorship In this context, the opportunity to exhibit their own works-in-progress provided an authentic reason, with a deadline, for students to both work, and reflect, on their creative projects. The documentation of each student’s creative process was showcased as a stand-alone exhibition piece within the display. These exhibits not only served not only to highlight the different learning styles of each student, but also proved to inspire creativity and skill development. They also provided a working model whereby students (and potential enrollees) could view other students’ work and creative processes from inception to fully-realised project outcomes. The sample online reflections quoted above not only highlight the effectiveness of the online content delivery, but this engagement with the online forum also allowed remote students to comment on each other’s projects as well as to and respond to issues they were encountering in their project planning and development and creative practice. It was essential that this level of peer engagement was fostered for the curatorial project to be viable, as both internal and external students are involved in designing the invitation, catalogue, labels, and design of the space, while on-campus students hang and label work according to the group’s directions. Distance students send in items. This is a key point of this experiment: the process of curating an exhibition of work from diverse creative fields, and from students located thousands of kilometres apart, as a way of bringing cohesion to a diverse cohort of students. That cohesiveness provided an opportunity for authentic learning to occur because it was in relation to a task that each student apparently understood as personally, academically, and professionally relevant. This was supported by the anonymous course evaluation comments, which were overwhelmingly positive about the exhibition process – there were no negative comments regarding this aspect of the program, and over 60 per cent of the class supplied these evaluations. This also met a considerable point of anxiety in the current university environment whereby actively engaging students in online learning interactions is a continuing issue (Dixon, Dixon, and Axmann). A key question is: what relevance does this curatorial process have for a student whose field is not visual art, but, for instance, music, film, or writing? By displaying documentation of work in progress, this process connects students of all disciplines with an audience. For example, one student in 2014 who was a singer/songwriter, had her song available to be played on a laptop, alongside photographs of the studio when she was recording her song with her band. In conjunction with this, the cover artwork for her CD, together with the actual CD and CD cover, were framed and exhibited. Another student, who was also a musician but who was completing a music history project, sent in pages of the music transcriptions he had been working on during the course. This manuscript was bound and exhibited in a way that prompted some audience members to commented that it was like an artist’s book as well as a collection of data. Both of these students lived over 1,000 kilometres from the campus where the exhibition was held, but they were able to share with us as teaching staff, as well as with other students who were involved in the physical setting up of the exhibition, exactly how they envisaged their work being displayed. The feedback from both of these students was that this experience gave them a strong connection to the program. They described how, despite the issue of distance, they had had the opportunity to participate in a professional event that they were very keen to include on their curricula vitae. Another aspect of students actively participating in the curation of an exhibition which features work from diverse disciplines is that these students get a true sense of the collaborative interconnectedness of the disciplines of the creative industries (Brien). By way of example, the exhibit of the singer/songwriter referred to above involved not only the student and her band, but also the photographer who took the photographs, and the artist who designed the CD cover. Students collaboratively decided how this material was handled in the exhibition catalogue – all these names were included and their roles described. Breaking Ground exhibition, CQUniversity Noosa Exhibition Space, 2014. Photo by Ulrike Sturm. Outcomes and Conclusion We believe that the curation of an exhibition and the delivery of its constituent components raises student awareness that they are, as creatives, part of a network of industries, developing in them a genuine understanding of the way the creating industries works as a profession outside the academic setting. It is in this sense that this curatorial task is an authentic learning experience. In fact, what was initially perceived as a significant challenge—, that is, exhibiting work in progress from diverse creative fields—, has become a strength of the curatorial project. In reflecting on the experiences and outcomes that have occurred through the implementation of this example of curatorial practice, both as a learning tool and as a creative outcome in its own right, a key positive indicator for this approach is the high level of student satisfaction with the course, as recorded in the formal, anonymous university student evaluations (with 60–100 per cent of these completed for each term, when the university benchmark is 50 per cent completion), and the high level of professional outcomes achieved post-completion. The university evaluation scores have been in the top (4.5–5/.5) range for satisfaction over the program’s eight terms of delivery since 2012. Particularly in relation to subsequent professional outcomes, anecdotal feedback has been that the curatorial process served as an authentic and engaged learning experience because it equipped the students, now graduates, of the program with not only knowledge about how exhibitions work, but also a genuine understanding of the web of connections between the diverse creative arts and industries. Indeed, a number of students have submitted proposals to exhibit professionally in the space after graduation, again providing anecdotal feedback that the experience they gained through our model has had a sustaining impact on their creative practice. While the focus of this activity has been on creative learning for the students, it has also provided an interesting and engaging teaching experience for us as the program’s staff. We will continue to gather evidence relating to our model, and, with the next iteration of the exhibition project, a more detailed comparative analysis will be attempted. At this stage, with ethics approval, we plan to run an anonymous survey with all students involved in this activity, to develop questions for a focus group discussion with graduates. We are also in the process of contacting alumni of the program regarding professional outcomes to map these one, two, and five years after graduation. We will also keep a record of what percentage of students apply to exhibit in the space after graduation, as this will also be an additional marker of how professional and useful they perceive the experience to be. In conclusion, it can be stated that the 100 per cent pass rate and 0 per cent attrition rate from the program since its inception, coupled with a high level (over 60 per cent) of student progression to further post-graduate study in the creative industries, has not been detrimentally affected by this curatorial experiment, and has encouraged staff to continue with this approach. References Al-Amri, Mohammed. “Assessment Techniques Practiced in Teaching Art at Sultan Qaboos University in Oman.” International Journal of Education through Art 7.3 (2011): 267–282. AQF Levels. Australian Qualifications Framework website. 18 June 2015 ‹http://www.aqf.edu.au/aqf/in-detail/aqf-levels/›. Boud, D. Student Assessment for Learning in and after Courses: Final Report for Senior Fellowship. Sydney: Australian Learning and Teaching Council, 2010. 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