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Event: Still Life Painting Workshop, Sydney

Make the most out of your Sunday with this art workshop.

Peacock Gallery presents Still Life Painting Workshop with Sydney artist and former ARTBAR curator Anney Bounpraseuth. In this class, Bounpraseuth will share her vibrant practice and way of making.

Materials will be provided. Tickets are $15. For more information, visit the Eventbrite page.

Sunday, June 10, 12.30-2pm | Peacock Gallery and Auburn Arts Studio, Auburn Botanic Gardens, Corner of Chiswick and Chisholm Roads, Auburn

Music: Sydney Composer Receives Sandra and Alan Silvestri Scholarship

A Sydney-based composer has been awarded with the coveted Sandra and Alan Silvestri Scholarship, and is headed for the world’s most prestigious scoring course.

Screen composer Angela Little will undertake a Master of Music at the University of Southern California in Los Angeles, a highly selective program that admits only 20 students per year. Notable alumni of the screen scoring course include Christophe Beck (Frozen), Bear McCreary (Outlander), James Newton Howard (The Hunger Games) and Marco Beltrami (The Hurt Locker).

“I couldn’t believe it when I received a personal email from Alan Silvestri congratulating me on winning this scholarship!” said Little. “His music affected me deeply from a young age – these are the people you dream of meeting as a film composer.”

Little’s past work included The Clinic and documentary Zach’s Ceremony, which was nominated for a 2017 AACTA Award. Little’s work will also appear in 2018 releases such as Steve Jaggi’s Chocolate Oyster and SBS documentary series How Mad Are You?.

Ways to Challenge Yourself as An Artist

As an artist, it is common to feel stuck in a rut or creatively stunted. When this happens, it is a good idea to open yourself up to new challenges that will make you learn and discover important knowledge – not only on the arts itself, but also yourself as an artist. Here are a few ways to nurture, develop and expand your artistic instincts.

Enrol in a Course

There is always something new to learn. Try something outside your general field – so if you’re an illustrator, do some vocal or drama courses. Chances are, you will learn something new and inspiring to bring back to your regular work.

Limit Stimulations

Kind of the opposite from the previous tip, but still works just as fine. In a world where Internet reigns and every kind of content can be found with a tap of finger, it is very easy to become overstimulated. Try to cut down on unnecessary content and focus on your work. To make it easier, you can also opt to produce works based on just one theme for a certain period of time. For example, writing flash fictions exclusively for a week or using just one colour family for your design.

Do a Public Challenge

Ever heard of NaNoWriMo? It is short for National Novel Writing Month, which is an Internet-based creative writing project held every November. Online challenges like this not only help you stay accountable, but the community behind them will also keep you motivated, with other artists to share your experiences with. This also brings us to the next tip…

Meet Your People

Wherever possible, meet up with people of similar profession and/or passion to you – not just to gain the newest updates in the industry, but also to expand your network and find opportunities for collaboration and gigs! Getting to know other people’s projects can also give you the inspiration you need to get started on your own.

Enter Contests

Getting a passion project done and being in the running for monetary prize – why not? It indeed can be daunting to participate in a competition, but you can always learn something new by exposing your work to a fresh pair of eyes.

How Being in the Nature Can Make You A Better Artist

Nature provides some of the greatest arts that humankind has ever seen through unique objects and visual experiences. Because of this, spending time in nature is beneficial for designers, illustrators, sculptors, painters, photographers and other creatives alike. Here are a few reasons why natural arts can help artists grow and improve in their works.

Health, Mental and Spiritual Benefits

Being in the natural world has been proven to bring health benefits and promote mental and physical well-being. Studies found that being outdoors not only helps in reducing stress levels and controlling blood pressure, but it also is potent in relieving mental fatigue, decreasing anxiety and depression, as well as generating a sense of awe – all of which are supportive of your artistic endeavors.

Inspiration for Artworks

Stuck in a creative rut? Beautiful natural objects and landscapes are a great source of inspiration and new perspectives. “Artwork based on nature is aesthetically pleasing and deeply calming, and in some cases, it can evoke more rushed emotions when based on powerful forces of nature,” says Fine Art America. “Art inspired by nature works to remind humanity of its connection with the universe that surrounds it.” Need some proof? Check out the works of environmental artists like Andy Goldsworthy or Agnes Denes.

A Study in Material

An hour of exploration and observation in the nature will expose you to various materials, textures, colours and other visual elements, all of which can serve as a reference for your next art project. You can also learn more about ways to use natural materials sustainably.

The Lowdown: Australian Copyright Laws

Ready to learn?

Let’s start with what is copyright? Basically it is how a creator can protect their labour and creativity legally and can sometimes extend beyond economic loss however there are some differences between design and general copyright protection:

  • Protection under the Designs Act 2003 (Cth) requires a formal application for registration before rights are obtained. Before you can pursue anyone for infringement of a registered design, it must be examined and certified by the Registrar. Unlike enforcing copyright, which does not require any formal registration or certification process.
  • Design registration requires a  fee whereas copyright protection is automatic and free (yay!).

Copyright Protection

What must be met for copyright protection:

  • Product meet the definition of ‘artistic work’ (such as a painting, a  drawing, sculpture or work of artistic craftsmanship).
  • The work must be in material form. This means it cannot be a mere idea or theory.
  • The product must be original, artistic work, meaning  the work cannot be copied from another person. If you are claiming copyright for it, it must come from you.

If your work/product meets the above then registration for copyright is not necessary as it is automatic. Keep in mind though, you will need to have proof that the work is originally yours so things like progress images, prototypes etc. help disputes of copyright ownership. After all, there’s no point getting the law involved if you can’t prove your background and claim is legitimate.

Design Protection

An important thing to note is the differences between design and copyright protection:

  • This protects a product’s appearance but not it’s function.
  • However if the function is related to a product’s appearance will not disqualify it from registration.
  • It must be distinctly different to existing product designs publicly used in Australia, or published in a document anywhere.

Important Things To Note

  • Unless dual protection (copyright and design protection) is possible, copyright protection is lost when a design is registered.
  • Once a product has been reduced at industrial quantities, copyright protection is lost and it is also no longer possible to register the design.

Digital: Best Software for Producing Music

Alright! So you want to try your hand at producing music, you’ve got your basic gear but what  about the software? DAWs (Digital Audio Workstations) are a type of software that basically works as a blank space in which you can drop your audio and start playing from there! But this type of thing can also be fairly pricey so this list will give you a healthy spending range no matter how deep that wallet of yours is:

Ableton Live

Experience level: Moderate – Expert

This one is pricey, I’ll admit but for those who are in it for the long run, this is quite worth it. It has unlimited multi-track recording, seamless MIDI sequencing software and hardware and no uh… troubles with their MIDI controllers getting mapped to the sounds through the DAW. Oh and another big bonus; sound packages ARE included!

Avid Pro Tools

Experience level: Expert – Pro

A more or less industry standard, you can compose, record, mix, edit, master, etc. its own Avid Audio Engine which gives you some dang fast processing with the addition of a 64-bit memory capacity for lag/freeze-free sessions.

Propellerhead Reason

Experience level: Kinda Beginner – Kinda Pro

A fairly zippy piece of software, that’s about half the price of Avid Pro, drag and drop-able for your convenience and even includes amp and speaker plug-ins for those of you who want to record and drop in your own guitar sound bites. And a bonus for the lazier of us; auto trimming wooh!

Sony Acid

Experience level: Beginner – Nostalgic

An oldie but a goodie, many of us started on this one so it’ll always have a special place in our hearts. This is where the beginners can learn, with a fairly intuitive interface and, although the older version were a little uncooperative with the MIDIs, nowadays they’ve fixed that up pretty well making it a solid tool for beginners all the way up to the experts.

PreSonus Studio

Experience level: Moderate – Semi Pro

Something that has all the essentials is PreSonus, it’s your very own all-in-one workstation with MIDI, VST, buses and FX channels, drag-and-drop (of course), mastering integration, unlimited tracks and more. If you feel you’re getting more serious but still want to keep things relatively simple then this is a good choice.

Graffiti: Vandalism or An Art Form?

What is “art” really? And how can we define the term? To put it simply, “art” is a form of expression. Anyone with a background in art can tell you that, regardless of the medium or the canvas. But where do we draw the line with street art? Graffiti has been a controversial topic of discussion in the art world, with many conservative audiences arguing that it is a form of vandalism. Let’s deconstruct the legal implications of graffiti.

Let’s say someone has painted over your car or your house without your permission. You wouldn’t be very happy about that. But would you feel the same if the painting was a beautiful work of art rather than a street tag? Do we discriminate the artwork based on its style or skill level? Or do we disregard the painting altogether because it’s someone’s property?

According to Angie Kordic from Wide Walls, “the excitement of being a renegade and the fear of getting caught is what many artists consider the very core of graffiti culture, especially during the days of rough, growing competition and the willing to become as good at drawing as you possibly could. When caught in act, however, the writers get charged with vandalism, fined, and given community service hours during which they help clean up graffiti. By definition, it is “an action involving deliberate destruction of or damage to public or private property”, and while we can’t argue that graffiti (mostly tags, considered a reductive form of art within graffiti community itself) often end up on someone’s walls, we do have to wonder if it really is “destruction” and if, perhaps, we’ve been asking the wrong question the whole time.”

What do you think? Is graffiti a form of vandalism?

Sources from: http://www.widewalls.ch/is-graffiti-art-or-vandalism/

Music: David Duchovny Announces 2018 Australian Concert Tour

The X-Files star David Duchovny is coming to Australia… to sing. Yes, you read that right.

Duchovny has announced his 2018 Australian concert tour with a new album, which is set to be launched later this year.

The actor’s debut studio album Hell or Highwater was released two years ago, featuring alternative rock sounds inspired by Bob Dylan, R.E.M, Leonard Cohen, and the Flaming Lips.

Duchovny will be touring Australia throughout February and March 2018, with shows in Melbourne, Sydney, Newcastle, Wollongong, and Brisbane.

Pre-sale begins on Wednesday, May 31, while ticket sales to general public start on Friday, June 2. For more information, visit Select Touring website.

Visual Arts: Artist To Watch – Furry Little Peach

Furry Little Peach or Sha’an d’Anthes is an illustrator and visual artist based in Sydney, Australia.

The 24-year-old specialises in watercolour and ink, and her illustrations often feature animals. “I first began posting on Tumblr when I should have been preparing for the HSC,” d’Anthes told Creators. “I must have been 16 or 17 when I posted my first drawing online, and then discovered that the Internet was a great place to connect with both your audience and other creatives.”

 

d’Anthes often shares her work through Instagram and vlogs, where audiences can watch her working process in the studio.

Currently d’Anthes is selling artworks, enamel pins and sticker sets from her website. She is also participating in a project called “Fragments: Raising Fund for Syria”, where all proceeds from her new series of artworks will be donated to Care Australia for Syrian refugees.

Explainer: What is Experience Design?

Faye Miller, Queensland University of Technology

“It’s not just a _____, it’s an experience.” The Conversation

Substitute the blank space above with just about anything these days (car, meal, city, website, course, concert, charity, therapy), and you get the unofficial catch cry of the early 21st century.

Whatever you have to promote to the world – among the endless options in category X competing for attention – is not desirable without it being an “experience”.

But what exactly does that mean? And what does it mean for the two groups of people who potentially collaborate to provide it – the creative types and the business types?

Experience and design

Experiences are ultimately about human perceptions, memories and impressions. Psychologically speaking, how a person experiences an event or phenomenon is an emotional and rational response to an outside stimulus.

Once lived, an experience can be stored as a memory within a person’s mind – and we all know we like to keep pleasant memories that “stick” for the right reasons.

Design usually falls into the domain of the creative types; but “design thinking” is becoming an acceptable and popular practice for just about anyone. As Tim Brown, CEO of global design firm IDEO put it:

Design thinking is a human-centred approach to innovation that draws from the designer’s toolkit to integrate the needs of people, the possibilities of technology, and the requirements for business success.

That means anyone who wishes to innovate can design – that is, visualise, map, conceptualise, sketch – solutions based on gathering knowledge of how people behave in terms of technological use or non-use, and how this knowledge can advance the aims of an endeavour.

When we talk about designing experiences, it is important to first understand how certain types of people experience something in context, and then design or facilitate experiences that make a positive difference for people.

Exponomy

In the US and Europe, the so-called “experience economy” (also known as exponomy) is on the rise as a potentially transformative concept for businesses, consumers and society in general. The idea can be traced back to 1998, when B. Joseph Pine II and James H. Gilmore of Harvard Business School introduced a new way of thinking about commodities not just being about goods and services.

Commodities were, the pair argued, more about human experiences that are highly memorable and emotionally engaging enough to sustain long-term value and relationships. Such experiences were powerful enough to change the ways in which people lived and behaved. In short, Pine and Gilmore believed people were willing to pay more for the commodity with the X-Factor.

This suggests companies need to pay much closer attention to the design of experiences co-created by their customers. Businesses need to provideopportunities for customers to participate in experience design through user research. Similarly, a collective mindset needs to be cultivated that allows businesses to realise the interrelatedness of different companies and industries.

This would help them design for experiences that are collaborative across different sectors. For example, a major fashion event would collaborate with the entertainment, media and tourism/hospitality industries to provide an audience with a lasting impression through a multi-sensory experience that is both enjoyable and prosperous.

In recent years, “experience” related positions such as User Experience (UX) Designer/Researcher and Chief Experience Officer (CXO) have increasingly become more visible in organisations of all types.

While some creative positions have a narrow focus on designing digital experiences for website users, others at the senior executive level, such as CXO, aim to plan and maintain a more holistic user-business-technology experience, including “blended” experiences online and offline.

Some experience designers work as freelance consultants, either independently or as part of a design firm, for clients in a range of sectors.

Experience design globally and in Australia

In practice, experience design has grown to include the personalisation of experiences through better understanding of different types of human beings combined with unique, innovative ideas developed by company leaders. Perhaps the most well known example of a globally influential and transformative experience-based commodity is Apple.

Apple changed the way people experienced technology with simple interfaces, interactive gestures and memorable branding permeating the products through to their digital and in-store service. This design was a combination of user needs and behaviour which Apple designers perceived and their own creativity, as Steve Jobs himself put it:

Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, they just saw something. It seemed obvious to them after a while. That’s because they were able to connect experiences they’ve had and synthesise new things. And the reason they were able to do that was that they’ve had more experiences or they have thought more about their experiences than other people.

A lot of people in our industry haven’t had very diverse experiences. So they don’t have enough dots to connect, and they end up with very linear solutions without a broad perspective on the problem. The broader one’s understanding of the human experience, the better design we will have.

While the tech industry in the US seems to have embraced the experience economy (with US-based innovation firm frog this year declaring its “coming of age”), the concept has impacted upon many types of businesses and sectors across the globe.

Australian businesses are now starting to acknowledge the emergence of the experience economy with sectors such as (but not limited to) arts and entertainment, tourism, and higher education re-thinking their roles as key players.

Recently, the Australian independent music industry was explored conceptually for the first time using an experience-economy lens, acknowledging the complex relationships and interactions between music business entrepreneurs, musicians, music fans, and the digital and live music experiences.

While these elements usually work in isolation, the exponomy (and experience designers/CXOs who implement the concept) are able to unite them on common ground. Furthermore, exponomy highlights the fusing of industries towards increasing value for all stakeholders involved in a given venture.

A good example of this is the recent collaboration between Australian musicians and wine tourism campaigns, featuring a Nick Cave classic soundtrack for the Be Consumed at Barossa Valley cinematic multi-sensory advert (see above).

The ad won international acclaim as best tourism ad at Cannes and has succeeded in its goal of attracting more tourists to visit Barossa Valley as a result. This shows that real-life experiences can begin with audio-visual tempters designed to engage imaginations on a personal level.

In the same way, higher education in Australia as a major service provider is currently reframing its understanding of how to design for diverse experiences for students, teachers, researchers and research users.

Designing experiences that acknowledge, enthuse, inspire and potentially positively transform the whole person – not just the customer, employee, student or statistic – appear vital to sustaining long-term partnerships.

 

Faye Miller, PhD Candidate, Information Systems, Queensland University of Technology

This article was originally published on The Conversation. Read the original article.