# data[].attributes.body
A high school band I played electric guitar in, Romeso. 2004.

# data[].attributes.body
A comic I created when I was 11 years old.

# data[].attributes.body
Bunt, B. (2012). Media art, mediality and art generally. Leonardo, 45(1), 94-95. Retrieved 3 April 2020, from http://www.jstor.org/stable/41421814.

Carr, M. (2001). Learning stories. In Assessment in early childhood settings: Learning stories(1st ed., pp. 92-105). Paul Chapman.

Healy, A., & Ryan, M. (2008). ‘Art’efacts of knowing: Multiliteracies and the arts. In A. Healy, Multiliteracies and diversity in education: New pedagogies for expanding landscapes (1st ed., pp. 82-101). Oxford university Press.

Morgan, J., & Welton, P. (1992). Meaning, connotation and empathy. In See what I mean?: An introduction to visual communication (2nd ed., pp. 34-35). Edward Arnold.

# data[].attributes.body
Creating a keychain with my 3D printer.

# data[].attributes.body
A representation of playing the Grand Visier character in Ali Baba and the Forty Thieves play in high school. 2002.

# data[].attributes.body
Dramatic play with my daughter. Obviously, she is enjoying it as much as I am. 2017.

# data[].attributes.body
This is an older clip demonstrating dancing with my family. However, this still occurs often and we all get involved.

# data[].attributes.body
An appreciation of Michael Jackson's talent and dedication to dance and performance.

# data[].attributes.body
Coldplay's 'Adventure Of A Lifetime'.

# data[].attributes.attachment_link.title
Coldplay - Adventure Of A Lifetime (Official Video)

# data[].attributes.body
Watercolour painting of a butcher's cleaver. 2020.

# data[].attributes.body
A Gestalt analysis I did on an image. 2019.

# data[].attributes.body
Experimentation with lines, textures and tones. 2020.

# data[].attributes.body
An inspirational book given to me by my parents. 1999

# data[].attributes.body
Early pencil illustration. c. 2002.

# data[].attributes.body
A triptych I designed in Adobe Photoshop. 2019.

# data[].attributes.body
A motion graphic I created using Adobe After Effects. 2020.

# data[].attributes.body
A representation of art I created in Minecraft in my teens.

# data[].attributes.body
A website I created using the WordPress platform. 2020.

# data[].attributes.attachment_link.description
As people's lives are supernaturally transformed by Gods "amazing grace" they receive fresh hope and new purpose. That transformation touches their homes, families, friends, schools and workplaces, both in this community and beyond, for generations to come.

# data[].attributes.body
Running out of room for all of my gear. 2018.

# data[].attributes.body
My live keyboard set up. 2019.

# data[].attributes.body
Photo of me with my beloved Ibanez RG350. 2013.

# data[].attributes.body
Representation of when I learned to play clarinet in Year 4.

# data[].attributes.body
Performing live at church. 2019.

# data[].attributes.body
I would wake up at 6:00 AM every saturday morning to watch 'RAGE'.

# data[].attributes.body
Tablature notation I created for different sections of a song. I have a large collection of tablature that I have notated by ear.

# data[].attributes.body
Creating a song in Ableton Live. 2020.

# data[].attributes.body
Music, in its many forms, has been a significant passion in my life for many reasons. Regarding Healy & Ryan's (2008, p. 86-87) table, I consider myself currently to flow between many stages. I often find myself cycling back to 'experiencing the new' (Healy & Ryan, 2008, pg. 86) as a result of learning new instruments or music software.

From a very young age, I was always listening to music through my parents' interests, including the popular television show 'RAGE'. I developed favourite genres and artists and begun to learn their songs, described by Healy & Ryan (2008, pg. 86) as 'experiencing the known'. Through my primary school years, I was provided with the opportunity to learn to play the clarinet, which involved after school tuition. Thereby, I learned to read music and was involved in the school orchestra. These years formed the foundations of my passion for music and the ability to express myself through music.

In my early teen years, I began learning guitar and played in a band called Romeso, recording three tracks. I expanded across multiple instruments, including software-based tools and music creation programs. In particular, I became involved in a church band and truly began to apply the skills I had acquired. This involvement included producing genre-specific and "recognisable art forms" (Healy & Ryan, 2008, pg. 87), and by applying a range of effects through rehearsal and experimentation. These effects include the use of dynamics (swell or cut), tone and effects (delay, distortion or reverb), structure (loose or rigid) and instrumentation (which instruments play in any given section). Furthermore, I have begun 'experimenting' (Healy & Ryan, 2008, pg. 87) with composition using Ableton Live and Garageband in the past few years, including sampling and sound design. Perhaps my most important point of view regarding music follows the well-known phrase, 'music is a universal language' with the ability to transcend barriers, eliciting an emotive response from its audience.

# data[].attributes.body
Throughout my life, I have varied interactions with drama as a participant and as an observer. Although through my childhood and teens, I faced many insecurities, I am now more open to engaging in drama. Regarding the Healey & Ryan (2008, p. 86-87) table, I am predominantly in the 'experiencing the known' stage.

In high school, I portrayed the Grand Vizier in our class play Ali Baba and the Forty Thieves. Although the character I played was a relatively minor role with minimal words, I distinctly remember experiencing intense anxiety. It is this feeling that guided me away from a participatory role in drama to a disposition of spectatorship (Carr, 2001).

Playing with my two children forms a significant personal engagement with drama. I have become quite cautious not to impose my negative dispositions on other people (mainly my children) as I understand the value of self-discovery. Additionally, I love to see children learn and explore through imagination and dramatic play. As such, I continuously challenge my dispositions to become a character in my children's games and books.

My knowledge of drama is somewhat limited regarding the meta-language, theory and techniques used. However, I can undoubtedly compare and describe performances and offer my personal opinion (Healy & Ryan, 2008, pg. 86). In cinema, when observing an excellent performance, I forget that I am watching and become part of the scene, finding a great sense of awe and appreciation in the art form. For example, I consider the actor's embodiment of the character and conveyed emotion which is translated through movement, tone of voice, body language and subtle personality (or physical) character traits.

# data[].attributes.body
Dance has played an interesting role in my life, from the awkward school 'dances' to watching and appreciating artists such as Michael Jackson. Before EMA117, I had never consciously considered dance as a creative art. Primarily, this is due to my family life and upbringing, personal interests and disposition towards engagement with dance (Carr, 2001).

Relating my own experiences to the table presented by Healy & Ryan (2008, pg. 86), I consider myself as 'experiencing the known'. For example, I can describe how dance occurs in my everyday life, share my favourite dancers or styles and offer my personal opinion regarding a performance (Healy & Ryan, 2008, p. 86). Dance in my daily life primarily occurs through spontaneous outbursts with my children or wife, creating an atmosphere of excitement and freedom. Another example is a playlist I have created on YouTube, primarily featuring music with dance forming the visual component. Our favourite video clip is Coldplay's 'Adventure Of A Lifetime', featuring computer-generated apes dancing on screen. This clip provides an excellent example of multiple modes within the creative arts.

Through my understanding of music, I can discern the relationship between dance and music, how one affects the other using fundamental metalanguage such as genre, tempo, rhythm and key (major or minor). Although I have not been particularly interested in engaging in dance in the past personally, I certainly appreciate the exceptional level of skill and physical coordination that is required.

# data[].attributes.body
Provided that I dedicate time to the process, I experience a significant creative outlet through visual arts. However, I have young children now and a lot of my time and energy is used not only caring for but developing my children's love for art. As a developing artist, I consider myself to be drawing from multiple stages of the Healy & Ryan (2008, p. 86-87) table. However, I primarily work around the analytical stages, 'analysing functionally' and 'analysing critically' (Healy & Ryan, 2008, p. 86).

From a young age, I would spend many hours drawing and colouring in, continuing into my teen years. These early stages of my life demonstrate the 'experiencing the known' and 'experiencing the new' aspects of the Healy & Ryan (2008, pg. 86-87) table. Both of my parents encouraged my pursuit of visual arts by buying inspirational books and spending time with me drawing. This imparting has highlighted the impact, and therefore importance, of a parent's disposition towards the creative arts (Carr, 2001). During my early teen years, I also discovered the communicative quality of visual arts through the creation of comic strips.

Throughout my university studies, I have discovered the role and use of different elements within visual arts. For example, how certain principles and theories are used (such as Gestalt principles) to create meaning beyond the 'denoted' and move into 'connotation' through the representation of colour, text, typography and iconography (Morgan & Welton, 1992). Furthermore, I have begun exploring how these connotations are dependent upon cultural conventions and understandings. Although I have not discovered my unique style of visual art, I am developing a foundation of theory as a platform in continuing attempts to 'apply appropriately' and 'apply creatively' (Healy & Ryan, 2008, p. 87).

# data[].attributes.body
Media arts consists of a diverse range of skills and is often referred to as interdisciplinary or "trans-disciplinary" (Bunt, 2012, p. 94). I thoroughly enjoy learning new media software and extensively self-learning by imitating online resources (or following tutorials) then applying the new skills appropriately (Healy & Ryan, 2008, p. 87). Regarding the Healy & Ryan (2008, pg. 86-87) table, I would consider myself fluid through many of the knowledge processes. This is due to the various modes of media art; as I gain a more in-depth knowledge of specific media art, I am also learning new modes and returning to the start of the process.

I have always appreciated media art, specifically through the application of cinematic films and video games. Interestingly, video games can extend to user interaction through the creation of art within the game itself (e.g. Minecraft), which I engaged in throughout my late teens. These examples are crucial to my aspirations to learn different forms of media art.

Being part of a local church has allowed me to "apply new skills in appropriate ways" (Healy & Ryan, 2008, p. 87). For example, I have been able to create a website and create promotional videos. Both website and video, as mentioned previously, require the ability to "produce recognisable art forms" (Healy & Ryan, 2008, p. 87) and to "apply new skills in appropriate ways". For example, I used digital drawing and digital image manipulation (similar to the headings in this poster) to achieve the desired results, often experimenting "with new techniques and design elements" (Healy & Ryan, 2008, p. 87). This process involves understanding the task and audience, then exploring all of the various elements that form the design. These elements consist of recognising my current abilities, colour palette, sequencing, audio and timing, layout, and consideration of the Gestalt principles. As previously noted, I have achieved some aspects of appropriation as described by Healy & Ryan (2008, p. 87). However, I am still in the learning stages and would benefit to a great extent with formal training and education in the area of media arts.