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Dozens of Melbourne graffiti artists participated in a beautiful, colour themed makeover of a carpark opposite the famous Rose St Artists Market in Fitzroy, gifting their artwork to the community at large.

The Rose St Carpark paintup took place over a period of four weeks in Melbourne vibrant suburb of Fitzroy.

The project was organised by Dvate and Kid Paris, who invited a diverse range of artists to participate.

Each section of the public carpark was themed according to a colour scheme, bringing the production together as a cohesive outdoor graffiti gallery for all to enjoy.

Photographer-Dean Sunshine

The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

Stories from Melbourne Street Art by Invurt.com & Land of Sunshine

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Dozens of Melbourne graffiti artists participated in a beautiful, colour themed makeover of a carpark opposite the famous Rose St Artists Market in Fitzroy, gifting their artwork to the community at large. The Rose St Carpark paintup took place over a period of four weeks in Melbourne vibrant suburb of Fitzroy.

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The Tannery DIY Skatepark Preston - Melbourne DIY Skateparks

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Be respectful of the land and it’s custodians and you’ll be looked after. #aboriginaltiktok #aboriginalaustralia #aboriginalaustralia #thisisaustralia #wildaustralia #australia #australianhistory #ancientaustralia #traditionalcustodiansofthisland #wildreaches

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@wildreaches2
Be respectful of the land and it’s custodians and you’ll be looked after. #aboriginaltiktok #aboriginalaustralia #aboriginalaustralia #thisisaustralia #wildaustralia #australia #australianhistory #ancientaustralia #traditionalcustodiansofthisland #wildreaches
♬ Aboriginal Dream (Didgeridoo mix) - Native Born

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How do you feel when you sit or move through this space? What can you sense, feel, hear?

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How do you feel when you sit or move through this space? What can you sense, feel, hear?

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Ephemeral responses - collaborative wall installation

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Ephemeral responses - collaborative wall installation

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Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation

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Ancestors & Past - Wurundjeri Woi Wurrung Cultural Heritage Aboriginal Corporation

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As a young boy he experienced the occupation of his father's traditional lands and was present at the meeting between his Elders and Tasmanian pastoralist John Batman ( the infamous "Batman Treaty"). Barak had three marriages and fathered several children none of whom survived past the age of 14.

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On 3 June 1992 the High Court of Australia ruled that a group of Torres Strait Islander people, led by Eddie Mabo, held ownership of the Murray Islands, including Mer. In acknowledging the traditional rights of the Meriam people to their land, the court also held that native title existed for all First Nations peoples.

This landmark decision led to the Australian Government introducing native title legislation the next year. It also proved that Australia was not terra nullius (land belonging to nobody) when it was claimed by Britain.

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Mabo decision | Australia's Defining Moments Digital Classroom | National Museum of Australia

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On 3 June 1992 the High Court of Australia ruled that a group of Torres Strait Islander people, led by Eddie Mabo, held ownership of the Murray Islands, including Mer. In acknowledging the traditional rights of the Meriam people to their land, the court also held that native title existed for all First Nations peoples.

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About Bringing Them Home | Bringing Them Home

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Bringing them Home was the name given to the final report of the National Inquiry into the Separation of Aboriginal and Torres Strait Islander Children from Their Families conducted by the Human Rights and Equal Opportunity Commission (now called the Australian Human Rights Commission).

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Connections to past, connections to present. The world's oldest continuous living culture

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

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This Aboriginal pedagogy framework is expressed as eight interconnected pedagogies involving narrative-driven learning, visualised learning processes, hands-on/reflective techniques, use of symbols/metaphors, land-based learning, indirect/synergistic logic, modelled/scaffolded genre mastery, and connectedness to community. But these can change in different settings.

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The mapping of landscapes has long been a necessity for human survival.

For hundreds of years, communities have thrived in their environments by using maps that look different from what many of us would now visualise upon hearing the word. Cartographic information is not limited to representation on paper. Commonly, it exists in the mind, developed through cultural practice and oral passing of knowledge from generation to generation. Cognitive spatial conceptions have enabled communities to succeed in navigating within ocean and terrestrial spaces and survive challenges that nature imposes.

In Polynesian communities, for example, their comprehensive education in topography, cloud forms, wildlife migration and ocean swells is laden with morals and values. Conceptual compasses are developed in youth through the storytelling of myths and legends of how the shape and terrain of landscapes came to be. Some Indigenous New Zealand Māori tribes share the story about their ancestor hauling up an enormous fish, despite his brothers laughing at him in disbelief that he is capable of catching fish. These Māori communities know the country's North Island as Te Ika A Maui (the fish of Maui), referencing the long spit of land as the fish's tail and reinforcing to new generations this lesson about perseverance and bravery. Proverbs, song and dance also share stories about stars, tsunamis, and the migratory routes of whales and birds, alongside lessons about family, identity and values.

Māori stories encompass a spiritual explanation for natural life systems: that people, trees, rivers, mountains and birds share the same ancestors in the sun, the wind and the water. Māori understand their obligation is to protect the environment and continue the legacy of their ancestors. With the knowledge gained from mythology and cardinal direction sourced from nature, Māori culture developed little need for physical maps. Even in the night, the merging of storytelling and astronomy is used to navigate through the Pacific.

Many pacific island communities developed an ability to use celestial navigation to travel across the vastness of the Pacific Ocean. Experts educate youth on how to recognise constellations and use star position to understand one's location in a landscape of empty blue. When a sailor recognised a star pattern, such as the Southern Cross, they could then observe its position in relation to the horizon to judge their latitude and direction of travel. These teachings were incorporated into spiritual narrative.

As well as storytelling and studying nature, language can be fundamental to the knowing of cardinal orientation. For example, the Guugu Yimithirr, an aboriginal community in the far north of Queensland, describe space using absolute orientation. Instructions describe location as a fixed position, similar to the coordinate system, where the angle of which the speaker is facing is irrelevant. Instructions may sound like, "Place this on the Eastern table" or "Walk North". Contrast this with English where instructions often rely on a relative object to communicate spatial orientation so that directions may sound like, "Move that in front of (that table)" or "Walk straight ahead and turn to your right". This is sometimes referred to as egocentric orientation, and it gives a person or object an important role in the context of the spatial description, where they are a landmark to which locations around them are relative to.

Guugu Yimithithrr use absolute orientation to construct a profound mental map of their placement within a landscape, resulting in remarkable navigational abilities. While driving through winding roads of unfamiliar country, speakers of Guugu Yimithirr are immediately able to point in the direction of coordinates or landmarks. The Guugu Yimithirr have also developed the ability to navigate at night when vision is obscured and there is no sun to provide guidance. Constant practice of spatial awareness has been fundamental to achieving these abilities.

Indigenous cartographies generated through studying waves, weather and animals, have accuracy similar to geographic information system (GIS) software, which is increasingly perceived as the finite method of mapping the world.

Certainly, GIS mapping is a key player in land management decision making across the globe. It is effective in communicating physical conditions, for example, showing areas where soil is unstable to build houses upon or areas at risk of flooding from stormwater drainage. However, so much of the environment's story is often excluded from these datasets. GIS mapping systems do not factor in a land's history, culturally significant landmarks or values of those who occupy the land. It can also serve as a tool to reinforce and justify colonial land claims by bearing the territorial lines and place names that were determined by colonisers-both of which have little relevance to the environment the text is placed upon.

In the most culturally different corners of the world, it would be unsurprising to find identical maps hanging on school walls, bearing the territorial lines originally drawn by European colonisers. There's a quote by American geographer Bernard Nietschmann: "More indigenous land has been claimed by maps than guns."

It is often with unquestioning mindsets that we take Eurocentric maps as our window to comprehending the world geographically. This acceptance of maps as factual depictions of land can give maps the power to construct our sense of reality. This is dangerous because maps are not isolated from political agendas.

Indigenous cartographies provide valuable understandings of place, direction and environment. Many cultural aspects in Indigenous communities are attached to this understanding, with it embedded in art, speech and rituals. This knowledge, if circulated and included in far-reaching communication platforms, can be utilised worldwide to assist environmental research and land use projects everywhere.

Hawaiian Indigenous cartographer Dr Renee Pualani Louis stresses the necessity to not only include Indigenous epistemology in GIS products but to educate communities about the power that maps have in representing social and cultural conditions. She says, "Only then can Indigenous people become truly empowered cartographically, because only then can they say with certainty which parts of their world can and should be mapped and which parts cannot or should not be mapped with any tradition but their own." Supporting Indigenous cartographers in their careers will ensure progression towards better representation of Indigenous perspectives in geospatial land analysis.

"It is my belief that Indigenous peoples need to reawaken the imagery of their cultural heritage, re-create the mental maps of their ancestors by practising our oral and performance cartographies and, where appropriate, incorporate modern-day cartographic techniques by adapting them to their cultural epistemologies," Pualani Louis says.

Several projects have been designed to produce maps in which Indigenous communities control land representation. A counter-mapping project led by Digital Democracy began in 2015 to develop maps of Waorani territory that represented the cultural and social value of Ecuadorian land to the Indigenous Waorani communities who have lived there for thousands of years. In this process, all members of the community were invited to draw their knowledge of the land's features on paper. While collecting GIS data from hand-held GPS tools, the mapping team listened to the stories of village elders. Data was logged in a GIS software and the map projected for the community to view before finalising for print. The project has mapped over 70,000 acres of land.

In today's social structure where land-use decisions are largely influenced by scientific and objective evidence, geospatial technology has the power to empower Indigenous communities. GIS maps provide visual evidence to support Indigenous belief systems and opinions about how land should be used. By incorporating traditional cartographies that communicate a deep knowledge of wildlife, terrain and the relationship of people with the environment, maps can begin to meaningfully serve communities and the environment.

As Pualani Louis argues, it is maps that integrate Indigenous epistemologies-and which reflect the features of significant value to communities within that landscape-that can help realise Indigenous opinions and cartographies so that they are not erased from society by the expanding shadow of the colonial lens.

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Indigenous cartography: how Indigenous cultures map the landscape

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For hundreds of years, communities have thrived in their environments by using maps that look different from what many of us would now visualise upon hearing the word. Cartographic information is not limited to representation on paper. Commonly, it exists in the mind, developed through cultural practice and oral passing of knowledge from generation to generation.

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There's a good chance Aboriginal people mapped out Australia's road network thousands of years before Europeans arrived-and used star charts to do it. (Phys.org) Use our resources to learn more about how Aboriginal Australians charted their landscape. Teachers, scroll down for a quick list of key resources in our Teachers' Toolkit. Discussion Ideas

The Phys.org article focuses on star maps created by Aboriginal Australians, and refers to indigenous Euahlayi, Kamilaroi, and Arrernte people. What is the relationship between Aboriginal Australians and indigenous people?

The word "aborigine" can refer to an indigenous person from any country. Capitalized, Aboriginal Australian is a legal definition referring to people and cultures living in Australia and Tasmania prior to European contact in 1788.

The Euahlayi are an Aboriginal Australian people and culture with a nation in northern New South Wales.

The Kamilaroi are an Aboriginal Australian people and culture with a nation in northern New South Wales and southern Queensland.

The Arrernte are an Aboriginal Australian people and culture with a nation in the southern Northern Territory.

How do Aboriginal Australian star maps differ from traditional star charts?

Aboriginal Australian star maps are "maps of the land," not maps of the sky. Star maps use celestial bodies as mnemonic devices (memory aids) to teach the route and physical and cultural waypoints of a journey. Stars may indicate where to veer north or south, for instance, or they may indicate the location of a freshwater spring.

Aboriginal Australian star maps are a part of songlines, a fascinating, complex method of navigation. "In Aboriginal mythology, a songline is a myth based around localised 'creator-beings' during the Dreaming, the indigenous Australian embodiment of the creation of the Earth. Each songline explains the route followed by the creator-being during the course of the myth. The path of each creator-being is marked in sung lyrics. One navigates across the land by repeating the words of the song or re-enacting the story through dance, which in the course of telling the story also describe the location of various landmarks on the landscape (e.g. rock formations, watering holes, rivers, trees) . . . . By singing a song cycle in the appropriate order, an explorer could navigate vast distances, often travelling through the deserts of Australia's interior (a fact which amazed early anthropologists who were stunned by Aborigines that frequently walked across hundreds of kilometres of desert picking out tiny features along the way without error)."

TEACHERS' TOOLKIT
Phys.org: How ancient Aboriginal star maps have shaped Australia's highway network

Nat Geo: Rainbow Serpent

The Basement Geographer: Songlines: How Indigenous Australians Use Music to Mark Geography
Australia National Film and Sound Archive: T he Songlines
Queensland Rural Medical Education: What are song lines?

(extra credit!) J ournal of Astronomical History and Heritage: Star Maps and Travelling to Ceremonies-the Euahlayi People and Their Use of the Night Sky

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Aboriginal Songlines Helped Draw the Map in Australia

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GEOGRAPHY There's a good chance Aboriginal people mapped out Australia's road network thousands of years before Europeans arrived-and used star charts to do it. (Phys.org) Use our resources to learn more about how Aboriginal Australians charted their landscape. Teachers, scroll down for a quick list of key resources in our Teachers' Toolkit.

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The sky is a wealth of Indigenous knowledges

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You are here

What Aboriginal and Torres Strait Islander peoples see in the sky are not only planets, stars and other physical bodies, but something much grander: a confirmation of what we already know about how the world operates - time, life, our place in the universe.

In Aboriginal and Torres Strait Islander cultures, everything on the land is reflected in the sky. The sky serves as a scientific textbook - a map - that is home to a wealth of knowledge for those who are able to interpret and read the information it holds.

The positions of the sun, moon, and stars in relation to the Australian landscape provide Aboriginal and Torres Strait Islander peoples with information to predict changes in the environment in relation to seasons, weather patterns and the behaviour of plants and animals. It is this relationship between the sky, people and country that enables Aboriginal and Torres Strait Islander peoples to thrive with the Australian landscape, harvesting what they need and ensuring sustainability for future generations.

The objects and natural phenomena in the sky provide a blueprint for Aboriginal and Torres Strait Islander peoples to safely navigate long journeys across the lands, seas and waterways. The sky holds valuable information about food sources and livelihood, travel paths and optimum times to travel during the year.

Through story, song and dance, knowledge to read the intricate map of the sky and landscape is transferred between generations. Passing oral histories also gives context about social order and relationships.

This knowledge is a living part of Aboriginal and Torres Strait Islander cultures and continues to evolve. Through the sharing of these practices, all Australians can better appreciate the depth, wealth and diversity of Aboriginal and Torres Strait Islander astronomical knowledge and its contribution to our national identity.

Country / Place

Enduring understanding

Lines of inquiry

The sky holds a wealth of scientific and geographic knowledge, which is interpreted and deciphered in different ways by Aboriginal and Torres Strait Islander peoples.

Astronomical knowledge is encoded in the positions of celestial objects - everything on the Australian landscape is reflected in the sky:

Depicting changes in the environment in relation to seasons, weather patterns and the behaviour of plants and animals.

Informing ways of navigating to guide long journeys across lands, seas and waterways.

What kind of information does the sky hold?

How do Aboriginal and Torres Strait Islander peoples interpret and decipher this information?

What can the positions of the sun, moon and stars in relation to the Australian landscape tell us about our environment?

How do Aboriginal and Torres Strait Islander peoples use celestial objects as a navigational tool?

Culture

Enduring understanding

Lines of inquiry

Aboriginal and Torres Strait Islander peoples' oral traditions are highly detailed and complex.

Knowledge is transferred through story, song and dance, shared across generations for tens of thousands of years.

Oral transmission of astronomical knowledge passes on valuable information about food sources, livelihood, travel paths and optimum times to travel throughout the year.

The relationship between the sky, people and country enables Aboriginal and Torres Strait Islander peoples to thrive in the Australian landscape, harvesting what they need and ensuring sustainability for future generations.

How do Aboriginal and Torres Strait Islander peoples' oral traditions effectively transmit knowledge across generations?

How is the holistic nature of Aboriginal and Torres Strait Islander knowledge systems reflected through oral transmission?

How can Aboriginal and Torres Strait Islander stories be interpreted/what can be inferred?

How can Aboriginal and Torres Strait Islander astronomical knowledge evolve?

Can lost knowledge be reclaimed or revived?

People

Enduring understanding

Lines of inquiry

Australia has the world's first astronomers who continue to hold and communicate valuable astronomical knowledge.

Knowledge held in the Australian sky both shapes and reflects the culture in which it lives.

The sky is a canvas depicting important information about relationships and social order.

The sky informs important times to migrate for trade and economics.

How does Aboriginal and Torres Strait Islander peoples' astronomical knowledge shape our world view?

What techniques or technologies do Aboriginal and Torres Strait Islander peoples use to measure time and predict environmental changes?

Why do Aboriginal and Torres Strait Islander peoples use storytelling to teach lessons?

How does astronomical knowledge inform Aboriginal and Torres Strait Islander peoples' trade and economic practices?

How do I?

More information about the Curricula Project and the resouce package is available in the how to guide.

Glossary

View our glossary for a list of terms found in our teacher guides.

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What Aboriginal and Torres Strait Islander peoples see in the sky are not only planets, stars and other physical bodies, but something much grander: a confirmation of what we already know about how the world operates – time, life, our place in the universe. In Aboriginal and Torres Strait Islander c…

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In this unit we want you to give you choices on how you personally and artistically connect with the site. You may choose one of the following artistic methods to engage with the space.

* Cloud drawings (Inspired by Indigenous perspectives and narratives around Sky country, Constellations and Storytelling)
* Chalk drawing reimagining shadows (Inspired by artists such as Kara Walker and Judy Watson)
* Geometric assemblages using materials found in the space (Inspired by Matt W Moore’s Utah residency mandala series)

* Carpark Frottage of the textures within the carpark

You are then required to take photographs of your work/s and add them to the response section of the padlet and reflect on why you connected with this particular artistic practice in response to the site.

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Clouds within Aboriginal culture and storytelling

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Clouds within Aboriginal culture and storytelling

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(***note: the image for the link to this resource was automatically generated and not a reflection of the valuable content within)

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In the Aboriginal Dreaming, it is believed that clouds were created from the first spout of water which emerged from the airhole of the first Whale.

In another, inland Dreaming from the Kalkadoon people around Mt. Isa, () the clouds take pity upon a crying woman grieving over the loss of her child in a bushfire. The clouds ask the sun to intervene and bring her children back; however the sun cannot do this, so he places their spirits into some parrots. This is why parrots, when they chatter, sound like children talking. Clouds here exemplify compassion. Intervention, mediumship, communion with spirits, and things of a metaphysical notion may be in the focus.

In this Dreaming, the clouds act as an intermediary on behalf of the woman, although she does not realise this. Clouds are often linked with the emotions; cloudy, rainy weather symbolising depression, and storm clouds representing anger and the fury of nature. The link with the emotions (sadness and tears) and clouds is also connected with water, which is what they are made of! Their benevolent nature in this Kalkadoon Dreaming can also be seen in their ability to break a drought - in praying for rain, clouds can be seen as again playing the role of an intermediary. (Flood, on the other hand, is another extreme, with snow.)

In another Dreaming[1], a man longed for a woman, but because he was a stranger who roamed the land, no-one would give him their daughter. He decides to go to the sky world and take all the water, so the people would thirst for a drink as he thirsted for a wife. The man fills a big bucket with water, but the thunder man tells the lightning man what is happening. The lightning man throws his spear, breaking the bucket and causing rain to fall. To this day, the thunder man warns the lightning man when the bucket is close to being full, so the precious water may be released back to the earth's peoples.

Do you have a similar pattern somehow playing out in your life? One where you seem to always be the one taking note and bringing warning (thunder) or acting to prevent (lightning) certain undesirable outcomes?

Many people, especially children, derive much pleasure out of constructing images from the patterns of clouds, especially the great, billowing cumuli nimbus clouds. This pastime is a wonderful way of exercising the imagination and stimulating creative thought. In many cultures, clouds could be the bringers of portents; different symbols appearing having varying meanings or messages.

On a more serious note, in the Dreaming[2], two initiates broke tribal law and as punishment were transformed into clouds; their tears of regret still fall down to us as rain. Fathers would point out their faces in the clouds as warning to their children to obey the laws of their tribe. So clouds can be a reminder to practice the quality of obedience! In their own way, clouds are true to the wind's course; however another perspective would be that they have no free will.

Cumulus clouds, brought by the south wind, are thought to be Mullian the Eagle Hawk riding the wind's back.[3] If you encounter cumulus clouds, the information on Eagle may be relevant for you to read.

Rain-making is a well-known skill in Aboriginal culture, performed by a wirrinun or magic man. The rites for bringing rain were, in general, conducted just before the wet season, to ensure it would happen. There are anecdotes from outback stations of situations where an Aboriginal man 'causes' a drought because of being wronged by a white man, to teach him a lesson; before finally relenting and 'making' it rain. These situations, and others involving rain-making, are inexplicable to science and the Western way of thinking but usually revolve around the issues of 'teaching a lesson' of some moral kind. A beautiful story of a place where the rains are called in - lost for seventy years and refound: Click here

To some people of the Northern Territory[4], the lightning is caused by the Gecko brothers who throw boomerangs (the flash).

Thunder[5] is the sound of Waitch the Emu-woman complaining about the load of the sky. The job of the star people is to hold the heavens up, but sometimes too many go hunting and Waitch must bear that extra weight. Thunder was also considered, in the Illawarra area of NSW, to be the wrath of God for some wicked deed being enacted.

[1] Bozic, Sreten. "Aboriginal Myths."

[2] Nangan, J. And Edwards, Hugh. "Joe Nangan's Dreaming."

[3] Reed, A.W. "Aboriginal Myths, Legends & Fables."

[4] Harney, Bill. "Tales from the Aborigines."

[5] Mountford, Charles P. "Before Time Began"

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In the Aboriginal Dreaming, it is believed that clouds were created from the first spout of water which emerged from the airhole of the first Whale . In another, inland Dreaming from the Kalkadoon people around Mt. Isa, () the clouds take pity upon a crying woman grieving over the loss of her child in a bushfire.

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Since he was a child, Martín Feijoó has been fascinated with clouds. On a recent trip to Mexico, he began taking photos of clouds in the sky and let his imagination inspire him to draw the creatures that lived in the formations. We've all been there, haven't we? You'll have to check out Martín's Tumblr page to see the original inspiration behind his brilliant line drawings.

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Since he was a child, Martín Feijoó has been fascinated with clouds. On a recent trip to Mexico, he began taking photos of clouds in the sky and let his imagination inspire him to draw the creatures that lived in the formations. We've all been there, haven't we?

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Have you ever looked up and noticed shapes in the clouds? Artist and photographer Lân Nguyen (aka 19.XCV) showcases his playful imagination by transforming photos of the sky. He digitally imposes black silhouettes of various shapes to turn colorful clouds into recognizable objects.

From a rose to a strawberry, each wisp of cloud takes on the shape of something new. Nguyen transforms his images on Photoshop, where he makes the sky "pop" by tweaking the vibrancy and hue of the colors. He then adds a cut-out-like silhouette over the top that transforms the scene. In one image, Nguyen turned a billowing pink cloud into lava, by superimposing a volcano shape onto the photo. In another, a cloud becomes the puffy tutu of a ballerina's outfit. Each scene is made even more magical by enhancing the twinkling night stars.

Scroll down to check out Nguyen's whimsical photo edits, and find more from his ever-growing portfolio on Instagram.

Artist and photographer Lân Nguyen transforms colorful photos of the sky with silhouetted shapes.

He transforms clouds into entirely new objects.
Lân Nguyen: Website | Instagram | YouTube
My Modern Met granted permission to feature photos by Lân Nguyen.

Related Articles:
Charming Cut Paper Silhouettes Playfully Transform Famous US Landmarks Japanese Artist Cuts Black Paper Against Colored Lights to Look Like Gorgeous Landscapes Interview: Atmospheric Oil Paintings Capture the Stunning Beauty of Billowing Clouds

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Artist Uses Silhouetted Shapes to Turn Colorful Clouds Into Beautiful Scenes

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Have you ever looked up and noticed shapes in the clouds? Artist and photographer Lân Nguyen (aka 19.XCV) showcases his playful imagination by transforming photos of the sky. He digitally imposes black silhouettes of various shapes to turn colorful clouds into recognizable objects.

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Kara Walker and Jason Moran: How visual art and sound speak to each other.

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Kara Walker and Jason Moran: How visual art and sound speak to each other.

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Kara Walker & Jason Moran: Sending Out A Signal | Art21 "Extended Play"

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In an urban environment, it seems that nearly everything is fleeting. Nothing - not even the tall buildings or long-standing sidewalks - is immune to change. Urban art that aims to make the most fleeting parts of the urban landscape inspires us to grab onto the instant and enjoy the momentary beauty found in the temporary parts of our urban life.

Shadow art has been a mainstay of the urban artist for many years. Although there are different takes on the idea, the most common way to catch the shadows seems to be to outline them on the sidewalk. When the light hits the shadow-casting object from precisely the right angle, observers see the shadow line up perfectly with the outline.

Most urban shadow art is just as transient as the shadows themselves. Chalk makes a big visual impression but quickly fades with rain or with time. Brooklyn artist Ellis Gallagher 's work usually consists of chalk silhouettes drawn with child-like enthusiasm on New York sidewalks.

Other artists, however, choose to play with shadows in a different way. Canadian artist/activist Roadsworth uses night shadows as props for sidewalk paintings: a telephone pole shadow becomes an ivy stalk or a branch upon which birds perch. The shadow of a fence becomes a cage for wild animals. Overhead power lines are transformed into a tightrope for a brave shadowy man.

For artists like Michael Neff, the art is both in the moment and more permanent through photography. Neff traces shadows on the ground with chalk, then photographs his urban interventions. While both parts of the work - the impermanent drawing and the longer-lasting digital record of it - are important to the creative process, it is hearing that someone has seen one of his drawings in the wild that really thrills Neff.

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Art in the Shadows: Documenting Temporary Urban Sights

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In an urban environment, it seems that nearly everything is fleeting. Nothing - not even the tall buildings or long-standing sidewalks - is immune to change. Urban art that aims to make the most fleeting parts of the urban landscape inspires us to grab onto the instant and enjoy the momentary beauty found in the temporary parts of our urban life.

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Write what you hear in as many languages as you can, including Indigenous languages.

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The 50 words project aims to provide fifty words in every Indigenous language of Australia. We hope that this will be a useful resource for schools and educational organisations to learn 50 words in their local languages, and for the general public to discover the diversity of languages around Australia.

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Judy Watson - Indigenous Australian abstract artist

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Judy Watson - Indigenous Australian abstract artist

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Watson creates abstract paintings of silhouettes which can be a source of inspiration in reimagining shadows within the site.

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Who is Judy Watson?

Judy Watson was born in 1959 in Munduberra, Queensland, Australia and lives and works in Brisbane.

The artist uses printmaking, drawing, painting and installation to explore themes relating to her Aboriginal heritage.

Watson's matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by traditional Waanyi culture.

Archives and histories

Judy Watson uses archival documents and photographs in her art.

She uses the extensive documentation of Aboriginal people in Australia as a resource, but describes discovering how her ancestors were treated as a 'heavy burden'.

For her artwork a preponderance of aboriginal blood 2005, Watson used documents from the Archive of Queensland State, where her family are from.

The documents reveal how Aboriginal Australians were discriminated against over their voting rights until the 1960s. Before 1965 their right to vote depended on whether a person was a 'full-blood Aborigine' (and therefore not entitled to vote) or a 'half-caste' (entitled to vote).

Her copies of these archive documents are layered with blood-like pools of red paint, symbolising the pain and deaths of Aboriginal people.

Judy Watson
a preponderance of aboriginal blood 2005
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

Techniques and materials

Judy Watson trained as a printmaker at art school.

Printmaking often involves using several processes, creating layers and transferring visual information across different surfaces. These techniques have inspired her approach to painting.

Judy Watson
heron island suite 6 2009/10
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

Judy Watson
heron island suite 8 2009/10
Collection: Museum of Contemporary Art Australia and Tate, purchased jointly with funds provided by the Qantas Foundation, 2016
© Judy Watson

By working on the floor, pouring paint and laying the canvas over textured objects and surfaces, Watson creates unexpected marks and patterns.

Watson also experiments with accidental effects by mixing together a wide range of varnishes, inks, pastels and dry pigments.

The artist further adds shells, clay or bark into the mix and even uses the weather! By leaving canvases outside, the elements (as well as dirt and insects) leave unexpected traces and stains on the cloth.

Judy Watson painting in her studio 2019
© Tate Digital

Collaboration and activism

Shared experience is an important part of Judy Watson's working process.

The artist collaborates with family members to make some of her pieces. She also collaborates with other artists and with the wider Australian community.

Her on-going project the names of places 2016 is a collaboration with the public. The project aims to map all the places in Australia where horrific massacres of Aboriginal people took place.

Watson invites people to contribute their knowledge of where these massacres happened and adds these place names to a database and website that form part of the project. In this way the place names become part of the collective consciousness of the Australian people.

Judy Watson in her studio 2019 © Tate Digital

Tate, The Museum of Contemporary Art Australia (MCA) and Qantas are partners in an International Joint Acquisition Programme for contemporary Australian art. Judy Watson a preponderance of aboriginal blood 2005 was purchased jointly by Tate and the Museum of Contemporary Art Australia with fund provided by the Qantas Foundation, 2016.

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Who is Judy Watson? Judy Watson was born in 1959 in Munduberra, Queensland, Australia and lives and works in Brisbane. The artist uses printmaking, drawing, painting and installation to explore themes relating to her Aboriginal heritage. Watson's matrilineal family is from Waanyi country in Northwest Queensland and her work is inspired by traditional Waanyi culture.

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Please follow my page if you found this helpful! #antiracism #bipoctiktok  #howtobeanantiracist #antiracism #diversityequityandinclusion #blackboyjoy #blackpeoplehike

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Please follow my page if you found this helpful! #antiracism #bipoctiktok #howtobeanantiracist #antiracism #diversityequityandinclusion #blackboyjoy #blackpeoplehike
♬ original sound - Racial Equity Insights LLC

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Matt w. Moore - Utah residency: found organic materials into geometric mandalas 

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Matt w. Moore - Utah residency: found organic materials into geometric mandalas 

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https://mwmgraphics.com/exhibitions_UTAH.html

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Action painting/embodied response to music on horizontal surfaces within site

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Action painting/embodied response to music on horizontal surfaces within site

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Artistic responses to the surface environment of the site

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Artistic responses to the surface environment of the site

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Collaborative/Flat surface artistic site response:

* In groups you are invited to select a number of greeting/welcoming phrases in different languages and make large stencils of these words on card.

* At the site, a selected number of carpark spaces would then be sectioned off and the stencils arranged within the space by your small groups.
* For each carpark space, you are to choose a song to listen to that’s from a contemporary and traditional music from different international artists & cultures.

*As you listen to this music, you can drip, roll, splatter paint in the space using colours and movements that reflect the music (in the style of a silent disco type activity) over the top of the stencils.

* Afterward the stencils are then removed at the end of the activity to reveal the phrase placed in the space earlier.
* This activity inspired by action painters such as Janet Sobel, Thomas Holstein and Lee Krasner.

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How some car parks are used when the cars go home?

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How some car parks are used when the cars go home?

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Sue Williams |

Car parks are huge expanses of valuable real estate that are often empty, but there is now a growing movement to use them during these down times.

Some are doubling as venues for art exhibitions, concerts, plays, business launches, pop-up bars, a farm, an ice skating rink and even - in a new pilot project launching in September - into shelters for the homeless.

"They're huge spaces on big concrete slabs that can easily be utilised for other functions when they're not being used," said Emilya Colliver, director of Art Pharmacy Consulting, which advises a range of businesses on art and culture.

"They can be venues for art, music, speakers, movie screenings, rehearsals, social events, and gardens and many have good rooftops with spectacular views that can be used as well. They're great ways to activate spaces that can be dark and uninviting and can sometimes feel dangerous, and bring in people and make them brighter and safer and much nicer places to be."

Australia's largest car-park operator Secure Parking is about to launch its own initiative, in partnership with charity Beddown-- which takes unused spaces and turns them into pop-up accommodation for the homeless - at one of its Brisbane CBD car parks at night.

If the trial goes well, the experiment could be rolled out across the country at some of its other 600-odd car parks.

"Beddown re-purposes car parks at night for homeless people with pop-up beds, shower facilities, hairdressing services and counselling, and it also helps for research about people sleeping rough," said Secure spokesman Andrew Sapir.

"We're starting it as a pilot but looking at rolling it out across Australia in our car parks."

"There are some good ideas out there, but sometimes the arrangements can't be as flexible as some people think they could be."

Overseas, there are some headlining examples of alternative uses. In the UK, a group called Bold Tendencies is using the rooftop and three levels of a car park in south-east London to hold art exhibitions, concerts and a bar. In Paris, there's an underground farm in a car park using LED lights.

In the US, students in Atlanta found that of the 105 million parking spaces in the country - five for every car - at least half were vacant 40 per cent of the time and so they created 12.5-square-metre prototype homes out of car spaces in a car park, in a project called SCADpad.

In addition, the Melbourne Fringe Festival has used car parks around the city for art exhibitions and events, and Fitzroy's Rose Car Park has a bold graffiti installation curated by Graffix Creative to make the space much more colourful and pleasant for car parkers - and prevent unauthorised graffiti tagging.

Meanwhile, a Melbourne University underground car park, just named one of the top 10 most outstanding public architectural works of the last 90 years by industry group Cement Concrete & Aggregates Australia, has been used for movie shoots such as Lion, which was nominated for six Oscars, TV series such as MasterChef and fashion shows.

And then there's the Melbourne Skyfarm, built on 2000 square metres of rooftop car park overlooking the Yarra River.

"We're now also seeing the rapid disruption of the transport industry, with autonomous and self-driving vehicles and car-sharing platforms. So there are huge opportunities to re-purpose roofs and spaces and it's happening around the world."

To open in late 2020, the Skyfarm, as well as being a working farm growing produce for the local community, will include cafes, bars, event spaces, a kids' playground and a learning hub. It's already been conducting experiments in vacant car spaces below, too, growing 150 kilograms of produce on a single space in just five-and-a-half months.

"There's so much you can do with car parks," Mr Condon said. "The only limit is your imagination."

Over nine years, for instance, Sebastian Goldspink of the artist-run initiative ALASKA Projects held more than 160 art shows in the underground Kings Cross Car Park, starting out of frustration that young artists had few affordable places to show their art.

"The car park was really amenable to the idea because they were concerned particularly about females using the car park and being scared of the lower levels," he said. "So they thought that having an art show there might make the car park more pleasant and attract more people."

The scheme worked well for the artists, collectors and Alaska, who ended up taking shows interstate and then to New Zealand and the US. Some really significant artists took part, too, including Angelica Mesiti, representing Australia at the 2019 Venice Biennale, award-winning artist Nell, Sarah Contos and Tom Polo.

"You'd have 500 people all cordoned off from where people were parking their cars, and then the parkers would come and check out the exhibitions too," said Goldspink, now creative producer at the National Art School. "It's very expensive real estate and could be much better use as dual purpose."

In Sydney's city centre earlier this year, Dexus' car park at 175 Pitt Street was transformed into a New York-inspired underground venue to house the Tiffany & Co. Sydney flagship opening after-party event, with the entire car park repainted in the famous Tiffany blue.

In North Sydney, not-for-profit start-up Artesian combined with Wilson Parking to provide art exhibition space in the Ward Street Car Park, with shows chalking up great attendances and sales, and having a jazz band perform on a couple of occasions. They then held another exhibition in space under the Opera House providing the ventilation for the double-helix car park.

"That achieved everything we were hoping for," said Artesian's Morgan Workman. "It went well and the publicity for it was amazing.

"Often operators want to get people into car parks at weekends and discount parking, and this is a positive way of bringing people in. I would like to think that maybe we could do more next year."

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How some parking stations are being used when the cars have gone home

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Sue Williams | Car parks are huge expanses of valuable real estate that are often empty, but there is now a growing movement to use them during these down times. Some are doubling as venues for art exhibitions, concerts, plays, business launches, pop-up bars, a farm, an ice skating rink and even - in a new pilot project launching in September - into shelters for the homeless.

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Inspired by the great works of Jackson Pollock, this is remote-controlled chaos and self-expression on a massive scale!

Crowds will gather to experience art unlike any other, and participate in creating an outdoor gallery of modern art.

With the help of a remote-controlled car to mix it up a little, audiences can't help but chip in and pick up the paint pot.

Safe & Accessible

This act, along with every other act on our website, is expert in adapting to a variety of performance settings, including during the constrictions of the ongoing COVID 19 Pandemic.

The performances will be tailored to the event and location to ensure that all interactions are socially distanced without compromising the joy and spectacle.

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shopping centre entertainment. speed painter jon hicks

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Inspired by the great works of Jackson Pollock, this is remote-controlled chaos and self-expression on a massive scale! Crowds will gather to experience art unlike any other, and participate in creating an outdoor gallery of modern art. With the help of a remote-controlled car to mix it up a little, audiences can't help but chip in and pick up the paint pot.

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Explainer: the law behind the destruction of street art

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Painting over Banksy’s latest work has proved an embarrassment for the local council responsible. Council officials had to admit that they hadn’t realised the work was by Banksy and, more pertinently…

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Musical inspiration - Contemporary Indigenous Australian Music

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Musical inspiration - Contemporary Indigenous Australian Music

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International music playlist 2 - Spotify

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International music playlist 2 - Spotify

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Day two of the conference was structured in the same way as day one, two sessions of presentations in the morning followed by workshops in the afternoon.
Cindy Yuen-Zhe Chen: Listening and Drawing towards Emplacement

One of Cindy's drawings made of folded paper that was used to touch the surface of the landscape and record the texture/colour of the flowing stream that passed through Golden Gully in Australia

Cindy had been working using interconnected processes of drawing and embodied listening to explore landscapes in both Australia and China. Her practice investigates 'the convergence of aural and optical perception in the experience and representation of place and she thinks of drawing as a gestural act that extends bodily perception through technologically enhanced encounters with the sounds and surfaces of place'.
Cindy uses both direct surface rubbings and sound feedback to make recordings of places. Because of her elimination of visual observation techniques, I was reminded of a film made of a blind bike rider who whistles and of another film of a boy who sees without eyes.

The boy who sees without eyes

Cindy didn't make reference to either of these things but it seemed to me that by using echo location technology, she was making use of technology that could be made much more widely available for people that have lost their sight. Her work was a reminder that humans are not using senses to their full capacity and that as an artist, as she begins to use the interrelationship of touch and sound to explore landscape, she is also in effect reminding us that as we eliminate one sense, in this case vision, we heighten our awareness of how other senses are working.
(Golden Gully is a very enclosed space, where sound has lots of surfaces to bounce off) As Cindy moved around the gully she was also able to listen for 'sweet spots' where sound had most resonance.
Cindy was operating in places that had already been visualised by both eastern and western artists. She was on the one hand using paper surfaces to engage with touch; folding, crumpling, rubbing etc. in order to make direct contact with the landscape and on the other hand she was 'sounding' through touch, because the paper itself made particular sounds as she manipulated it within a landscape setting.

Photograph of crumpled papers that had been used to make surface rubbings of rocks

Photographs of the paper used to make rubbings reminded Cindy of the forms of mountains and rocks in the distance, especially when she was working in China, they were a reminder of the mountainous forms in Chinese landscape brush paintings. Close up video photographs of these paper surfaces were described as membranes of re-enactment.

Cindy spoke of 'sonic fingers' the microphones that were attached to her wrists, enabled her to be in direct recording contact with air, movement and touch.

Another stage in the process was to make her paper into M bius strips, so that when making rubbings the paper was in one to one contact with the land surface, there no longer being a back and front to her papers. (A M ö bius strip has only one side to it) These papers after being used to make rubbings were then brought back into the studio and photographed as if they were models of mountains, which transformed the papers from records of action into pictures of landscapes. Recording that were made of Cindy making rubbings using these papers were described as a sort of "Listening through touch".

Cindy cited Evan Thompson's book, 'Mind in Life' as an important influence on her thinking, his idea that mind is an extension of the life process, allows us to see how what we associate as a specific human attribute, could actually be something possessed by all living things. Of course once you accept that an idea like this could belong to all life forms, what happens as we cross the life/not life divide? Can a landscape be thought of as having a mind?

When Cindy was in China, there was a wonderful moment she had recorded of someone washing clothes in a river. This was an activity very like the artist crushing and moving her paper sheets in the shallow water at the river's edge. Washing and working, drawing and washing, seemed to be a sort of rhythm of the river, a rhythm echoed in the shapes of the mountains seen in the far distance, a rhythm seen in the shapes of the washing/paper as it emerged from the river.

Finally Cindy mentioned that her understanding of drawing as something no longer seen as marks on paper but instead as lines in real space, was supported by remarks made by Catherine De Zeigler in ' On Line: Drawing Through the Twentieth Century'. In particular in this text De Zeigler explores the relationship between drawing and dance. This took my thoughts back full circle to how Cindy thinks of drawing as a gestural act that extends bodily perception through the use of technology. A finger drawing in the sand, becomes a burnt stick extending the body so that it can make marks on the ceiling of a cave, a moving microphone picks up sound vibrations as they rebound from a rock's surface, a transmitter is embedded in depth perception and optical detection glasses for the visually impaired, using ultrasonic sensors and a binaural soundscape environment. All these are linked together under this definition of

Steve Fossey: An imbricated drawing ontology: Economics of pattern, chaos and scale

This project extends from his initial participation in a project, 'A line made by walking without marking the Earth', and was extracted from his PhD 'Site specific performance and the mechanics of becoming social'. He walks with people and talks with them as they are being tracked by GPS technology.

From his explanation I got the idea that he is interested in talking to people because as they share ideas they also share thoughts about geographical location. For instance because I come from Dudley I have a particular idea of where I come from as being about being a 'Black Country' lad and when I'm in conversation at some point its bound to crop up. However at the same time my mobile phone will be tracking my position on the planet alongside the person's mobile that I'm talking to which is doing the same. So as we exchange geographically located thoughts our relative positions are being bounced off a satellite. Steve's video below provides a much clearer explanation of the concept and extends the idea into an embodied performance.

Walking through the field: Steve Fossey

The most interesting aspect of Steve's presentation for me however was the showing of the video of him lecturing about his project behind himself as he lectured on his project. It reminded me of the old Camp coffee bottle, that had on its label an image of Camp coffee being served, which of course had within that image an image of a bottle of Camp coffee. As a boy I would stare and stare at that image of a bottle to see if I could see another image of the bottle in the image of the bottle.

The lecture as performance is an old interest of mine, one that stems from my time when I met Joseph Beuys who was a consummate performer as lecturer and who in many ways was also performing as Rudolph Steiner lecturing when he was lecturing. The Russian doll effect is with all of us in some ways, as I have given lectures I have at times tried to embody other lecturers giving lectures, echoing others who in their time have echoed others.

Antonino Di Raimo: The Human body as a design apparatus

Only the body in movement can draw and Antonino Di Raimo was concerned to develop an understanding of architectural space that reflected the fact that it is a body in movement that inhabits buildings, not frozen human forms. Existing modular systems, such as Le Corbusier's show static humans, and the reality is that we move through and within buildings, so Antonino had decided to see if the body in movement could be visualised as an aid to thinking about designing architectural space.

Antonio began by explaining how he had come to think about the word 'apparatus'. He had looked at Giorgio Agamben's "What is an Apparatus?" who had in turn examined Foucault's use of the term. Agamben then redefines 'apparatus' as on the one hand the network that is established between elements such as discourses, philosophical propositions, institutions, buildings or laws and on the other, the 'apparatus' operates to fulfil a concrete strategic function in a power relationship. This 'apparatus' always appears at the intersection of power and knowledge relations. Antonio also drew our attention to Marco Frascari's thoughts on the human figure in architectural representation, who argued that "in contemporary architectural drawing, the presence of the human figure to give scale, is absolutely indispensable". ( Alex Anderson has published a useful article on the subject)

Anderson points out that, "If they are well conceived and rendered, human figures in architectural drawings can help to show how projected buildings might be perceived and inhabited. They can also be used to understand how architecture can be shaped to accommodate human experiences and actions".

If the body is a tool that can be used to measure space, then old modular representations are a failure, as they measure proportion, not space. Dalibor Vesely's work on embodiment and proportion was also cited as vital to Antonio's thinking. (Find here Vesely's classic text, Architecture in the Age of Divided Representation available as a PDF) It is interesting to reflect on how important writers on architecture have been to the development of embodied theories of drawing, where would we be without Pallasmaa's, 'The Thinking Hand'?
Antonio agreed with the current critique of ocularcentrism and wanted to explore how computers could use more haptic information when used to incorporate the body into the design process. He was a dancer, and this has deeply effected his idea of what a 'virtual twin' would be like, if a human body was to be designed for virtual testing of architectural spaces.
He set about teaching his virtual twin how to dance, realising that what he was doing was creating an avatar that was in effect an anthropomorphic cognitive agent.

This was a radical embodied cognitive approach to thinking about architectural design, not one that used representational models. Antonio pointed out that Anthony Chemero has opened out new ways of thinking in relation to embodiment in his book, 'Radical Embodied Cognitive Science'; in which he argues that cognition should be described in terms of agent-environment dynamics rather than in terms of representation. An idea he traces back to
John Dewey.
The body as it moves through and in relation to, architectural space is taking part in what Antonio called a 'structural coupling' and as it did so gesture was vital to how a haptic understanding was being developed. In many ways this was like a body on a stage. The final part of Antonio's presentation being about how figures and their representation were also closely linked to space and ritual. As soon as many bodies come together in order to do things, the spaces they do these things in become 'ritual spaces'.

Antonio's computer drawings reminded me of how important coding is as critical tool not just in architecture but in all fields of visual problem solving.

Katarina Andjelkovic: Towards the Embodiment: Drawing's movement, space and temporality.

Katarina was looking for 'space that recognises its own drama', a kind of dream like space. Participants drew from several positions and were looking to develop an interpenetration between reality, film and performance, that was recorded by drawing.
Katarina was looking at the performance of space. Drawing as an unfolding event. This was the space of performance looked at as a choreographed line that moves through space. Our visual perception provides us with a space of potential, (choice), we have to decide, do we go left or right? She is involved in teaching drawing and wanted to explore the representation of embodied experience in the spatial context of a drawing performance. Students were asked to respond to a performing body, that was responding to a film projected behind and at times on the body, as well as being located in the actual space of the studio. She used Tati's film 'Playtime' as the filmic space and students made several drawings as they began to determine 'boundaries of visuality'. I.e. how to identify filmic, real and performed movement as drawings were made.

The techniques of dialectic montage and distracted perception were given to the students as their initial guidance and then juxtaposition or the choreography of the city in movement as a secondary concept. (Dialectic montage was Eisenstein's term for an effect in montage in which the juxtaposition of two shots has the potential to make an abstract concept tangible. A focus on distracted perception has resulted from the fact that researchers have found that in between bursts of attention, we are purposely distracted. During those periods of distraction, the brain pauses and scans the environment to see if there is something outside the primary focus of attention that might be more important. If there is not, it will re-focus back to what you were doing. see:

Fiebelkorn, Pinsk, Kastner A Dynamic Interplay within the Frontoparietal Network Underlies Rhythmic Spatial Attention in Neuron Volume 99, ISSUE 4

Nicci performing in a paper 'poem suit'

Nicci presented a series of embodies drawing performances, whereby she blurred the boundaries between disciplines and highlighted the fact that words seem very inadequate as a way to explain what happens in these situations. She had a welcome acceptance of the unknown and saw what she was doing as experiential rather than analytical. Nicci believes that the body remains an invisible component of history. Meaning in language is a gathering web of insinuations, it is a question of conveying one thing in terms of another. (Flann O' Brien) Her reference to Flann O'Brien was a welcome one, as it reminded me that the great comic writer had worked all these things out ages ago, all you have to do is read the Third Policeman and you will realise that all theory is comically vindicated as heroic prose. She at this point also reminded us of Finnegan's Wake and its disintegrating prose, and while doing this she was projecting an image of herself wearing sewn together too large men's trousers, flailing around, with arms in sleeves far too long, but as she said, if you could say it in words why dance it?

A printmaker, she is vary aware of the gestural impact of marks. She sometimes works with a poet, at one time making a suit to perform/draw with from the poems. At another time she has made a paper suit out of drawings on paper, the marks then working with other drawn marks as she performs.

Nicci Hayes: Mark making suit

Her art work includes video, one of which we were shown which saw her making marks with a representation of a lines drawn on the film, thus bringing together drawing, performance, animation and film making. She is also very interested in the act of writing. Seeing writing as a particular form of drawing, which links to listening, reading, seeing and hearing, all embodied activities. As she stated, 'Human communication is primarily a muscular function'.

Liselotte Vroman: Unlocking embodied experiences, exploring performative drawing.

Liselotte was dealing with embodied experience and the built environment. Together with Robin Schaeverbeke, Liselotte was working with architectural students trying to get them to open out their visualisation techniques beyond plans, elevations, sections and perspectives. In particular Schaeverbeke and Vroman were very aware that technical drawing processes cannot deal with or capture subjective experiences. The dancer / philosopher Maxine Sheets-Johnson was quoted as stating that movement is pre-linguistic while language is post-kinetic in its nature. Body movement was used as away to explore the communication of embodied experiences and dancers were seen as vital to an understanding of movement in space.

Yvonne Rainier: Sketch for the Trio B choreography

Yvonne Rainier's 'sketch for the Trio B choreography' was shown as a particularly important starting point for this, and the work of Trisha Brown highlighted as an exemplary drawing practice.

Trisha Brown performing and drawing

We were shown an interesting image of a plan that had been drawn large scale between two buildings, that when photographed form the top of one of the buildings operated in that space between the diagram and reality. (Heather Sultz is a dancer that has worked with a lot of architects and she may well be worth checking out if you are interested in this area of thinking). Liselotte pointed out that new frameworks for architectural form were needed. Laban's 'kinesphere' was introduced as a way into thinking about new much more kinaesthetic frameworks.

Annotations using the kinesphere

Liselotte asked the question, "How can movement direct design?" She mentioned 'oblique circulation' which was a project by Benjamin Dillenburger, a project concerned with numerical material, something that I have already looked at in the work of Michael Hansmeyer . But I think I misread the reference, I think she was talking about the architect Claude Parent and the philosopher and urbanist Paul Virilio. Their 'Architecture Principe' was based on a critical approach to the modern plan. Fractured volumes and inclined surfaces were responses to their rejection of Euclidian space and its visualisation within technical drawing. Together they developed the theory of the oblique function, which meant inclining floors to form sloped surfaces. Fluidity of movement was vital as this led to deeper human relationships. By having to make an effort on the ramps, human beings actively participated in the architecture.
Joan Jonas's Film "Songdelay", one of her outdoor performances that an audience could only witness from an elevated viewpoint such as a rooftop, was also introduced as a seminal work. It has been argued elsewhere that her filmed performance serves to visualise very particular time-space-conditions and that it also imparts to the viewer a sense of the topology of the space.

Finally the animated films of Pascal Baes were cited as another very important visual reference for the students when undertaking this elective.
I really like Pascal Baes' work it is very urban, witty and plays with time and space.

Students were asked to compare random walks with informed walks. Again I began to lose track of the issues. In my head I was thinking about a random walk as a mathematical object that describes a path that consists of a succession of random steps within a mathematical space. Such as the path traced by a molecule as it travels in a liquid or a gas, the search path of a foraging animal or the price of a fluctuating stock. Random walks explain the observed behaviors of many processes. What the students were being asked to do was to compare people walking aimlessly with people walking for a purpose. This was about observation, and as students began to notice differences, they could begin to see the body as a choreographic object. The differences between observed purpose and non purpose gestures could be the starting point for a language of gesture.

Students were then set a task in which they were to design a space and make it work to shape movement. This reminded me of a Jim Lambie tape drawing, if you have ever been in a room of his floor drawings, whether you want to or not you will find yourself being directed around the space by his tape lines.

The use of mirrors in the spaces constructed by the students also reminded me of work in the Hayward Gallery exhibition 'Space Shifters', in particular the work of Josiah McElheny.

Josiah McElheny's work in 'Space Shifters'

Students had been trained to wear McElheny's mirrors and then to walk the lines set out along the gallery floor. As you encountered these people walking through your space you became quite disorientated, not being sure which was the space you belonged to.

Finally we were reminded of the importance of targeted feedback, the students that undertook the elective fed back in terms of how their understanding of kinetic space had developed. They were also asked whether or not the elective had changed the way that they thought about architecture. I must admit this is something I need to think about much more and I have very little evidence as to how work I have done with various groups has effected their thinking. I will need to do this in future if I am to demonstrate 'impact'.

The afternoon was again devoted to workshops. I chose to do Anthi Kosma's workshop called D(inner)rawing, an activity that was very much about how we visualise touch and feelings. It was the title that made me choose it. As always it was the collaborative happening of a room full of academics and artists that was most interesting to observe, as well as having to make reflections on how I felt about having to express my feelings.

Finally: on the way back home from Loughborough, on getting from the train station to the bus stop I passed an empty shop near the Leeds market hosting an opening of a drawing exhibition. I had a while to wait for my bus, so decided to drop in. John O' Connor's '360 days of drawing Leeds' was on display over two floors of the shop; one drawing of Leeds for every day over the course of a year. He had taken on this task in response to going through a bad time in his life and was at pains to tell me how he had had to work through ice and rain and harsh winds to get these drawings done. The activity seemed to help him regain a certain mental stability, the need to focus on a task being something all of us value when things are not going well. After all the intellectual theorising of the past two days, it was refreshing to meet someone simply 'drawing' and in his encounters with the city many of the drawings had an intensity and energy that went far beyond drawing as therapy, if anything they reminded me of the drawings of Giacometti and I really appreciated that he was exhibiting all these drawings as 'a gift' to the people of Leeds, and that all his encounters with people during the year were valued by John as being worthwhile. Perhaps this was embodied drawing at its clearest and at its most effective, each of John's drawings was like a seismograph, you could stare into each one and relive that day's drawing action, see how he began tentatively, look for where anchor points began to help him stabilise the image and watch how lines massed up to find complex forms. John can draw, and draw well.

John O' Connor: an image of Leeds

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DRN Conference: Embodied Drawing (Day two)

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Day two of the conference was structured in the same way as day one, two sessions of presentations in the morning followed by workshops in the afternoon.

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Dale Harding - Indigenous Australian Stencil artist

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Dale Harding - Indigenous Australian Stencil artist

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Dale Harding (b. 1982, Moranbah, Australia) is a descendant of the Bidjara, Ghungalu and Garingbal peoples of Central Queensland and lives in Brisbane, Australia. Working in diverse techniques and traditions, including painting, installation, sculpture, domestic handicrafts, stencilling, woodcarving and silicone casting, Harding is renowned for works that explore the untold histories of his communities. He has a particular interest in ideas of cultural continuum and investigates the social and political realities experienced by his family under government control in Queensland, with a focus on matrilineal elders.

Dale Harding has created a new wall-based work for Tate Liverpool that is inspired by rock art sites in Queensland and uses a stencil technique practised by the artist's ancestors. The predominant material is Reckitt's Blue, an ultramarine pigment and optical whitener with strong symbolic power. Produced in the UK and used in Liverpool's public washhouses, it travelled along the colonial frontier to Africa and Australia, where Harding's mother used it in her job at a laundry. This new work tells stories of female labour in the UK and Australia, connecting histories from different parts of the globe.

Recent and upcoming exhibitions include Tensta Konsthall, Stockholm, Sweden (2018); Documenta 14, Athens, Greece, and Kassel, Germany (2017); 11th Gwangju Biennale, South Korea (2016); the National Indigenous Art Triennial, National Gallery of Australia, Canberra, Australia (2016); and Art Gallery of New South Wales, Museum of Contemporary Art, Sydney, Australia (2016).

Dale Harding at Liverpool Biennial 2018

Wall Composition in Bimbird and Reckitt's Blue, 2018
Reckitt's Blue, ochre, gum arabicum, custom-made plinths
Commissioned by Liverpool Biennial and the Institute of Modern Art, Brisbane
Exhibited at Tate Liverpool

Supported by

Keir Foundation
Milani Gallery, Brisbane

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Dale Harding | Liverpool Biennial of Contemporary Art

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Dale Harding (b. 1982, Moranbah, Australia) is a descendant of the Bidjara, Ghungalu and Garingbal peoples of Central Queensland and lives in Brisbane, Australia. Working in diverse techniques and traditions, including painting, installation, sculpture, domestic handicrafts, stencilling, woodcarving and silicone casting, Harding is renowned for works that explore the untold histories of his communities.

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Planted in Sickness, Derek Jarman’s Garden Still Gives Joy (Published 2020)

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The British filmmaker, who died of an AIDS-related illness in 1994, found solace in gardening during a public health crisis.

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Biologist David Haskell has been listening to and recording the sounds of urban trees. Haskell can identify leaves by sound, and talks about listening as a way of doing science. He explains why nature/culture is a false dichotomy.

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Abstract artist Tommy Hollenstein uses his wheelchair as a painting tool.

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Abstract artist Tommy Hollenstein uses his wheelchair as a painting tool.

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This is history in the making as 20x400 feet will be the largest NFT project in the world thus far. There are 1000 boards all being cut into 10,000 pieces and those will be digitized into NFTs. This allows you to own both the physical and the digital NFT. All of this is being painted by Tommy's wheels and certain Celebrity guests who will be applying the paint on them. They will then get certain sections of the project dedicated to them. This means there will be different NFTs per celebrity and they will have NFTs that will actually have their handprint on them. Mint now to be a part of this once in a lifetime project.
Whitepaper

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This is history in the making as 20x400 feet will be the largest NFT project in the world thus far. There are 1000 boards all being cut into 10,000 pieces and those will be digitized into NFTs. This allows you to own both the physical and the digital NFT.

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Invites students into authentic artist practice of art within the community. 

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Invites students into authentic artist practice of art within the community. 

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Whiteaker Community Art Team 2016 CarPark Mural Project

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Is That Really A Car Park? - The Cool Hunter Journal

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Great, aesthetically pleasing design needn't be limited to traditional architectural forms such as houses and public buildings. Utilitarian spaces, such as car parks, present architects and designers with a unique opportunity to bring beauty and harmony to the everyday functional spaces that are normally ignored by great design minds.

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Melbourne carpark transformed into art festival site

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Melbourne carpark transformed into art festival site

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The CBD is densely populated with rooftop bars, each with their own charms and talking points. But for a dozen nights in June, a shabby Chinatown car park named Golden Square will have them all licked. For the second year running, it's being taken over by Rising - but without Covid density limits or other complications.

"Last year we were really restricted with what we could do," says visual arts curator Grace Herbert. This time around, the whole venue is licensed.

Visitors will collect their first drinks on the ground floor, at a small pop-up bar. From there, the low- rise concrete structure, with all its unexpected ramps, mezzanines and niches, is theirs to roam.

"It's like a maze," Herbert says. "It's very explorative - you'll have to find these different annexes with different artworks in them."

Video is the dominant medium here, and the perfect fit for the gloomy, low-ceilinged lower levels. Young French artist Tabita Rezaire is showing two pieces. Deep Down Tidal explores the ocean's in-built communication networks, spanning fibre optic cables, sunken cities, drowned bodies and more. And Ultra Wet, projected onto a tent-sized pyramid, looks at the wisdom and indigenous traditions of pre-colonial Africa, dazzling with its colourful flowers, serpents, and galaxies.

Another significant video work comes from American artist Patty Chang. In the haunting Invocation for a Wandering Lake: Part 1 & 2, she explores religious ablutions - specifically, the ritual washing of bodies to prepare them for the next stage of existence. We see her tending a whale carcass off the coast of Canada, and later scrubbing the hulk of an abandoned ship in a dried-up inland sea in Uzbekistan.

These works could be viewed in solemn silence - or not. Drag artist Scotty So will be appearing three times a night, presenting a trio of different personas. And Jason Phu's 30-performer Parade for the Moon will also be coursing through twice a night, with drummers and bombastic costumed spirits, dragons and other animals - some on rollerskates - paying tribute to the moon.

Wherever guests to go and whatever they choose to see, Golden Square's rooftop is the final stop; the crescendo. Apart from possessing a larger bar passing out hot snacks, beer, cocktails and wines selected by Blackhearts & Sparrows, the roof will house Paul Yore's epic installation Seeing Is Believing, but Feeling Is the Truth, and The White Waters, a six-hour performance piece about Tian Qiyuan, Taiwan's first openly gay and HIV-positive student. And the surrounding buildings will be used to screen flagship video works by American icon Jenny Holzer and local rising star Atong Atem. It'll be a real destination, made for lingering.

"We're going to be using it as a festival artists' bar, so it's going to have a bit of a cosy, home base kind of feel," Herbert says.

Hours:
Wed, Thu & Sun 5.30pm-11pm
Fri & Sat 5.30pm-12am
rising.melbourne

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The CBD is densely populated with rooftop bars, each with their own charms and talking points. But for a dozen nights in June, a shabby Chinatown car park named Golden Square will have them all licked. For the second year running, it's being taken over by Rising - but without Covid density limits or other complications.

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Kapow - art in carparks! An all day live art, live music and art market, showcasing some of Kirikiriroa, Hamilton’s best local street artists and young talent rising up in the arts scene. Artists...

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Painting personalized car parking spaces

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Painting personalized car parking spaces

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High School Seniors Paint Their Parking Spots And Their Art Goes Viral On Twitter | Bored Panda

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The senior classes of 2017 let their creative ideas take over when they got to paint their parking spots. From parodying their favorite album to paying tribute to their favorite sports teams - the seniors have made their once dull parking lot look like a true street art masterpiece. Take a look belo…

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What do you SEE? What do you THINK? What do you WONDER about?

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What do you SEE? What do you THINK? What do you WONDER about?

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Janet Sobel - Ukrainian emigrant artist. Pioneer of drip painting abstract expressionism style.

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Janet Sobel - Ukrainian emigrant artist. Pioneer of drip painting abstract expressionism style.

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Before Pollock Saw Her Work, A Ukrainian Woman Pioneered Drip Painting

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Here’s the myth: alcoholic brooding genius Jackson Pollock assesses a virgin canvas as it lays prone on the ground. Then he flings, hurls, splashes, and drips paint all over it, creating a vigorous new language of art – the drip technique. Life Magazine swooned, “Is he the greatest living painter in…

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Aboriginal and Torres Strait Islander readers are advised that the following document may contain links to images,videos and voices of deceased persons.

This site discusses Racism, murder, rape, sexual assault, genocide, police brutality, and violence.
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We respectfully acknowledge the Traditional Owners of the land and their elders past, present and future. We recognise their ongoing connections to the land, the sky, the sea and waterways. We would like to acknowledge that this land - which we benefit from occupying - was stolen, and that sovereignty was never ceded. We commit, as allies, to continually amplify the voices, stories and history of Aboriginal and Torres Strait Islander people.
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This is a tool kit made by Australian high-school students, for Australian high-school students, that we can use to take down racism brick by brick.

We made it because we want to build a future that doesn't need anti-racism kits in the first place.

Why

How to Use

For us, as recently graduated high school students of colour, we support anti-racism because we're not happy to settle for 'not being racist'.

We want to be anti-racist - to deliberately work towards breaking down the racism we've experienced personally and institutionally in our broader communities and society.

And you should support it too. Racism certainly affects either you or the people around you. It is a root cause of serious political, social, and economic injustices in our society, and it trickles down to the day-to-day experiences of harassment and discrimination.

If you're keen and ready to learn about everything in this kit, awesome.

Go from SELF , SCHOOLS , and then SOCIETY .

This will allow you to learn about anti-racism more deeply before you act to tangibly improve your community and society.

While this kit offers many different actions you can take, we recommend you only take one or two at a time.

Taking realistic, smaller steps is key to achieving tangible change.

And when you're done reading this kit, don't stop and pat yourself on the back just yet. Stay focused. Your journey in promoting equity, diversity, and inclusion has only just begun.

For us, as recently graduated high school students of colour, we support anti-racism because we're not happy to settle for 'not being racist'.

We want to be anti-racist - to deliberately work towards breaking down the racism we've experienced personally and institutionally in our broader communities and society.

And you should support it too. Racism certainly affects either you or the people around you. It is a root cause of serious political, social, and economic injustices in our society, and it trickles down to the day-to-day experiences of harassment and discrimination.

If you're keen and ready to learn about everything in this kit, awesome.

Go from SELF , SCHOOLS , and then SOCIETY .

This will allow you to learn about anti-racism more deeply before you act to tangibly improve your community and society.

While this kit offers many different actions you can take, we recommend you only take one or two at a time.

Taking realistic, smaller steps is key to achieving tangible change.

And when you're done reading this kit, don't stop and pat yourself on the back just yet. Stay focused. Your journey in promoting equity, diversity, and inclusion has only just begun.

Existing Resources

Important Disclaimer:

We acknowledge and appreciate the ongoing work in the anti-racism space, and the many online resources which have helped us build this kit. The main resources include the following:

"Learning how to undo racism is an act of care and courage. Anti-racism training is critical if we are to build intercultural bridges and a community built on respect. I encourage you to use this resource designed by young people creating a better world."

- Annukina Warda
Author of "I'm Not Racist, But...!"
Elemental Training - www.elementaltraining.com.au

What is Racism?

It's a word that we've all heard before. But what does it actually mean?

The recently updated Merriam-Webster Dictionary Definition gives a good overview of this confusing word:

As the updated definition 2 shows, racism is racial prejudice combined with institutional power. It is one group having the power to carry out systematic discrimination through institutional power, shaping cultural beliefs that strengthen this power.

Racism is not only a belief in racial superiority, or racial prejudice. It is not just about the way people think or talk about people from different backgrounds, or about hate crimes.

It is an explicit political or social system founded on racial prejudice and the advantages it brings for the privileged group. Racism is embedded in our language, behaviours, and institutions, and continues to mould unequal power relations.

Project Implicit Bias gives us a sense of our subconscious bias. Created by Harvard researchers to investigate implicit social cognition, taking the test will give roughly approximate your subconscious bias towards not only racial minorities, but other groups as well.
take the quiz

rac·​ism | \ ˈrā-ˌsi-zəm

‍ Definition of racism

‍1: a belief that race is a fundamental determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race

‍‍ 2
a: the systemic oppression of a racial group to the social, economic, and political advantage of another

‍ b: a political or social system founded on racism and designed to execute its principles

So who is Racist? What is Anti-Racism?

While you may not be 'racist' in the immediate sense, Ibram X. Kendi, American author, professor, anti-racist activist and historian of race, suggests a new way of looking at the word 'racism'.

He argues that you are either racist or anti-racist, because racists aren't only those that loudly shout racist slurs or stubbornly hold onto racial prejudices. To explain:

"One either allows racial inequities to persevere, as a racist, or confronts racial inequities, as an antiracist. There is no in-between safe space of 'not racist.' The claim of 'not racist' neutrality is a mask for racism."

- Ibram X Kendi
How To Be An Anti Racist

Social stereotypes about certain groups of people that individuals form outside their own conscious awareness. Everyone holds unconscious beliefs about various social and identity groups, and these biases stem from one's tendency to organise social worlds by categorising. Unconscious bias is much more common than conscious prejudice and often incompatible with one's conscious values. Certain scenarios can activate unconscious attitudes and beliefs. Biases may be more prevalent when multitasking or working under time pressure. For example, ask yourself:

Do I have an automatic reaction or impression about this person or action

Am I making rash judgments without knowing more?

Am I treating their motives at their worst case rather than best case?

Are these responses often to just these groups?

Now that we've run through the basics, dive deeper and see how you can dismantle racism within your SELF , your SCHOOL , or your SOCIETY

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Thank you! We'll be in touch with any relevant info, and promise never to spam! Oops! Something went wrong while submitting the form. Aboriginal and Torres Strait Islander readers are advised that the following document may contain links to images,videos and voices of deceased persons.