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Artists prior to viewing my videos series may feel there may be a continuation of their previous art journeys where history, philosophy and art theory, were reintroduced for them to consider. They would see this was not relying on a the 'usual' workshop template where practical demonstrations were mainly concerned with the art materials,  as  Youtube, adult, art educational videos so often are to be found.

Target audience, whether they be seasoned artists or geographers wishing to extend their art skills, would feel enthused and inspired by the range of pathways they could take to explore a region after viewing these series of YouTube videos. There would be rationales as to why they should consider a range of explorations. It would feel as though it was a trustworthy and generous sharing of information. The possibilities would be exciting with the thought of transdisciplinary opportunities being a leading edge of thought.

The tone the promotional message must bring would be trustworthy intellectualism (without being elitist), confident and generous sharing, orderly philosophical procedures, tranquil investigations of geographical thought, and an 'edge' of modern thinking... that there were possibilities to help the wider community and natural world in the future, through this gathering of understandings.

Blue- trust, peace peace and order. Green for environmental concerns and improved creativity. Black for the elegance , power and sophistication. Red or an earthy tone, such as sienna or umber, a flash to oppose the cooler colours.

The font
Examples of Humanist Sans:

Gill Sans Nova - derived from handwriting

Gill Sans Nova Light for a contrasting, yet harmonious effect to use with the above Gill Sans Nova font.

Verdana - clean and modern. Bold text, easy to read.

And related:

Arial Nova. I use Arial quite a lot. Simple, to the point.

Dotum - modern and elegant

Grotesque - a ‘go to’ font, often used.

Daytona - something to consider, more compact than grotesque.

Kalinga- similar, again.

Microsoft Yi Baiti - elegant...boosted to 16 size to compensate for its petiteness.

Final choice: Verdana

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I wish to reach artists that have perhaps competed their studies some time ago, but are looking for new inspiration and ways to apply new ways of thinking to explorations of place.

My educational videos, called Art and Place, will encourage an outward-looking process, rather than looking inward as a solitary artist. The geographic thought that is incorporated into my videos will be a welcomed inclusion for those artists who are ready to mix with other disciplines, in the face of the wide array of wicked problems that we, as a global community, are facing.

Art is not seen as a pastime, nor as a hobby, rather it is as Antonin Artaud says: "If there is still one hellish, truly accursed thing in our time, it is our artistic dallying with forms, instead of being like victims burnt at the stake, signalling through the flames."

The wide range of information incorporating geographical thought, on offer in the Art and Place video series, will be the lure to artists willing to shift to new directions... to art that can be of service during this time of complex environmental challenges.

The time is now to extend visual arts reach, to help the planet and people who dwell within her fold.

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Annotated Bibliography

Auerbach, E 2013, Mimesis: The Representation of Reality in Western Literature, trans. W  Trask, Princeton University Press, New Jersey.
Erich Auerbach discusses many of the classics of literature, beginning with  Ancient Greek and Latin literature to Twentieth century novels. He has been able to discuss viewing positions that various authors took when writing their novel. Some viewing positions are partial and seem to not care for some of the ‘lesser’ characters in the narratives, others are exalted as heroes.  Over time, Auerbach argues that a more democratic view of the world is taken by writers. Awareness of the comedic, the tragic, the heroic, and their opposing stances, can bring awareness to such biases within the artists’ own practices, as well.

Cameron, J 2005, Place, Goethe and Phenomenology: A Theoretical Journey, Janus Head,  vol. 8, no.1, pp. 174-98.
Geographer John Cameron shows a clear pathway for phenomenological investigation of places. It requires careful receptivity, extended sensitivities to place, and the ability to revisit, wait patiently and allow the environment to forward its ‘own knowledge’. He incorporates a wholistic view where the human needs are not paramount. He also warns that the stories that are usually collected in cultural studies require careful analysis, for they can omit so many people, or so much information.

Carter P, 2010, Ground Truthing: Explorations in a Creative Region, University of Western Australia Press, Crawley, Western Australia.
Paul Carter has explored the Mallee region of Victoria and incorporated visual art, sound, history and importantly, Aboriginal knowledge to document the spatial history of this region. His poetic approaches are inspiring, for they further the idea of uncovering hidden and forgotten storylines where important information concerning place can be found. It is not ‘armchair travel’ he promotes, but a sort of intergenerational lived experience, that is a foundation to place, that can be sought. It is essential knowledge he urges that can be applied to future solutions to wicked geographical problems we are presently facing. .

Malpas, J (ed.) 2015, The Intelligence of Place: Topographies and Poetics, Bloomsbury, London
Philosopher and place theorist, Jeff Malpas has written, and included insights into the meanings of place from some of the leading philosophers of our time. Subjects such as the edges of place, singularities, media’s treatment, atmospheres, limits, and the relationships in place to architectural  Spaces are discussed. Many disciplines incorporate the idea of place in their activities, but there is an under appreciation of the complexities and characteristics of place in Malpas’s opinion. Place qualities are deeper considerations that what is usually presented in municipal place making bodies. Malpas draws out very deep and thoughtful ideas that the artists can then feel confidence in, when applied to their own place studies. .

Hawkins, H 2014, For Creative Geographies: Geography, Visual Arts and the Making of Worlds, Routledge, London.
Hawkins has surveyed many of the uses of contemporary art in the discipline of Geography, including installation, sound and video works. She has cast a critical eye on the various movements in geography, including humanistic geography (the study of place and space). Her interests lie in theories and art practices that are based more on ideologies and shifting political momentums, rather than holistic/ universal infgluences.

Seamon, D 2013, ‘Place, Place Identity, and Phenomenology: A triadic Interpretation of J.G. Bennett’s Systematics’, in H Casakin &F Bernando(eds.) The Role of Place Identity in the Perception, Understanding, and Design of Built Environments, Bentham Science Publishers, Shajah, United Arab Emirates.
Geographer David Seamon provides a comprehensive system with which to explore place, based on the philosophies of Bennet/ Gurdjieff. Three forces are at work in place, the people, the geographic ensemble and the atmospheres of that place. These three forces can be arranged into 6 different combinations where one initiates an action, a middle one negotiates, and there is an outcome to place processes. For instance, the atmospheres brought by a bushfire may initiate a specific action by the people, and leads to their making of a new architecture, new plans with the local geography, new water measures. Three inseparable forces are at work, there are no dichotomies with ‘opposing’ forces with this system. Instead, things are brought into relationship with three forces that are negotiated. The six triadic (three influences) processes can be labelled as the interactions, identity, creative expansion, concentrating forces, sense of order and particular freedoms of those places. These are all themes that are happening at the same time. It is usual for cultural workers to perhaps align identity with place studies, but this reveals there are the five other considerations. It is a holistic and systematic approach; it avoids the hard-hearted ness of post modernism, or constructionism, and instead allows spiritual considerations, the ‘clearly invisible’ aspects of place and the other than human world as being integral to place.

Tuan, Y-F 2004, Place, Art and Self, Center for American Places Inc., New Mexico.
Yi-Fu Tuan is the ‘father’ of Humanistic Geography. This small book is an adjunct to his world-wide exploration of place and space. Instead, he looks at the role that artists, musicians, writers and photographers in place studies, highlighting the considerations they can embrace. He also incorporates spiritual aspects of geography...longing for home, home-town ‘stunting’, group identity, and art as virtual places.

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1. A review of the historical links between art and geography...examples from the era of the earlier Australian explorers.
2. A survey of my own efforts to paint various locations in South Australia.
3. Artists that have a purely subjective and partial approach to place.
4. Future geographies; what did I preconceive about South Australia
5. Mythopoetic accounts of South Australia.
6. Stories of colonial inroads to becoming Australian.
7. Tourism and its failure to incorporate various locations.
8. The overlooked places of wonder; reassessments, revisits and reinvesting our thoughts.
9. Using the heart as a sensory organ when exploring sites.
10. Spectral ethnography: the past is never over.
11. Aboriginal thought as a guide to exploration.
12. Family culture as a guide to exploration.
13. Souvenirs: the NOT shop bought kind.
14. What goes home with you?: expressions of  desire and fear.
15. Unknown territories; exploring with no previous notions.
16. Study of the inherent bravery of explorers; using art to express the necessity of bravery.
17. Modern day polar explorers; no cameras to be used for this task.
18. Drawing the 'clearly invisible.'
19. The sentience of place that stays a lifetime.
20. Places that beckon.
21 Places the haunt.
22.Forgotten voices in forgotten places.
23. Forgotten voices in seemingly well known places.
24. Unrecognizeable places after disasters; showing the landmarks.
25. Places where dreams came true; architectural place making.
26. Carnival time, the mood requires the influence of people.
27. Retracing places that are now urbanized; lost geography.
28. The effects of the shifting earth; earthquake and quaking people.
29. Corporate place making within the cities.
30. Corporate place making within the regional centres.
31. What is the 'clearly invisible'?
32. Eyes that look on: the animal worlds' gaze.
33. My corner of the world: longevity, responsibility and return.
34. Ever-moving edges of places.
35. Places that exclude; a study of the rich.
36. TV realities vs. lived experience in place.
37. A mountain, a forest , or a water person? Who are you?
38. Pining. Those who left their homeland forever; lessons for the Mars Mission.
39. Texture, ornaments and decor for the Mars Mission.
40. Colonists' advice for the Mars Mission.
41. Artists exploring place without prior geographical knowledge...has it been done before?
42. How to avoid dichotomies.
43. Systems thinking for artists.
44. Proven benefits of system transfer in unknown territories.
45. Correlated imaginative findings merged with geographers' thoughts.
46.The difference between understandings and knowledge.
47. How to be a useful artist on the geography field trip.
48. How to be un-useful as an artist - in - residence in a trans disciplinary setting.
49. Over-responsive reactions to place.
50.Naive painters and their accurate qualities in place research.
51. Seeking the logical in art.
52. The artist positioned 'at the door'.
53. The benefits of careful  quiteness in transdisciplinary activities.
54. Preparing for surprising finds in field work.
55. Art that is of service; uses of art in social policy.
56. Disengagement with the art world when exploring place; fresh slates.
57. Arts power to promote without revealing identities.
58. Painting what the internet can not provide; new approaches to patterns of settlement.
59. Emotions on the drive home.
60. Purposeful regard for cosmology in a scientific arena.
61. Chance wanderings with a sketch book; revival of art making methodologies.
62. Sharing art education with the contemporary geographer.
63. Freedom in information rather than freedom with materials.
64. The artists' guide to careful sorting.
65. Real life vs. imagined life. Self- checking for the artist.
66. How paintings 'speak'. New assessments of explorers' art in colonial South Australia.
67. Telling the viewer what they may not know; the painter as public intellectual.
68. Paintings that can blast open what history has concealed; the role of research in heuristic approaches.
69. Suggestions of non-existent worlds; movies and what they may have to answer for.
70. Descriptions or propositions...in art?
71. Art's role in clearly showing the details of contemporary life; opposing a confused audience.
72. How to direct viewer's emotions to geographical thought.
73. Mining for information that is difficult to share with the public; new collaborations with geography elders.
74. The role of harmony and belonging in geography.
75. Self-assessment of private aims in artists' approaches.
76. Artists and the 'delicate wrappers' of life; an analysis of insensitivity in artists' fieldwork.
77. Multiple viewpoints of community life; presenting a cohesive and verifiable series of representations.
78. Demarcation lines in place; helping to preserve/support communities through art.
79. Places where connoisseurship has been languishing; the artist as agent for change.
80. Changing the existing thinking amongst geographers; matters of style in art.
81. Recognition of ongoing traditions; the artist as ethnographer.
82. Recording the places that are not withstanding history or mutational processes.
83. Artists dispelling the concept of privileged centre in place.
84. Celebration of what has been phenomenologically sensed and assessed; how to imbue paintings with feeling.
85. Representing who people are, rather than what they are aspiring to.
86. Too many extraordinary experiences leads to the loss of place: artist as the dispeller of false stereotypes.
87. What we think we know; associating the natural world with authority.
88. Direct perceptions of vicarious experience; sharing through art.
89. The pitfalls of focussing on materiality/ play in art.