Prof. Clive Barstow
School of Arts and Humanities, Edith Cowan University, Australia
Research Area: Cross cultural and hybrid arts practices utilising practice-led research methodologies to investigate past, present and future storytelling through the visual language of art.
Introduction: Clive Barstow is Professor of Creative Arts at Edith Cowan University, Honorary Professor of Art at the University of Shanghai Science & Technology China and Honorary Professor of Design at Guangdong Baiyun University China. Prior to moving to Australia in 1992, Clive taught at Middlesex University in London and the Kent Institute of Art and Design. He trained under Eduardo Paolozzi at the University of the Arts London (Chelsea School of Art) and holds a PhD from Griffith University Australia. Clive was Executive Dean of the School of Arts & Humanities at ECU from its inception in 2016 to 2021, prior to which he was head of the Schools of Art and Design (1998-2012) and the School of Communications and Arts (2012-2016).
Clive is a practicing artist and writer. His exhibition profile includes forty years of international exhibitions, artist residencies and publications in Europe, America, Asia and Australia. His work is held in a number of collections, including the Musse National d'Art Modern Pompidou Centre Paris and the British Council USA. Clive continues his international artist profile by exhibiting regularly in China, Europe and Australia and publishes regularly on arts research and the creative humanities.
He was President of the Australian Council of Deans and Directors of Creative Arts (DDCA) Australia’s peak body for leadership in the arts from 2017-2021, and is also Director of the Open Bite Australia, which encourages the development and self-management of visual practices within a number of local indigenous communities. In 2019 Clive was awarded the lifelong fellowship award by the Australian Council for University Art & Design Schools, for his outstanding contribution to art and design education in Australia.
Title: Reimagining Time and Place Through Visual Art Praxis: An Observation of Henri Lefebvre’s Trialectic Spac
Abstract: This presentation examines the nature of written and visual storytelling rooted in predominantly western socio-political realism and reimagined in the context of complex global cultures in flux. Through visual art practice I propose new scenarios based on a creative interpretation of Henri Lefebvre’s The Production of Space. Several key thinkers on space and time are examined to present hypothetical models that re-present history as a series of synchronous and relational moments in time. For the practice-led researcher, I extend Lefebvre’s expression of trialectics towards a model of auto-ethnography that is more three-dimensional, and one that avoids the pitfalls of binary othering that can occur in traditional ethnographic studies.
In line with Lefebvre’s dialectic approach, I argue that his various models of spatial triads posit a connected model of space that is open ended, and more able to combine the constituent parts of our increasingly homogenised cultural groups that can no longer be defined by singular specific locations or established conventions of time. The concept of abstract space is used to evoke multicultural time-scapes and spatial imaginaries across two and three-dimensional artworks through which we can question the construction of cultural norms within the established framing of history and place.
A. Prof. Hsuan Lee
Zhaoqing University, China
Research Area: Music performance, instrumental ensemble, string pedagogy
Introduction: Major in violin performance and teaching. The first project, the doctoral dissertation “Towards A Dynamic Pedagogy：Contemporary Pedagogical Approaches to Basic Violin Technique” was published in 2003. The recent research focuses on heterogeneous violin teaching and student orchestra teaching methods. A violin pedagogy article “高校小提琴选修课程创新研究——以肇庆学院为例” was published in July,2021. Another article regarding violin performance practice “The Violin Bow Evolution That Affected Violin Music in 18th and 19th Century” was published in August, 2021.
Lately Dr. Lee is making an effort to establish a new focus on college student orchestras to explore better teaching methods and refine rehearsal technique.
Title: Pedagogical Approches Toward College Orchestral Courses in China
Abstract: Establishing a symphony orchestra is the ultimate form of presentation in music performance education. Every successful performance represent the perfect combination of music theory and performing skills Symphony orchestras have been a symbolic representation of music departments. Despite the ambition and aspiration of establishing orchestra l ensembl!e courses, the unique circumstance in Chinese higher education has brought various obstacles. Facing the difficulties of various situation, the author shares his conclusions of 20-year experience and experiment in student orchestra practice. The problems and solutions will be fully discussed.
A. Prof. Zhao Chengqing
College of Arts, Sichuan University, China
Research Area: Early Overseas Sinologists, New China Art History, Design Culture
Title: Ingenuity, technology and modern China: Camera, phonograph and typewriter
Abstract: From the second half of the 19th century to the beginning of the 20th century, with the development of the Westernization movement and the infiltration of Western culture to the east, some ingenious device, including camera, phonograph and typewriter, began to be introduced into China. Chinese people mainly show two attitudes towards this: on the one hand, they are confused and amazed at Western scientific and technological achievements; On the other hand, they remained conservative and rejected. Driven by the development of consumer culture and industry, the camera, phonograph and typewriter represented the variation of aesthetic modernity and social modernity, and through images, sounds and words, they also shaped the image of modern China from the perspective of the knowledge production and dissemination.
A. Prof. Andrew William PEAT
Beijing Normal University – Hong Kong Baptist University United International College, China
Research Area: Film production, Directing, Post-Sound, Screenwriting
Introduction: Andrew graduated with honours from the University of California, Davis, earning certificates of excellence from both the English and History departments, and studied a full year of History as an exchange fellow at Scotland's oldest institution, University of St Andrews. He earned a Master of Fine Arts in Film and TV Production from the USC School of Cinematic Arts, while gaining experience in various areas of film production working on over 50 films (shorts and features). He has focused on directing, scriptwriting, sound editing and design, Foley, sound effects, as well as the final mix. Andrew started teaching at UIC from September 2015. His best-known film is the feature documentaryScotch – A Golden Dream, which was a feature selection at 15 international film festivals and received international distribution.
Title: Don’t Let the Tail Wag the Dog
Abstract: One of the most common mistakes students (and even professional filmmakers) make is to allow the “tail to wag the dog.” Top talent is a clear benefit, the best cameras and lenses can certainly help create great looks, and money to throw at various aspects of production, like stunts and special effects, is every filmmaker’s dream. But how much money and how many resources are wasted every year on making, let’s be blunt, bad movies?
The filmmaking process is one of the most difficult and demanding of the creative industries, because it requires a variety of talents and skills, as well as tight collaboration. A poet can sit at home alone and write. A painter can run a solo studio. But a film is never made by one person.
Over the course of the past 10 years, I have guided around 500 student film projects, and through that experience have learned some of the most common mistakes and pitfalls students make, as well as some key factors in making good and memorable student films. This presentation will share some key lessons I have learned in guiding the student filmmaking process, and helping them to make better and better films.