A forum for early-career academics to practice presenting their work and for the public to learn about it too.
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Upcoming: DOUBLE BILL: Grace Aldridge & Jack Doepel, 20 November
Grace Aldridge
This presentation will describe a research program endeavouring to better understand how technology-assisted parenting programs could better engage and empower parents of children experiencing adversity. We reviewed the scientific literature and found that designing interventions with those who use it can make it more engaging. We therefore co-designed a technology-assisted parenting intervention (consisting of podcasts and micro-coaching) with a health service accessed by parents of children who experience adversity and developed strategies to support its implementation. This methodology enabled producing an intervention that empowers parents with strategies to protect their child’s mental health and has potential to be delivered widely at low cost. This presentation may be of relevance to anyone working with child and family services and/or with an interest in reducing research-to-practice gaps.
Grace Aldridge is a psychologist and researcher interested in working collaboratively and relationally with families and services to better meet families’ needs for supporting their children’s mental health. The PhD research stemmed from an interest in understanding how to improve the reach of the many evidence-based parenting supports that exist but are not used.
Jack Doepel
In decolonial studies, and other domains interested in the concepts 'race' and 'gender', 'white European man' is frequently cast as the antagonist, and quite rightly. Less common, however, are analyses designed to elucidate the history of this standpoint. As a result, authors often end up adopting a religious-like, colourist/racist conception of the 'white man' as inherently evil. My contention, is that like all things, the contours of white man's psyche owe themselves to some earlier cause...
tldr; everyone knows white man acts evil, few really ask why.
What can a clearer understanding of whiteness and its history teach us that might benefit our knowing today?
ALOT duh :p
Join me as we attempt to deshroud white man's mini-map. I promise we find a banquet for the seeker.
Past:
Keanu Hoi, 30 October 2024, 5:30pm-7:30pm (sharp!)
Before a film comes to life, it starts as fragmented imaginations, sketched, written and shared with collaborators… previsualisation. This practice has a rich history in art cinema that has been slowly eroded by studios standardising previsualisation to suit assembly line film production. This presentation charts an alternative history of cinema, taking a careful look at the role of previsualisation and its roots in animation history and art making.
Let’s reclaim the roots of cinema as a creative and unpredictable relationship between animation and live-action photography. It has become increasingly common for independent film productions to compartmentalise crafts to discrete points in a pipeline. Previsualisation is a unique opportunity to start to unwind this practice, and question the ways in which we collaborate and who we collaborate with.
This presentation is free for portal members and open to all. It may prove especially relevant to filmmakers, students of film, and creatives curious about story development and animation.
Keanu Hoi is an animation lecturer and PhD candidate studying how animated previsualisation impacts collaboration, creativity and authorship. The PhD research was born from his experiences in the film and animation industry, noticing the strange divisions between these two worlds.
His journey with animation began as a child, when he underwent alternative dyslexia treatment, which involved modelling hundreds of clay dioramas that told stories about the words he struggled with reading and writing. This led to him making claymations with the same clay used in his treatment. He began to paint and later went to film school at the Australian Film Television and Radio School in Sydney. Here he began to blend his love for all kinds of filmmaking processes, both animated and live-action. The style that emerged is a distinct reflection of his approach to storytelling; one that explores feelings of estrangement and attraction to computers and automation. His work has premiered on Adult Swim (USA), CineQuest (California), Melbourne International Animation Festival, Sydney Fringe Festival and Soft Centre (Australia) & Cinanima (Portugal), among others.