This unit of study examines the discourse of memory through the practice of contemporary art and theory. From this perspective, it considers the relationship between memory, the politics of identity, and history through a critical exploration of different forms of remembrance, such as: storytelling and autobiography; collective memory; forgetting and the erasure of time; and trauma and embodiment.

This unit of study explores the links between the natural world and human culture, and in particular how these links have been made in art practice. From the nineteenth century through to the contemporary period, natural history - the empirical study of plants and animals - has preoccupied artists seeking greater knowledge of botanical and zoological life, and enrichment through spiritual connection with the otherness of nature. This unit considers artists whose response to the natural world has been mimetic, psychological, ecological, and philosophical. It addresses the intersections of art and science including the impact of Darwin and theories of evolution on artists both historical and contemporary, the prevalence of plant and animal motifs in design and popular culture over two centuries, and the centrality of environmentalism and ecology to art today.

How to transform the (passive) viewer of art into (active) participant has been a central drive of much 20th century art, which more recently has seen contemporary art claim its role as the creation of new forms of social relations. This unit of study places this drive in historical and theoretical contexts, considering the work of modernist and contemporary artists, and the relationship between art and new forms of political organisation in the age of social media.

Pop caused visible cracks in the traditional division between high and low culture, but with the advent of accessible digital moving-image media, this distinction has been all but shattered. The omnipresence of mass media has meant that for those in the developed world (and elsewhere), taste, style, desire and therefore fashion are at the epicentre of our lives. Taking a broad transdisciplinary perspective that ranges from jewellery to fashion photography to film, this unit of study examines the rich crossover between art and fashion that has been active since the emergence of couture in the mid nineteenth century. The relationship between art and fashion developed in the 1960s with audacious body styling that borrowed from science fiction movies as much as art itself: for example, it was Yves Saint Laurent's Mondrian Dress that took the modernist master into the mainstream. These cross-pollinations climax with contemporary designers such as Margiella and McQueen - whose body-as-sculpture attitude is distantly echoed in the tendency of museum architecture also to be like gigantic sculptures - and pop icons such as Lady Gaga.

This unit of study examines the various documentary practices that represent one of the most important and complex developments within art over the last two decades. Traditional documentary photography and film have been reinvented by converging with conceptual art, video, and performance. These emergent documentary forms ranging from reflexive photo essays, installations, found-footage video reportage, mockumentaries to print media, attest to an ongoing quest to find new ways of engaging with social and political phenomena. What is the function of these new documentary practices in the context of a globalised art and media world?

Feminism scrutinizes the building blocks of culture and identity, seeking to explain how power relations - including those that naturalise gender inequality - are embedded in knowledges and practices. Feminism is thus a powerful tool for understanding our image culture and the way visual images narrativise power relations. Pioneering this critique nearly fifty years ago, feminist artists helped to forge the transition from modernist to postmodernist cultural strategies. They prioritised subject-matter, skills and design principles that had been neglected in late modernism. They criticised the idea of art as separate from society and beyond politics and power, and communicated with broader audiences through video, performance, mixed media, installation, posters and photography. They re-routed both women's traditional arts and the conventional high art media of painting and sculpture. Today these experiments remain a central platform of contemporary art, including forms of visual arts interventions in participatory and networked democracy known as 'social practice'. Many of the conceptual, material and practical dimensions of contemporary art have been derived from feminist practice, albeit in unacknowledged form. This unit considers the many ways feminist critiques inform contemporary art, contextualizing current practices in the histories of feminist art and theory

This unit of study seeks to equip visual arts students with some of the key competencies necessary to make the successful transition from art school to professional practice. The unit comprises primarily of talks by a wide spectrum of art industry professionals on issues including: the art market; the gallery circuit; artist-run spaces; entrepreneurship opportunities; public commissions. Seminars will also address issues such as: proposal-writing; funding opportunities; and up-skilling through postgraduate qualifications.

This unit of study recognizes the impact of Indigenous Australian arts on Australian contemporary art practice. It considers the development of contemporary Indigenous art, and discusses the crucial issues of appropriation, ownership, and institutional protocols, as well as contemporaneity. You will be encouraged to broaden your understanding of the complexities associated with contemporary art practices in Australia, and to actively engage in dialogues between Indigenous and non-indigenous practitioners.

The uncanny is a psychological sensation that occurs when the ordinariness of the everyday is ruptured. This unit of study explores the uncanny and its impact on contemporary art. The uncanny can be traced to the Romantic Movement, but is most famously associated with the impact of Sigmund Freud who wrote: 'The uncanny effect is often and easily produced by effacing the distinction between imagination and reality as when something that we have hitherto regarded as imaginary appears before us in reality'. The uncanny interferes with feelings of homeliness and certainty and instead produces disturbing sensations of being out of place and of estrangement from the familiar. This powerful concept is generated by ordinary life and also the experience of art.

This unit of study will consider complex biopolitical and geomorphic descriptors of the Anthropocene and the way these become revealed in art practice. Topics of study will suit students who wish to pursue theory and practice transversing art, science, politics and critical theory. Traditions in eco-art and protest are just one way planetary scale variations to the biosphere have been addressed by artists. The rise of new materialism and concern for non-human agency in theory and practice are significant markers of contemporary art in the Anthropocene. Speculative futures will be considered along with a concern for deep time suggested by epoch-based and geological thinking. Themes include posthumanism and inclusivity of the non-human and concepts of materiality driving art practice. Focus of discussion will be on artworks produced since 2000, including those of Art Oriente Objet, Kathy High, Marcus Coates, Critical Art Ensemble, and Snaebjornsdottir & Wilson. Critical examination will be made of the relationships between art and the theoretical works of theorists including Giles Deleuze and Felix Guattari, Karen Barad, Jussi Parikka, Donna Haraway, Bruno Latour, Rosi Braidotti, Cary Wolfe and Steve Baker.

This unit of study is open only to Distinction average students in their graduating semester. Students undertake an independent research project in the context of peer and academic support offered through regular seminar sessions.

This unit studies the interplay between high art and popular culture in America from the 1950s onwards. Pop Art, Minimalism and Performance formed alongside emerging youth cultures of political protest, drugs and rock music. We examine the interactions of high art, youth culture and mass media.

In Asia there has developed both the nationalist art of a series of modernising states and a counter-establishment art which has frequently been formally modern. Students will learn how to analyse art works and institutions in terms of critical notions of modernity which arise in these Asian contexts but which do not require projection from outside. Focus will chiefly be on China, Hong Kong, Taiwan and India since the 1850s. Other examples will be drawn from Japan, Thailand and Indonesia.

This unit of study introduces you to the conceptual frameworks and technologies that shape the making of screen-based media and contemporary art practices. Through a series of lectures, seminars, tutorials and screenings you will explore the evolution of experimental film, video art and independent filmmaking from the 1960s to the present. You will engage in the production of a self-directed digital film that may be realized in any style or genre. The unit is supported by a technical program that provides you with the applied skills and competencies needed for the use of studio facilities and equipment.

Drawing is re-emerging as an important field of artistic activity and research. In this unit of study, you will explore drawing as a primary research activity. Working with drawing as a research instrument and creative discipline will enable critical engagement with traditional practices and contemporary trends. You will participate in peer-evaluation and undertake theoretical research in addition to studio based activities and production.

This unit of study approaches sound in the broadest sense as it crosses barriers through physical and cultural space, and exists as a force in the world. In this unit, you will undertake a studio-based approach to the production of sound art works, including sound objects, instruments, sonic sculpture, sound installation, performance and new ways of working with sound. The unit begins with the physicality of sound and music physics. You will listen to sonic phenomena, materials, forms and existing sound works. This unit will be conducted in an open studio framework including a variety of workshops, sound studios and digital labs.

This unit of study introduces the principles of black and white photography via the 35mm camera and the darkroom. You explore alternative documentary photography strategies by challenging the role of the camera to simply observe and capture. You experiment with the genres of reportage, street photography and conventional documentary practices, and are encouraged to take an interventionist approach to the urban environment. You are introduced to the 35 mm manual SLR camera, black and white film processing, dark room printing, film exposure and photographic print enlargement.

This unit of study explores how photography can interact with the world beyond a two-dimensional image, and how the relationship between objects and photography can stretch the function of the image. You consider what a photograph may be materially when it extends into a three-dimensional object form, and how the image might be situated to encompass a sculptural and interactive dimension. You develop image-based practices that combine digital photography, analogue photography, projection, print, objects and installation to encourage a multidisciplinary approach to photographic practice.

From Piet Mondrian to Albert Oehlen, artists have been influenced by music. This has had both direct and sublimated effects on the development of the techniques and styles of painting. From seriality to polyrhythms, synchronicity between painting and music has been a constant for a century now. Abstraction has especially taken its cue from the autonomy of music to create a painting that is free from a direct representational quality and instead focuses on an engagement with its own reality through colour, materials and action. This unit of study investigates the dovetailing of painting and music, from modernism to contemporary art, and examines the current trends of painting, relating these processes to those of contemporary music. You will research and investigate the influences of music on painting, and create a work that has music as its core value.

This unit of study introduces you to the fundamental concepts and skills associated with 2D animation production. The unit provides both a conceptual and technical framework for you to explore the possibilities of animation in relation to your existing practice or as a completely new endeavour. Working in the digital domain, you will explore a range of approaches including frame-by-frame animation and stop motion animation. The technical component of this course provides you with the necessary skills to realise a self-directed project while encouraging exploration and experimentation. Class discussions, seminars and individual tutorials support screenings of historical and contemporary animated works to allow you to situate your own projects within a contemporary context.

This unit of study provides a studio-based approach to the production of creative work in ceramics. You will be introduced to concepts, methodologies and technologies integral to contemporary ceramics. You will also be introduced to historical and contemporary frameworks that underpin the processes and paradigms of ceramics today and provide the foundations of a 3D vocabulary. Thematic approaches accompany technical introductions to handbuilding, wheelwork, surface treatments and kiln firing to encourage exploration with ceramics methodologies. The unit develops and enhances critical skills through group and individual tutorials and critiques. This unit is suitable for those who have no or limited experience with the ceramic material and its technologies.

This unit of study examines the glass vessel in everyday life and its application as a conceptual agent in contemporary art. By nature, the glassblowing process creates a vessel or container from a mass of molten glass. Through research projects you will investigate the psychology of the glass vessel through its function and physical properties. You will develop fundamental hand skills and glassblowing techniques through structured weekly workshops, and combine practical skills with contextual knowledge in the development of conceptually themed projects. You may work exclusively with glass or in conjunction with other media and processes.

This unit of study focuses on the optical and abstract potential of cast glass. Through self-led research you will identify relevant artists using the optic and spatial properties of glass. Through structured weekly workshops, you will learn to cast glass in detailed plaster-silica moulds that they have fabricated. You will learn the pragmatics of spatial zones and light manipulation in solid glass, and be introduced to glass chemistry and to the knowledge required for the creation of your own kiln firing schedules. You will respond to themed projects focusing on optical and abstract glass in your own work. You may work exclusively with glass or in conjunction with other media and processes.

Artworks made for public spaces have been an integral part of modern art. This unit of study looks at the role print has played in this history, briefly surveying Situationist graphics and psychedelic and punk posters before moving on to explore the potential contemporary print as a medium for urban intervention. Focusing on poster design and screen printing, the unit introduces you to techniques associated with the US band poster revival and other recent manifestations of print based public art such as stenciling and wheat pasting. The hands-on production of screen printed posters will be linked to an introduction to the digital publishing skills needed for commercial poster production.

This unit of study explores the boundary between artwork, publication and portfolio. The unit acquaints you with the basics of InDesign, a software program that has become industry standard for designing digital and paper publications. Focusing on experimental magazines and other small scale artist's publications the unit explores the visual language of contemporary publishing from an artist's perspective. You learn about the complex interplay of text, image and sequence involved in producing multipage documents/artworks through the practical experience of creating your own InDesign publication.

This unit of study introduces you to screen printing and its broad application across media. The unit explores the technical basics of this process through various projects. It provides for the development and enhancement of critical skills through group and individual tutorials and critiques and the acquisition of technical knowledge required to independently access and use the Printmedia studio facilities.

From the symbolically charged through to the functionally utilized, the hammer formed metallic object builds upon the dynamic landscape of the body. In this unit of study you investigate the potential for an object to expand the metaphysical self. The malleable and ductile qualities of metal will be examined as a creative catalyst enabling material characteristics to form a transformative element of a work that is made for the body by the body. You will explore silversmithing processes, in alignment with your individual research interests, as a technical and conceptual starting point to negotiate ideas of metamorphosis and growth. The appropriate forming processes, including sinking, raising, hot forging and planishing, will be introduced alongside an examination of the historic foundations and key principles of contemporary metalsmithing, as a means to generate your own individual project.

This unit of study provides a studio-based approach to the production of creative contemporary jewellery work that engages with the space and physical dimensions of the body. Fundamental to this approach is an investigation of the role of the worn or carried object in social communication. The unit provides for the development and enhancement of critical skills through group and individual tutorials and critiques and the acquisition of technical skills appropriate to the assigned projects.

Text now is found in a multiplicity of art forms. This open studio interdisciplinary unit investigates text and language in art, from street art to high culture, via self-directed projects that are unbounded by medium and yet use writing as the genesis or as primary material for the production of a work of art. Final works could range from a screenplay or work of fiction, to a body of paintings or sculptures, to artists' books, zines, net art and editions, from video, to sound, and performance art. You will work by way of a self-directed project and on one short in class project. This unit of study is taught by way of tutorials, group critique, workshops, lectures and guest lectures.

This unit of study will investigate the possible nexus between Indigenous and non-Indigenous painting, inspired by Dutch/Australian artist Theo Schoons's belief that Modernism in New Zealand should be based on Maori art, to Vivienne Johnson's statement that Indigenous painting should be the 'norm' of Australian art. How can Australian non-Indigenous artists respond to the painting of Aboriginal artists without resorting to mere appropriation techniques? Much like the way blues music from America has influenced trends from Rock to Disco, Australasian painting could communicate via the techniques and ethos of Indigenous art to form channels of communication and invent new forms of expression. As a studio experiment you will research, develop and create a painting that will take as its premise and origin certain fundamental conditions of Indigenous painting from the region.

This unit of study explores the interfaces between painting and other media such as photography, screenprinting, sculpture, performance and video. In considering these hybrid forms as additions or subtractions to painting, you confront questions around what do and don't constitute the borders and limits of any given medium. You will encounter potential new material combinations in which a photo becomes a painting surface or a painting becomes a live action, object or digital interface. You will work on self-directed projects developed through lectures, tutorials, group critique and excursions.

This unit of study introduces you to the art and craft of writing for the screen. Through a series of lectures, seminars, tutorials and film screenings you will explore a range of approaches to screenwriting. These include looking at the structure of dialogue and character driven scripts, then moving to an analysis of more experimental approaches to script writing that rely less on character or dialogue and more on mood, situation and atmosphere. You will write an original script for a digital film that can be realized in any style or genre.

In this unit of study you explore notions of trace, impression, wound, scar, identification, memory and memento through material layering and surface specificity, and the construction of meaning associated with surface qualities such as depth, absorption and incorporation. You will be introduced to a range of ceramic surfaces including ceramic pencil, paint and crayon, glaze, screenprint and decal production, as well as found and mixed media surfaces. Initial instruction and experimentation will culminate in the completion of a student-generated project. This unit would be of particular interest if you want to develop or broaden your investigation into the two dimensional surface.

This unit of study examines conceptual and practical applications of up-cycled and found glass through contemporary art and design. The unit develops your understanding of the ubiquity of glass and its reuse in various guises through small research projects and student presentations. Using found and recycled glass, students will explore a variety of processes, including: diamond cutting, polishing, lathe-working, engraving and joining. You will select from a range of sustainably themed projects that combine critical and practical skills to develop and realise creative works. You may work exclusively with glass or in conjunction with other media and processes.

This unit of study explores the use of glass as a conceptual and practical skin in contemporary art and everyday life. The primary focus of the unit is the manipulation of the glass skin and its conceptual properties to build metaphor specific to the intent of your artistic practice. Short research projects decode the metaphysics of glass and its use as a social and commercial material. You gain skills in kiln fusing, slumping of sheet glass, as well as knowledge in the chemistry of glass and proficiency in the creation firing schedules. You may work exclusively with glass or in conjunction with other media and processes.

In this unit of study you consider the scientific, cultural and artistic impact of Venetian glassblowing from the Renaissance to present day through research projects. Structured weekly workshops traverse contemporary use of a range of Venetian glassblowing techniques and methods. You will apply learned theoretical knowledge and developed practical skills to a self-directed work that reinterprets the Venetian glassmaking tradition. You may work exclusively with glass or in conjunction with other media and processes.

This unit of study introduces and enhances skills in etching. You will follow a project-based curriculum in a broad range of technically based workshops intrinsic to the medium of etching. You will be encouraged to engage in a sustained self-directed project addressing concepts and methodologies central to your creative ideas. This project will be supported by more specialised workshops that expand on conventional etched plate techniques. You will learn innovative methods that enable digital processes to be integrated with traditional print media and offer a greater flexibility in output and presentation. The unit promotes investigation and exploration across media to develop your creative practice.

This unit of study offers you an introduction to lighting and its effects in photography. Considering the lighting studio as a site for experimentation and critical exploration, you will learn the fundamentals of lighting while exploring both how it has been historically used and how contemporary artists use it today both in and out of the studio. Through the nexus of photographic portraiture and still life, lighting is explored as a mechanism for both documenting and transforming its subjects/objects. You are encouraged to work in groups to create original photographic work for two major photo assignments. Please note this unit of study is for students who have had little or no experience in high-end digital photography, software and lighting. The unit of study introduces you to photo editing software, file management and the fundamentals of digital printing.

An introduction to key disciplines of innovation, offers an experiential and theoretical grounding in one of the key drivers that differentiate practitioners and organisations from their competitors. You will develop an integrated understanding of the meaning, use and benefits of innovative approaches in fields such as business, engineering, design and the innovation arts. Following a survey of innovation in a contemporary and global context, this unit builds on an understanding of the current models of innovative practice. We examine the social, environmental and resource factors that can enable or constrain the realisation and implementation of novel and useful ideas, materials, processes or organizational change. Through a guided entrepreneurial exercise that focuses on timing, budget and application parameters, you are encouraged to take risks and use initiative to develop self-selected models, systems and processes that produce a product, design, innovation work, service, software or new approach to an organizational challenge according to their discipline specialisation.

This introduction to the current principles and practice of creativity, offers an experiential and theoretical grounding in what is one of the key attributes of cutting edge practitioners and organisations. You will develop an integrated understanding of the meaning, use and benefits of creative approaches to a range of challenges in fields such as business, engineering, design and the creative arts. Following a review of the impact of creative practice in a contemporary and global context, you will engage in developing creative responses to a series of self-determined complex problems in a guided process of development that is supported in class by a series of workshop exercises.

This unit of study provides you with direct experience of working closely with nationally and internationally acclaimed professional artists in the context of key art events including the Sydney Biennale and ISEA , as well as in leading museums and contemporary art spaces and significant artists' studios.
You will have access to discussions and interactions between artists and national and international curators, as well participate in the exhibition production process, including production management, technical and preparatory methodologies, publicity and promotion. In addition, you can choose to undertake an internship with the organisation itself, to develop your understanding of the expectations and responsibilities of professional practice, including insights into: the creation and presentation of contemporary art, marketing and promotion, curatorial decision making, administration, funding structures, audience development, publication, and working relationships with artist, writers and conference speakers.

This unit of study will give an introduction to how film studies has analysed the meaning of a film in relation to how the film incorporates or addresses the spectator (what is known as theories of spectatorship). Commencing with debates around classical Hollywood cinema and the functioning of the point of view shot, the unit will examine how theories of spectatorship have understood the significance of different genres.

Nations are like movies: they are the result of complex imaginings. To what extent have nations been imagined through movies, and have movies been affected by national imaginings? This unit of study takes Hollywood as a starting point to examine the evolving relation of national cinemas and film genres. A national case study - for instance, Australian cinema - will be studied to identify and analyse some of the complexities of the relation of film genres and national audiences.

How do form and style structure our experience of film? This unit provides a critical introduction to elements of film making and viewing, moving through an exploration of formal components of film to consider film aesthetics in relation to the history of film scholarship. We will consider films in a variety of cultural and historical contexts, from early cinema to youtube, and introduce a series of "case studies" to explore historical, cultural and material contexts of film production and consumption.

This unit explores the relationship between cinema and sexuality in classic films through detailed, historicised readings. Questions to be investigated include the erotics of cinematic genre and form; the sexual politics of representation and spectatorship; stardom, scandal and cult appreciation; cinema and sexuality as technologies of modernity; cinema, sexuality and pedagogy.

The twentieth century was known as the cinematic century. How best should we understand film today? Once confined to the physical space of the movie theatre, the cinematic image is now mobile, part of our everyday mediascapes. This unit considers the broad history of film from the perspective of the contemporary moment, while also providing the conceptual tools for analyzing the future of film in a media-convergent world.

This unit aims to investigate the relationship between architecture, place and society and to explore the meaning of cultural and social sustainability in architectural design. The unit assumes that designers will increasingly work in places where cultures are unfamiliar at home or in a global context, and that an ability to understand, and interpret, diverse cultures, and the way design occurs in diverse locations, is an important area of knowledge for designers. A key aspect of social sustainability is the practice of social responsibility, and the unit explores how this may occur, including involving people in the design process. On completion of this unit students will be able to demonstrate: an ability to better understand the connections between architecture place and society, and the social, cultural, political and economic factors affecting sustainable environments; skills and knowledge in participatory processes necessary for effective communication about environmental design issues; increased critical awareness about social responsibility in relation to the practice of architecture and the design of the built environment, and an ability to exercise this awareness. This unit will provide architecture students with knowledge of the relationship between culture and architecture, as well as practical knowledge of the social aspects of design practice. It is intended that students from other disciplines will develop a critical awareness of the built environment as a form of cultural production, and the possibilities for their participation in its production.

Objects only become visible when light reflects off of them. This unit explores the ways in which light interacts with surfaces, objects, and the human visual system. Architectural design decisions regarding the lighting, as well as exterior and interior surfaces of a building, alter the perceptual experience of users and should be done thoughtfully.
This unit introduces students to the way humans perceive and experience the built environment. It covers some of the fundamental properties of light, mechanisms of human perception, and the ways that light interacts with surfaces. The application of these topics to design decisions is also discussed. Students demonstrate their understanding of the presented material and apply their knowledge to critically analyze their own environments.

This unit of study provides an overview of a human-centred approach to the design of interactive technologies. It introduces students to design thinking and how it can be productively applied to different design situations. The theoretical concepts, methods and tools for the key stages of interaction design are covered including user research, ideation, prototyping and user evaluation. It provides students with the principles, processes and tools for working on human-centred design in studio projects. Students learn to build empathy with users, identify and reframe the problem space, develop value-driven design concepts and persuasively communicate design proposals with an emphasis on the user experience through visual storytelling.

This unit teaches students an understanding of the stages involved in the creative development of software; and skills in the design and implementation of software for creative expression and prototyping. It introduces students to software tools for building interactive, visual design applications through programming assignments; knowledge of object-oriented programming concepts; implementation techniques such as editing, using assets, and runtime environments; and knowledge of the Processing programming language. Key concepts covered in this unit include: classes, methods, object creation, instance and local variables, primitive and object types, simple I/O. Students learn knowledge of software design and development processes including analysis of requirements, design of data-structures, functions and classes, debugging, and managing software projects. This unit is a core unit in the Bachelor of Design Computing program, Bachelor of Architecture and Environments and can be taken as elective by students enrolled in other programs.

This teaches students an understanding of the basic concepts of modelling and presentation. Students will develop skills in creating and using 3D models for various design tasks. The unit further introduces students to rapid prototyping fabrication techniques, such as 3D printing and laser cutting with the aim to understand how to prepare a digital representation for physical fabrication. Students will learn how physical objects are represented in 3D digital models by modelling various 3D geometric entities, and how to create photorealistic images that accurately and efficiently describe intent, structure, geometric and surface variations of 3D models. Key concepts covered in this unit include: boundary representations, solid and parametric modelling, texture mapping, light sources, camera locations and projections.

This unit will study a range of today's popular classics with a view to understanding how musical meaning is constructed in relation to the development of tonality and other European stylistic conventions from the Ancient Greeks to the present day. It will consider questions about how the Western art music tradition has been in response to social change with a special focus on times of crisis and upheaval.

Music has been dramatically shaped and reshaped by every major change in communications technology in the 20th century from vinyl discs to MP3s. In this unit of study we will analyse such issues as the ways in which the early recording industry transformed jazz, the blues and country music, how the presentation of music on radio and television changed the ways the music industry created new musical celebrities, and the challenges the music industry faces as digital technology transforms the creation, distribution and consumption of music.

This unit focuses not just on music but also on 'noise' and sounds both natural and man-made. By means of in-class experiments, field trips and 'audio diaries', students will explore the nature of sound; by means of lectures, readings and discussion, they will examine the many ways in which human beings engage - negatively as well as positively - with the sonic world around them.

This course will study the literary and musical strategies employed by composers and librettists in the adaption of the plays of Shakespeare into opera. Operas to be examined are taken from nearly 400 years of operatic repertoire including the classical, romantic, modernist and postmodernist periods. Recent CD and DVD recordings of both the plays and operas will be used, and current adaption theory as applicable to opera will be investigated.

This unit of study includes a practical component in which participants will be actively involved in the administration and management of music and arts events. They will learn the procedures and protocols necessary for a smooth behind-the-scenes operation of music event presentation through their own involvement as well as examination of best practice event management nationally and internationally.

This unit of study deals with the different ways in which we comprehend music and with the different ways in which that comprehension might be explained. It deals with modes of hearing and musical analysis for the purpose of leading students towards a deeper knowledge of how music in various genres (ranging from the classical mainstream to the twentieth-century avant-garde, from Tin Pan Alley songs to punk rock and hip-hop) is understood. A good working knowledge of musical terminology and vocabulary is required. This is the required unit of study for a music major in an Arts degree.

Many graduates will be faced with the opportunity of running a business in their chosen field and will need to have the business acumen and skills to make informed business decisions. Choosing the right business structure, and understanding and meeting taxation and superannuation obligations, are important components of operating a successful and effective business. This unit of study aims to provide prospective business operators with the tools, knowledge and information that will help them decide which legal structure best suits their needs and to meet their taxation and superannuation obligations throughout the lifecycle of their business.
The subject begins with an introduction to the Australian legal and taxation systems. It is followed by the various issues that need to be considered when starting a business such as selecting the right business structure that suits the individual's needs and focuses on key registration requirements. Tax topics include income tax and deductions; the goods and services tax; special rules and concessions that apply to small business; employer obligations; record keeping; completing activity statements and common tips and traps of which those business operators should be aware.

This unit is designed to consolidate students' knowledge and skills in social enterprise while conducting a community-based project placement. The unit is structured around three assessed tasks which are designed to allow students to demonstrate their ability to apply and synthesise business concepts while engaged in practical business development. During the community placement, students may be involved in a variety of projects, which will afford the opportunity to apply business skills and theories from prior learning. This will provide firsthand experience that demonstrates how these skills and theories can support the solving of business problems in a practical business and community-engaged context, identifying opportunities, developing strategies and designing processes, procedures and management practices in order to enable a community project to fully realise its mission. Assessed tasks are designed to allow students to demonstrate their ability to apply and synthesise social business concepts while engaged in practical business development, and include scope setting and strategy development, a presentation and a reflective report.