This unit of study introduces you to the studio environments and the practice of making art at Sydney College of the Arts. You engage in a variety of creative learning experiences, with an emphasis on project-based content designed to develop conceptual understanding and problem solving skills within a creative arts studio framework. On a weekly basis you have 4 hours of academic tuition supported by a 2-hour technical workshop. You undertake two 6-week long projects that encourage you to: work with a wide range of media and processes; develop a participatory, collaborative and cooperative outlook; and expand your understanding of the creative scope of contemporary art. You are encouraged to experiment, experience a range of facilities and equipment, and develop generic technical skills necessary to achieve your projects. You will also become familiar with Workplace Health and Safety essential to SCA and all current art practices.

This unit of study introduces you to contemporary studio practice, focusing on two studio disciplines in two six-week blocks. It builds on the skills and thinking developed in Studio Foundation, while allowing you to deepen your understanding of your chosen disciplines. You will be introduced to core discipline principles and relevant theories. You will become familiar with a broad range of concepts and work methods within your chosen disciplines so as to develop your own visual language, ideas and methods of expression.

This unit of study introduces you to ways of engaging with contemporary art. You encounter and discuss the exciting work that artists and theorists produce, and the breadth and scope of contemporary art on an international scale. While the term 'contemporary' can be interpreted in a variety of ways, this unit encompasses art and ideas most pertinent to the last thirty years. This unit addresses ideas and practices that we consider fundamental knowledge for visual arts practitioners: the concept of the 'everyday', the relevance of disciplines such as philosophy to art criticism, the importance of identity in the practices of artists, the central place of the body and theories of perception to the work that artists produce, and the many theoretical ideas that emanate from a close study of art objects.

In this unit of study, you are introduced to the important role of modernism as an antecedent of contemporary practice. You analyse the social, political and economic underpinnings of modernity that gave rise to modern art. Freed from the controls of patronage, modern art grew more autonomous, to the point of providing a point of social critique through what became known as the avant-garde. The modern period is characterized by contradictory forces, from utopianism and technophilia on one hand, to a new interest in unreason, disorder and destabilization on the other. These forces found expression in the wide variety of artistic approaches that you will study in this unit, including: realism, abstraction, utopian visions, expressionism, surrealism, and art and the everyday. You are encouraged to make links between historical developments within their specific contexts, and their contemporary legacies.

This studio-based unit of study provides a creative environment in which you explore and deepen your own emerging ideas and personal artistic voice in painting. The unit integrates theory and practice in a flexible structure that fosters experimentation. It covers a range of issues relevant to contemporary painting including installation, new media, painting in the expanded field, abstraction and representation. You may experiment with various other media, as well as create greater dexterity with several styles of painting. You are encouraged to gain an understanding of different social and cultural contexts, and establish critical abilities with which to confidently engage with the contemporary art world. Working on individual projects, you benefit from a range of workshops that cover traditional and emerging technologies. Learning takes place through individual and group tuition led by research-active lecturers and highly qualified technicians, as well as through the sharing of knowledge in peer group seminars and field trips to galleries and museums. You develop an artist's statement that you will build on throughout your major in painting. Student evaluation and feedback are ongoing with assessments half way and at the end of semester.

In this practical unit of study you build on the experience gained in Painting 2. The unit integrates theory and practice in a flexible structure as you expand your knowledge of a broad range of approaches, mediums and cross-disciplinary methodologies as they relate to painting. You further develop your critical and intellectual abilities as you increase your confidence to engage with different social and cultural contexts in the contemporary art world. You undertake individual projects and work more independently, while also further developing your skills through seminars and workshops. In addition to peer group seminars, learning continues through individual and group tuition, and field trips. You continue your development of an artist's statement. Student evaluation and feedback are ongoing with assessments half way and at the end of semester.

Through one core and one thematic strand, you develop a rigorous studio practice that embraces digital and analogue forms of still photography along with moving image, photo-installation and mixed media. In the core strand, you develop conceptual strategies for creating artworks in response to the rich historical and theoretical frameworks that underpin the photographic studio as a site. You develop skills in lighting, scene composition, studio portraiture and object photography. In the thematic strand, you may select a key idea central to contemporary photomedia practice - ranging from documentary practice to performative photography - to explore in your independent practice. You develop a self-directed project that involves critical research, planning and implementing ideas via diverse methods of photographic production. You work closely with your peers and academic staff to develop good communication skills for expressing ideas and discussing work in progress. You acquire skills to assess, refine and produce quality print outputs, projections, presentations and installations.

In this unit of study, you choose two strands of studio enquiry in which to develop significant major projects, so as to gain deeper insight into your own art practices. These strands encourage intellectual engagement with key ideas in contemporary art such as marking time, cultural research, staging, the archive, environmental intervention, the everyday, photographic artifice, systems and serial practice. Critical understanding of the relationship between form and concept is developed throughout the semester by encouraging experimentation and refining the specific technical skills needed to develop the concept into a final artwork. You work closely with academic staff to identify relevant theoretical and historical contexts for your research interests. Your work is central to class discussions that provide in-depth feedback for further developing work in progress.

In this unit of study, you deepen your understanding of contemporary print media while expanding your own visual language and competency in a studio environment. You undertake advanced technical workshops and are encouraged to develop self-directed studio projects. Through these self-directed projects, and supported by a program of group and individual tutorials, you begin to define your own art practice and locate your creative ideas within a contemporary art context.

In this unit of study, you work independently and further develop your personal projects through a process of experimentation, research and creative intuition. You acquire new digital and artisanal skills through an artist's publication project and digital workshop. You acquire installation and presentation skills through an exhibition project that will also provide a focus for the ongoing process of defining your own art practice. You explore ideas arising out of the work produced for this exhibition, and the work of related artists, through a program of group and individual tutorials.

In this unit of study you engage in practical and critical enquiry that provides you with the technical skills and conceptual frameworks associated with screen based art in the contemporary context. This unit considers the twin concepts of time and place in relation to the moving image and broader contemporary practice. It explores notions of spectatorship, subjectivity and transmission in relation to both contemporary and historical critical discourse. You gain a deeper insight into your own emerging practices through a program that provides a framework for critical investigation while remaining flexible enough to allow you to pursue your own lines of enquiry. You work closely with your peers and academic staff to develop good communication skills for expressing ideas and discussing work in progress. Through a program of screenings, lectures, one to one tutorials and studio critiques you acquire the skills and confidence necessary to assess, refine and produce a range of artistic outcomes based on a rigorous engagement with ideas and techniques associated with screen arts.

In this unit of study, you build on the experience you gained in Screen Arts 2 to expand and develop your emerging art practices. A program of critical led enquiry provides a framework for you to further refine and develop your screen arts led work. The unit considers the twin concepts of materiality and immateriality, and examines notions such as embodiment and presence and their relationship to time- based visual and aural practice. You engage with a range of artworks and forms, from analogue material-based film practices, to the multiplicity of possibilities engendered by the network. The unit provides an environment in which you are encouraged to explore your own emerging ideas and discover a personal artistic voice. You work closely with peers and academic staff to develop good communication skills for expressing ideas and discussing work in progress. Through a program of screenings, lectures, one to one tutorials and studio critiques you acquire the skills and confidence necessary to assess, refine and produce a range of artistic outcomes based on a rigorous engagement with ideas and techniques associated with screen arts.

In this practical unit of study you build on the experience you gained in first year. You are encouraged to choose materials and processes that best suit the ideas you are exploring. You will gain conceptual direction through a number of thematic projects, or you may choose to work on self-initiated projects. Kinetics, site-specific art, process art, installation, activism and materiality are just some of the ideas explored. Individual tuition, group seminars and technical workshops will give you confidence to explore your own emerging ideas and to discover a personal artistic voice. Your learning is supported by practical workshops, which may include timber and metal fabrication, mould-making and casting, glass blowing and fusing, ceramic wheel working and glazing.

In this unit of study, you build on conceptual and material skills gained in Sculpture 2. You are encouraged to develop more in depth knowledge of your preferred mediums. You are encouraged to present finished works and to actively participate in weekly group critiques. A number of thematic projects provide you with conceptual direction, or you may choose to work on self-initiated projects. Reproductions, haptics, refuse/renewal, internal/external spaces, synaesthesia, sound and performance are just some of the ideas explored. Individual tuition, group seminars and technical workshops assist you to further develop your own emerging ideas and to discover a personal artistic voice.

The primary focus of the final year program is the consolidation of your own creative practice. Within this unit of study, integrating theory and practice, you are expected to work on independent and self-directed projects that continue to develop and extend ideas you initiated in second year. These projects allow you to develop your creative practice through emerging research interests, and produce work that shows a greater understanding of your particular artistic concerns. You are actively involved in a learning process that foregrounds creative problem solving and conceptual and critical skill development. Learning in this unit combines critical reflection and sustained interaction with lecturers and fellow students. A program of studio seminars, individual tutorials, studio critiques and gallery visits provides the framework for learning. You continue work on your artist's statement and begin work for the graduate exhibition. Student evaluation and feedback are ongoing with assessments half way and at the end of semester.

This unit of study continues the focus on self-directed studio practice established in Painting 4. You are expected to have reached a stage in your education as an artist that enables you to confidently pursue your own self initiated practice to a standard worthy of public exhibition. The production in the studio will consider all aspects of presentation and display of the work within the gallery format. You are encouraged to edit your work for the graduate exhibition, and manifest an original and independent approach to contemporary art. Within this unit there is an increased focus on the development of research led enquiry in relation to the critical, ethical and social dimensions of creative practice. It is expected that you exhibit an in-depth understanding of the historical and theoretical concerns of painting. Learning in this unit combines critical reflection and sustained interaction with lecturers and fellow students. A program of studio seminars, individual tutorials, studio critiques and gallery/museum visits provides the framework for learning. You will finalise your artist's statement. Student evaluation and feedback are ongoing with assessments half way and at the end of semester.

In this unit of study, you pursue an individually conceived, self-directed studio project. The focus of this project and its methods of investigation may be drawn from any area of photography or any related practice. You identify a personal direction, decide on the best methods of investigations, and become familiar with the contemporary art contexts relevant to your project. As well developing your individual studio practice, you participate in class discussions, present your work for critical review, meet individually and in small groups with lecturers for feedback and guidance, attend artist talks, gallery and studio visits and participate in workshops.

This unit of study focuses on producing a body of studio work that is conceptually, technically and aesthetically of exhibition standard. You are expected to refine your skills to the highest standard appropriate to the concerns of your work and produce final work that evidences a process of research, analysis and critical awareness. Studio work produced in Photomedia 4 may suggest a starting point for this unit's individual project; alternatively you may take a new direction. This unit includes experiences specifically designed to facilitate your transition to professional life, independent art practice and/or to further postgraduate study. These include learning to write and speak effectively about your work. Class discussions, reviews, student presentations, individual and group consultations with academic staff, artist talks, gallery and studio visits and workshops continue to be part of the unit, in addition to the core activity of producing studio work.

In this unit of study you work independently in the studio rather than being assigned to a technical workshop program. Although you continue to explore new ideas in the studio, you focus on planning and commencing work for the graduating exhibition. This unit emphasises consolidation of existing ideas to date and their translation into fully resolved, exhibition quality works. You acquire new photographic, digital and presentation skills through a project based around the production of an electronic portfolio.

This unit of study focuses on the production of work for the graduate exhibition, and on developing a professional understanding of the exhibition process. The plans and ideas formulated in Printmedia 4 provide the platform for a sustained period of studio production. A series of workshops and lectures (Exhibition Project 2) takes you through the key issues associated with the process of presenting work in the public sphere.

In this unit of study, you work on independent and self-directed projects that continue to develop and extend ideas and approaches that you began in Screen Arts 2 and 3. These projects provide you with the opportunity to develop your creative practice through following your emerging research interests. You are actively involved in a learning process that foregrounds creative problem solving and conceptual and critical skill development. In this unit, projection is a key theoretical concern, providing both a fluid theoretical framework for engaging the expanded field of screen arts dissemination and installation, as well as foregrounding an engagement with the public sphere. You work closely with peers and academic staff to develop good communication skills for expressing ideas and discussing work in progress. Through a program of screenings, lectures, one to one tutorials and studio critiques, you acquire the skills and confidence necessary to assess, refine and produce a range of artistic outcomes based on a rigorous engagement with ideas surrounding the screen arts.

This unit of study continues the program of engaged self-directed studio practice established in Screen Arts 4. It focuses on consolidating your own creative practice within the expanded field of moving image and screen based production. You are expected to be able to confidently pursue your own self initiated practice to a standard worthy of public exhibition. This unit focuses on the development of research led enquiry in relation to the critical, ethical and social dimensions of moving image and screen based creative practice. You are expected to display an in-depth understanding of the theoretical concerns and technical underpinnings of screen and sound practices in the context of contemporary art. You work closely with peers and academic staff to develop good communication skills for expressing ideas and discussing work in progress. Through a program of screenings, lectures, one to one tutorials and studio critiques you acquire the skills and confidence necessary to assess, refine and produce a range of artistic outcomes based on a rigorous engagement with ideas surrounding screen arts.

In this practical unit of study you begin to refine the ideas that will lead to your graduating exhibition. By this stage you are expected have become self-directed in your studio work and to be able to demonstrate how you are applying skills at an advanced level. With guidance from lecturers you develop a study plan and produce resolved work worthy of progression to the final semester. Individual tuition, group seminars and technical workshops further develop your ability to explore your ideas and develop a personal artistic voice.

In this practical unit of study you are expected to produce resolved work to exhibit in the graduate exhibition that marks your entry into contemporary visual art practice. You are expected to be fully self-directed in your studio work. You develop a study plan and finished works that demonstrate your application of conceptual and technical skills at an advanced level particular to your chosen medium. Individual tuition, group seminars and technical workshops further develop your ability to resolve your ideas and establish a personal artistic voice.

How do artists engage with the ebb and flow of daily life and the material conditions of the street, the city, and the home? This unit of study focuses on artists who heighten our awareness of everyday by using ready-mades and found objects, by exploring the exotic in the banal, and by creating domestic worlds and the urban-scapes of gritty realism and great imagination.

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.

Street art has emerged as a significant cultural phenomenon in the post-globalised world of the 21st century, particularly in the major metropoles of wealthy as well as developing nations. This unit of study contextualises street art theoretically by reference to the politics of urban space, new practices and understandings of collective action, and aesthetics, and considers the institutional location of street art versus contemporary art and graffiti. The unit also contextualises street practices art historically by reference to Surrealism, conceptualism, Fluxus, Situationism, and text-based art. It covers a wide range of practices internationally, with particular emphasis on Latin America, Australia and Europe.

Performance Art had two births, the first during World War I with Dada, the second in the protest era of the 1960s. In both instances it was a revolt against the commodification of art and the monied classes. While it grew out of vaudeville, performance art is characterized by a strong sense of antagonism and ennui. It developed in the late 1960s into a genre of its own, although it has never been entirely discrete. The political neoconservatism at the turn of the millennium reignited interest in performance art, which was made even more popular with the accessibility of moving-image, photographic and image-sharing technologies that can render unique acts accessible to wide audiences. As opposed to other forms of theatre, performance art objectifies the object and suggests its limits, be they physical or psychological. More than a historical survey, this unit of study explores the rudiments of performance, its attributes and rules that can either be adhered to or broken. Key to the unit are the insights of Judith Butler's theory of gender as performance, which offer valuable perspectives on the way in which people perform roles in society, from the dandy to the contemporary art school bohemian.

Our current era of biennales and international galleries compels a wider analysis and a rethinking of basic forms and definitions of contemporary art. This unit of study focuses on how the worldwide production and dissemination of contemporary art interacts with ideas about nationalism, ethnic identity, and cosmopolitanism, and seeks to test the limits of the conceptualization of the global in art.

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 examines the impact of the increasing cultural globalisation of Indigenous art practice within the contemporary art market. Whilst the focus is on contemporary Indigenous art practice as it is positioned within questions of national identity and politics and their effect on postcolonial agency, representation and self-determination, it will also provide a grounding in traditional Indigenous approaches to cultural art practices and protocols. This unit of study will have as part of its examination a commitment to dialogue and cultural exchange between Indigenous and non-Indigenous art practitioners.

This unit of study explores the increasing relationship contemporary artists have developed with the museum/archive invoking distinct methods, discourses and aesthetics. The Interpretation of visual images (photographs, film) and collection of material objects and texts held in repositories, structures historical memory and acts as an active tool for innovative research and the creation of new artworks. By exploring the ethical, aesthetic and emotional relations contemporary artists have with their sources we critically examine the affective implications of drawing upon this material. During this semester, students will have the opportunity to visit The State Library of NSW and the Australia Museum to explore the archives for their group project.

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.

This unit explores contemporary art from across Asia since World War II. The unit places artistic developments, curatorial practice, and artworks within the context of rapid geo-political and socio-cultural change, particularly exploring the effects of nationalism and globalisation.

This unit examines art and the culture of travel from a post-colonial perspective. The work of European Orientalists will be analysed alongside work by North African, Persian and Ottoman artists and in conjunction with photography, international exhibitions, travel literature and film

Pop placed visible cracks in what separated the traditional division between high and low, then with the advent of accessible digital and moving-image media, this distinction has all but shattered. The promiscuity and omnipresence of mass media has meant that for those in the developed world (and even elsewhere), taste, style, desire and therefore fashion are at the epicentre of our lives. This unit of study deals not so much with fashionable art (the trends that move styles) but rather the rich crossover between art and fashion that has been desultory but nonetheless active since the birth of couture in the second half of the nineteenth century. This relationship gained complexity and density in the postwar boom of the 1960s with audacious body styling that borrowed from science fiction movies as much as art itself (e.g. Courrèges). It is a little known fact that it was Yves Saint Laurent's Mondrian Dress that launched the artist into the mainstream, hitherto languishing as a master for specialist artists. These cross-pollinations climax with designers such as Margiela and McQueen whose body-as-sculpture attitude is distantly echoed in the tendency of museum architecture also to be like gigantic sculptures. Pop icons like Lady Gaga in her videos make these relationships between art and fashion all the more tenuous. This unit of study explores these crossovers. It is likely to be attractive to a wide range of students from jewellers to film-makers.

This unit explores links between contemporary art and culture, and the concept of realism. As a result of realism's connections with philosophies of 'the real', and with the term 'reality', the concept of realism goes back centuries. However, the most immediate antecdents for contemporary art and culture are modernism and the avantgarde. Therefore in addition to art and culture since 1960, this unit of study addresses historical art dated from 1850 and recognises the nineteenth century art movement called Realism as a cornerstone of contemporary art. In postmodernity, though, the role of mass media and new media in the social construction of the real becomes increasingly important. What, for example, is the relationship of the contemporary blog to documentary realism? Therefore Contemporary Realism is a unit that addresses high art and popular culture, and every artistic medium from painting to fictional film, documentary film, video, and animation. It acknowledges what Carol Martin calls, in the overview of her book Theatre of the Real (Palgrave Macmillan, 2013), 'the unparalleled construction of reality' across all fields of representation, from the sciences to the humanities, and in every practice of the visual and performing arts. It also acknowledges the view expressed by Julian Stallabrass in the overview of his edited book, Documentary (Whitechapel and MIT Press, 2013), that the current revival of the documentary in recent art is in part the result of 'increasing attention to issues of injustice, violence and trauma' in the twenty-first century.

This unit explores the links between the natural world and human culture, and in particular how these links have been made in art practice. It emphasises contemporary art. It looks at 'nature' as a construct of culture and art, and at art's response to the significant human impact on the natural world in the age of the Anthropocene (the name given by scientists to the new era in geology caused by human intervention). 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 imagery in art, design and popular culture, and the centrality of ecology to art today.

Experimental Drawing encourages you to develop your own visual language as a catalyst for creative thought and a means to develop greater visual literacy. Through an in-depth studio investigation into a variety of modes, approaches, materials, tools and techniques, Experimental Drawing opens the field of drawing into the exploration and discovery of new and interdisciplinary methods of mark making and visual communication. You will be encouraged to take risks, be innovative, work collaboratively, and stretch your perceptions of the medium by translating these experiences into a unique and speculative approach to the processes of drawing and mark making. In addition to studio based activities and production where you will develop a portfolio and establish archives of source material that you can draw on for future creative endeavours and experimentation, you will participate in peer-evaluation and undertake theoretical research.

Life Drawing encourages you to develop your own visual language as a catalyst for creative thought and a means to develop greater visual literacy. The importance of observational drawing in the contemporary context can be observed by investigating the key conventions and precedents of the life drawing mode. By working through a series of practice led lab sessions investigating ways of evaluating, describing and illustrating the various elements of a visual image such as shape and form, space, line, values and texture, you will learn to apply, test and boldly question these techniques through the development of your own conceptually driven project. In addition to studio based activities and production where you will develop a portfolio and establish archives of source material that you can draw on for future creative and scholarly endeavours, you will participate in peer-evaluation and undertake theoretical research.

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 and environments. It introduces students to design thinking and how it can be productively applied to different design situations. The unit covers theoretical concepts, methods and tools used in human-centred design, including user research, ideation, prototyping and user evaluation. It provides students with the principles, processes and tools that are used in commercial design projects. Students learn to build empathy with users, identify and reframe the problem space, develop design concepts and persuasively communicate design proposals with an emphasis on the user experience through visual storytelling.

This unit provides an introduction to the development of software in design and the creative industries. It teaches an understanding of the fundamentals of computational thinking as well as skills in the design and implementation of software for creative expression and prototyping. It introduces students to tools for building interactive design applications through programming assignments; knowledge of programming concepts; and knowledge of the Javascript programming language. Key concepts covered in this unit include: variables, functions, control flows, and algorithmic thinking. Students learn how to design through the development of code, allowing them to incorporate programming into their own design projects as well as to collaborate effectively with software developers.

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 surveys some of the major developments in the history of western classical music from the Medieval period to the present, and relates them to broader historical and artistic trends. In addition to analysing individual musical works, students will engage with musical historiography and develop a critical understanding of some influential techniques of music analysis.

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 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.

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.

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 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 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.

This unit of study explores notions of the void and the aperture through the development of hollow formed objects created by hand or the potter's wheel. You will be introduced to the creation of various common forming techniques on the potter's wheel and will be encouraged to use these to create new techniques and develop modular and sculptural assemblages. This unit also examines the philosophical underpinnings associated with the traditional and contemporary practice of this genre of ceramics through group discussion and individual research.

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 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.

On Location: Jewellery in the Street and the Gallery focuses on material and significance in the processes of the conception and making of jewellery and how these appear in both contemporary and historical work. Within this you will engage with a range of contexts where jewellery appears including the street, the museum and the gallery. Accordingly, you will be introduced to the most contemporary work as well as historical pieces; will experience a range of means of presentation from formal museum to low-tech and ephemeral exhibitions; will see work by emerging artists and the most respected and established makers. This unit takes an intensive approach to learning where students go into the field in Europe at the beginning of the semester and follow up with tutorial meetings with the lecturer while a final body of work is produced. Learning contexts include artist talks, gallery visits and seminars. Studio outcomes will be based on experience and research developed in the field. You will maintain a record of your experiences, impressions and ideas in the form of a Travelogue which will become the key resource for developing a piece of work (or small series) on your return, culminating in an exhibition. Throughout the duration of the journey you will contribute to a daily blog, including exhibitions reviews, gallery profiles and critical responses.

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.

This unit of study provides you with an introduction to building processes within Sculpture and Installation. You will be introduced to working in the sculpture studio, and in particular, will gain practical experience in plaster and wax and discover key contemporary artists who reinterpret the casting process in innovative ways. You will be invited to consider a range of ideas -including negative forms and anti-monuments - that challenge the preconceptions of what sculpture can be. Initially, you work through a series of material-based workshop activities to learn basic construction techniques as well as to gain confidence in the safe use of machinery and equipment within the studio and workshop. The unit introduces a broad range of traditional and contemporary sculptural practices (including the use of wood, metal, fibre, plastic) and encourages you to develop original and creative solutions. The unit combines studio work, short presentations by the lecturer, student presentations and group discussion/critiques. In consultation with the lecturer, you will develop a studio work proposal and create a finished work that responds to the notion of 'negative sculpture.'

This unit will explore installation as a spatial practice within the expanded terrain of sculpture. You will examine installation as a hybrid form that negotiates and incorporates the boundaries of traditional art practices like painting, sculpture and video. The unit of study provides an overview of contemporary installation art practice and explores methods for producing work in a variety of media to activate and utilise space. Students explore innovative applications of conventional materials, found objects and time-based media such as video, sound and custom technologies in the development of their work. This unit engages with dedicated installations spaces and the adapting of environments and locations. The unit combines studio work, short presentations by the lecturer, student presentations and group discussion/critiques. In consultation with the lecturer, you will develop a studio work proposal and create a finished work.

For Aboriginal people of Australia, the place where saltwater and freshwater meet, is a site of intermingling, mixing and sharing of knowledge. The Yolngu people of north-east Arnhem Land call this place where the river meets the sea: Ganmu and it is usually used as a metaphor for 'two way learning.' This unit of study explores how contact with other cultures through the reciprocal sharing of images, stories, histories, experiences, ideas, skills and culture can activate collaborative practices to create meaningful connections both locally and globally. The investigation of issues such as representation and presentation, protocols and practices, combined with a critical understanding of the cultural complexities of Indigenous culture, will foster greater understanding and enable students to facilitate the development of a collaborative and sustainable practice.

This unit of study approaches video art in the broadest sense as it unites a great variety of practices regarding time based manifestations of abiding artistic concerns. Video has become a pervasive medium in contemporary art and makes an appearance in many different contexts that span from the most experimental exhibition settings all the way through to the museum. In this unit, you will undertake a studio-based approach to the production of video art works, including video installation, single channel and synchronized multichannel artworks, streaming video and video as it appears in other digital forms. The aim of the unit is to produce original artworks that forge new image worlds and innovative production methodologies. This unit will be conducted in an open studio framework including a variety of workshops, studios and digital labs.

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.

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.

This unit teaches students basic understanding of digital modelling and architectural prototyping. Students will develop skills in creating and using 3D modelling software 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 model for physical fabrication. Students will learn how physical objects are represented in 3D digital models by modelling various 3D geometric entities. Key concepts covered in this unit include: joinery, composite material and solid modelling.

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 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 explores how photography intersects with sculpture. You research and explore the relationship between objects and photography and how sculptural ideas can stretch the function of an image. You consider what a photograph may be materially when extended to encompass sculptural, performative and interactive dimensions. Projects may utilise and combine image-based practices such as digital photography and analogue photography, projection, print, performance, objects and installation to encourage an expanded approach to photographic practice.

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 explores key processes and issues related to the production and exhibition of experimental film works. The unit includes discussions, readings and screenings of relevant historical and contemporary film works. It focuses on the creative potential of the physical properties of film. You will produce a short 16mm film project. A Bolex 16mm camera workshop and hand processing of 16mm film will also be an integral part of this unit of study.

This unit of study will focus on the development of an in-depth understanding and application of the ceramic surface. It will 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 applied ceramic surfaces including ceramic pencil, paint and crayon, glaze, screenprint and decal production, as well as found and mixed media surfaces, and kiln firings. Initial instruction and individual experimentation will form the foundations for the completion of a student-generated studio project. This unit would be of particular interest if you want to develop your investigation into three dimensional form and/or broaden the possibilities of the two dimensional surface.

This unit of study explores the boundary between artwork, publication and portfolio. The unit acquaints you with the principal tools 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. A series of lectures and in-class digital tutorials will equip you with the technical skills and critical framework to produce intelligent, engaging and innovative output.

This advanced darkroom unit challenges students to rediscover photography in the age of the jpeg. Through two projects, the unit introduces the wet and wonderful world of alternative analogue processes to encourage students to produce experimental images that consider the conceptual, material and alchemical possibilities of the 'outmoded'. The unit also encourages the development of hybrid practices that combine contemporary digital technology with analogue processes.

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. This is a required unit of study for a music major in an Arts degree.