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This paper reports on a case study that was undertaken to discover not only the belief and intent behind the everyday opportunities that four exemplary teachers offered their high performing students but what activities they incorporated into their everyday lessons in an attempt to make sense of how aesthetic experiences may enhance learning. The paper explores the importance of understanding the effects of practical aesthetic experiences on learning as identified by pragmatist philosopher and educator John Dewey. It is assumed here that every classroom experience is an aesthetic experience that may be positive (i.e. educative), negative (i.e. miseducative) or benign; it will affect the students in some way. This recognition is crucial to avoid unintended miseducative practices and alternatively embrace positive aesthetic learning practices and rituals. Adopting an aesthetic pedagogy in the classroom does imply taking the "scenic route" of learning but it does not necessarily compromise or work against the current dominant practice of high-stakes testing and measured outcomes. It alternatively claims to positively enhance these compulsory and measured outcomes for students in that they can critically engage with these practices.

This paper explores how aligned arts and play experiences can extend child and family engagement in a public outdoor space. The importance of outdoor play for children is strongly advocated and in response local governments provide playgrounds and recreational open spaces. To extend further the experiences afforded in such spaces some local governments now employ "play workers," whose role is to prompt exploration and facilitate connections. With the intention of animating an uninviting and underused outdoor public space, the ArtPlay Backyard program presented a series of artist-facilitated experiences that encouraged children and families to explore, interact and transform. Research into this program, undertaken through observations and in-situ interviews, mapped the views and actions of children, parents, early childhood professionals and artists. The study concluded that the program was highly engaging to families who were animated by "artful play": experiences guided by artists, who, acting like "play workers," stimulated imaginative, aesthetic, creative and social encounters with people, place, and materials.

The driving premise of this paper is that students should be schooled in built and natural environments that afford them ways of understanding of how their daily physical actions and social choices affect the earth. Views of prominent philosophers and scholars in support of this premise are described. Next, four cases illustrate how schools can provide students with opportunities to develop ecological mindfulness through practical activities that are enhanced by natural and built environments. The examples--from Canada, the United States, and Australia--span the primary, secondary, and tertiary levels of education. It is concluded that schools and curricula that focus on a sense of place are able to support the practical activities that lead to meaningful relationships between members of the community, and between people and the land.

The world of classical music, says the writer, has always been international, and has now become truly global. Opera is perhaps traditionally, and most conspicuously, global. At any performance of the Metropolitan Opera of New York, for example, one encounters several different nationalities on stage, back stage, and in the orchestra pit. But the same is true of the plastic, dramatic, and literary arts nowadays, very different from the days when Henry James, Robert Frost, T. S. Eliot, Ernest Hemingway and Gertrude Stein, fled to Europe to find the stimulation and recognition they could not find at home. Meantime, Americans are exposed to a vast array of artistic productions from many countries and cultures: from Asia, India, the Caribbean, Eastern Europe, and Australia. Even as American artists have found their place on the world stage, so also have artists from around the world found theirs. In the aggregate they form a kind of global citizenry of the arts as reflected in the currency of their works, international conferences, critical recognition, and access to them in print, films, exhibitions, recordings, and live performances. This serves as background for a reconsideration of the controversy over government funding for the arts in the United States as the author introduces the concept of global citizenship into the debate over government support for the arts. (Contains 11 notes.)

Ralph Balson (1890–1964) was an English plumber and house painter who emigrated to Australia in 1913 and subsequently became a key member of Sydney’s artistic avant-garde. He is credited with having the first solo exhibition of purely abstract painting in Australia in 1941. Despite his role in developing Australian non-objective painting, Balson remained principally a house painter, working on his art practice at weekends. In 1955 he retired on a state pension and became a full-time artist. Balson’s artistic education and methods were critically shaped by his working-class background. He did not travel abroad until 1960 and was an avid auto-didact. His materials, palette, techniques and compositional strategies were likewise informed by his trade. Balson’s profession as a painterdecorator made him conspicuous within the predominantly middle-class Sydney art scene, though his painting partner Grace Crowley considered it an advantage in their pursuit of constructive painting. This paper explores the impact of Balson’s trade on his trajectory towards pure abstraction. While his art was at odds with the predominantly figurative mode of class-conscious art in Australian Modernism, we argue that it is embedded in the experience of class through its creative adaptation of labour into aesthetics. [ABSTRACT FROM AUTHOR]

In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous 'agency'. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world. [ABSTRACT FROM AUTHOR]

Harvey N. and Dew, R.E.C. 2016. Coastal Impacts of Onshore Wind Farms in Australia In: Vila-Concejo, A.; Bruce, E.; Kennedy, D.M., and McCarroll, R.J. (eds.), Proceedings of the 14th International Coastal Symposium (Sydney, Australia). Journal of Coastal Research, Special Issue, No. 75, pp. 992 - 996. Coconut Creek (Florida), ISSN 0749-0208. The global expansion of wind-generated power has resulted in a rapid proliferation of both onshore and offshore wind farms, particularly in Europe. Australia like the rest of the world has experienced a rapid increase in wind power over the last decade but unlike Europe, its coastal wind farms are all located onshore mostly in the southern part of the country where wind energy resources are high. Around half of the wind farms are located in rural coastal locations. This paper discusses the various environmental, social and political issues associated with coastal wind farm development in Australia by assessing the coastal impact of wind farms and the adequacy of coastal management strategies for dealing with such impacts. The paper concludes that the technological pace of coastal wind farm development has outstripped the development control process, which has resulted in a largely unforeseen cumulative impact on the Australian coast. [ABSTRACT FROM AUTHOR]

For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997). [ABSTRACT FROM AUTHOR]

Aim Anthropogenic introductions of Australian Acacia spp. that become classed as alien invasive species have consequences besides the physical, spatial and ecological: there are also cultural, ethical and political considerations that demand attention from scholars in the humanities and social sciences. As practitioners in these disciplines, our aim is to reflect upon some of the social and conceptual ideas and attitudes relating to the spread of Australian Acacia spp. around the world. We therefore provide a longer-term historical and philosophical perspective using South Africa as a key example. We explain some of the cultural aspects of Australian acacias, relating them to history, philosophy and societal ideas that were once, or indeed remain, important, either regarding their exportation from Australia or their importation into other countries. Focussing principally on South Africa and Australia but including brief references to other locations, we augment the literature by making connections between acacia introductions and environmental ethics and aesthetics, national and environmental history and symbolic and other discourses. We evaluate a number of the cultural and philosophical dimensions of invasion biology as a societal response and explicate the interesting contradiction of Australian acacia introductions as simultaneously economically valuable and environmentally transformative in South Africa. Location South Africa, Australia, with references to other parts of the world. Methods This paper has been written by an interdisciplinary team (two historians, two geographers, a philosopher and an ecologist) and is conceptual and historical, conforming in language and structure to the humanities style. It relies on published and unpublished literature from this disciplinary domain and the critical evaluation of these sources. Results Many Acacia spp. from Australia have been introduced around the world, generally guided in different eras by a variety of overarching mindsets, including the colonial ethos of 'improvement' (1800s to mid 1900s), an economically driven mindset of 'national development' (1900s), by a people-centred frame combining concerns of environment and livelihood in 'sustainable development' (1980s onwards), and an aesthetic ethos of ornamental planting that surfaces in all periods. The newest ethos of controlling or managing alien invasive species, a normative attitude deriving from the burgeoning of invasion biology, has more recently shaped the ideology of these plant exchanges and sharpened the focus on species that may be simultaneously both weeds and commercially valuable crops. Our perspective from the humanities and social sciences calls for a more transparent approach that clearly acknowledges such contradictions. Main conclusions We conclude that the global experiment of human-mediated Australian acacia introductions raises a number of issues that reflect changing societal concerns and demand attention from scholars in disciplines apart from the natural sciences. Here we highlight the impact of historical context in plant exchanges, the history and philosophy of science as it relates to invasion biology, and changing - sometimes divisive - societal priorities in terms of aesthetic, economic and conservation values. In particular, the case of Acacia spp. in South Africa highlights the contradictory aspects of introductions in that some species are both commercially important and environment-altering invasive plants. We argue that the contribution of disciplines beyond ecology to the debates about the invasive status of acacias enlarges our understanding and provides useful insights for botanists, foresters, managers and policy makers. [ABSTRACT FROM AUTHOR]

This paper problematises embedded notions of masculine and feminine embodiment within the contexts of contemporary Australian mainstream popular culture. Drawing on Bourdieu's (1990:56) theory of `habitus' as non-consciously performed practices'… internalised as second nature and so forgotten'; personal reflections as artist, choreographer and teacher; and a brief analysis of the male body in the television program, So You Think You Can Dance Australia (TEN Network, 2008), the author questions and considers the development of habitual ways of perceiving particular forms of male embodiment as aesthetic and attractive, and other forms as un-aesthetic. Further, the impact of the author's own experiences as actor! dancer and choreographer are considered in relation to his work as a director and choreographer of `the bodies of male and female students' in school productions. Through this paper, the author conjectures about the potential for the drama classroom to be a site in which embodied gender inequities may be challenged and deconstructed. Jack Migdalek [ABSTRACT FROM AUTHOR]

The importance of innovation for architectural products in the building industry increases due to global competitive markets and users' increased value given to the visual aesthetics of products. Visual appearance is crucial in architecture and product design and influences users' product choices in many ways. Substantial research on innovation exists concerning users' purchasing, adopting, and recommending it to others, but little research investigates the link between product innovation and aesthetic preference. This gap in knowledge prompted our investigation. Quantitative analysis of a survey of 114 respondents from Australia was conducted in this study to examine whether innovation plays a significant role in perceiving the aesthetic preference of an architectural product more than other visual appearances. Standard multiple regression using SPSS V28 was applied for statistical data analysis. Results uncovered that innovation explained the highest percentage of variance in overall aesthetic preference, and the innovativeness of a product strongly influences the visual appearance and aesthetic preference. The findings of this study offer new insight into the level of innovation for new product development where visual appearance is of high importance. [ABSTRACT FROM AUTHOR]

The largest underwater sculpture in the world, the 'Coral Greenhouse' by artist Jason deCaires Taylor, was commissioned by the Museum of Underwater Art and installed at John Brewer Reef, Australia, in December 2019. The planning process required certified engineering design drawings associated with design life, durability and suitability of materials, and baseline ecological surveys. Following approval, the operational phase required annual monitoring of substrate, ecology, social values, and marine debris. We geo-referenced three permanent transects and designed a before/after rapid monitoring assessment of substrate, fish, and invertebrates. Substrate surveys indicated 11% concrete and 89% sand. Fish surveys indicated significant increases of diversity and abundance, with 12 species and 65 individuals recorded in 2018 compared to 46 species and 365 individuals recorded in 2022. Macroinvertebrate species maintained no significant trends in abundance, species richness, and diversity with respect to time between 2018 and 2022. We monitored coral restoration and natural recruitment at the site, measuring aesthetics, survivorship of planted corals, and coral recruitment. Of 131 corals transplanted in March 2020, survivorship was 100% at 1 month, 92% at 6 months, and 91.6% at 12 months. Hard and soft corals were recruited to the structure at a density of 8.35 hard corals/m2 and 10.9 soft corals/m2 over 26 months. [ABSTRACT FROM AUTHOR]

Discusses the aesthetic appreciation of Aboriginal painting in Australia. Politics and problems of appreciation; Aboriginal culture; Sacred and mundane art.

This article discusses amenities that are shared by anyone in public space, such as public barbecues in Australia. The idea is generalized to a range of domestic-related amenities, from kitchen-related to bathroom-related, etc. As these domestic-related amenities relate to usage that is typically conducted within a dwelling, the amenity and its architecture can be considered a "pocket of privacy" in public space (Pocket). Our discussion explores how these publicly shared domestic-related amenities can address particular needs of society in the context of their economic, symbolic, aesthetic and ethical value. Specifically, we suggest that Pockets productively address the politics of public space and private place in three key ways: through the negotiation of the presence of people in public space, through the negotiation of individual and collective usage of the amenity, and through the gap between the symbolic and economic power created by the usage of these amenities. We conclude by proposing planning principles that may enable the economic, symbolic, aesthetic and ethical value of these amenities to be fully realized in ways that balance the politics of public space and private place. [ABSTRACT FROM AUTHOR]

This report seeks to understand the meaning of the migrant house in Melbourne, Australia. Following a discussion of the Australian vernacular house, it asks what it is that makes the migrant house a unique category, different from other, nonmigrant houses in Australia. Reporting on research on seventeen migrant houses in the suburbs of Melbourne, it then shows how three architectural elements -- the facade, the terrace, and the back yard -- differentiate these houses from other examples of the Australian vernacular. Finally, it argues that, through their different "migrant aesthetics," the three architectural elements illustrate how socio-spatial features have facilitated and eased the adaptation of migrants to life in Australia. [ABSTRACT FROM AUTHOR]

In nineteenth-century Australia a 'career' in banking depended on one's technical ability, including a way with figures, good penmanship and attention to detail. However social and cultural factors were also considered equally important. To ensure the recruitment and promotion of trustworthy, dependable and committed staff, banks recruited and promoted through internal labour markets reinforced through significant monitoring and on-going assessments. A major component of these assessments related to social and cultural factors including embodied and aesthetic attributes of middle classness as well as robust notions of masculinity. This article analyses primary data from Australia's Bank of New South Wales at the close of the nineteenth century to highlight the inter-relationship between prevailing notions of masculinity, respectability, occupation and identity. [ABSTRACT FROM AUTHOR]

Background: Relationships between several built environment factors and physical activity and walking behavior are well established, but internationally-comparable built environment measures are lacking. The Microscale Audit of Pedestrian Streetscapes (MAPS)-Global is an observational measure of detailed streetscape features relevant to physical activity that was developed for international use. This study examined the inter-observer reliability of the instrument in five countries. Methods: MAPS-Global was developed by compiling concepts and items from eight environmental measures relevant to walking and bicycling. Inter-rater reliability data were collected in neighborhoods selected to vary on geographic information system (GIS)-derived macro-level walkability in five countries (Australia, Belgium, Brazil, Hong Kong-China, and Spain). MAPS-Global assessments (n = 325) were completed in person along a ≥ 0.25 mile route from a residence toward a non-residential destination, and a commercial block was also rated for each residence (n = 82). Two raters in each country rated each route independently. A tiered scoring system was created that summarized items at multiple levels of aggregation, and positive and negative valence scores were created based on the expected effect on physical activity. The intraclass correlation coefficient (ICC) was computed for scales and selected items using one-way random models. Results: Overall, 86.6% of individual items and single item indicators showed excellent agreement (ICC ≥ 0.75), and 13.4% showed good agreement (ICC = 0.60–0.74). All subscales and overall summary scores showed excellent agreement. Six of 123 items were too rare to compute the ICC. The median ICC for items and scales was 0.92 with a range of 0.50–1.0. Aesthetics and social characteristics showed lower ICCs than other sub-scales, but reliabilities were still in the excellent range (ICC ≥ 0.75). Conclusion: Evaluation of inter-observer reliability of MAPS-Global across five countries indicated all items and scales had “good” or “excellent” reliability. The results demonstrate that trained observers from multiple countries were able to reliably conduct observations of both residential and commercial areas with the new MAPS-Global instrument. Next steps are to evaluate construct validity in relation to physical activity in multiple countries and gain experience with using MAPS-Global for research and practice applications. [ABSTRACT FROM AUTHOR]