UArts Libraries's List: Scholarly Resources

Open Educational Resources

The first users in the early days of the Internet were professors and academics who shared their research and resources with unprecedented ease and speed. But nowadays, there is a dearth of lovingly crafted tools made for those who first popularized the Internet.

Access digitized art history publications, rare books, and related literature.

Educators and instructional designers recognize that instilling curiosity in students encourages their disposition to learn. When students are magnetized by a new idea or a new situation and are compelled to explore further, regardless of external rewards, they can be said to be truly motivated. In each new project, they discover seeds for a future project or a new question to examine. Curiosity is a heightened state of interest resulting in exploration, and its importance in motivating scholarship cannot be ignored. Curiosity is also a critical component of creativity, and fostering curiosity and creativity in today's learners is a challenge faced by educators and instructional designers alike. Before presenting instructional design strategies for fostering curiosity, it will be helpful to provide some background.

Outside of contemporary art practice, the act of photocopying is by-and-large not given much consideration by general users and is only granted limited treatment within discussions of electronic media. This paper seeks to redress this, by speculating on the practice of photocopying and some of the less remarked on behaviours and 'drives' which motivate and structure this practice. It begins by sketching briefly the development of commercial photocopying technologies and some of their artistic uses. Then, drawing on various written accounts and observational research in a large public research library, it explores a number of 'pathologies' or curiosities of behaviour and motivation which attend and characterise the act of photocopying. The paper concludes by suggesting that gaining insight into these patterns and processes can contribute to a richer understanding of the practice of everyday photocopying, as well as human-machine interaction more generally.

Swinburne Research Bank is an online open access collection of publications by Swinburne researchers. It is designed to help Swinburne research reach a worldwide audience and maximise its potential for citation.

People often reject creative ideas even when espousing creativity as a desired goal. To explain this paradox, we propose that people can hold a bias against creativity that is not necessarily overt, and which is activated when people experience a motivation to reduce uncertainty. In two studies, we measure and manipulate uncertainty using different methods including: discrete uncertainty feelings, and an uncertainty reduction prime. The results of both studies demonstrated a negative bias toward creativity (relative to practicality) when participants 
experienced uncertainty. Furthermore, the bias against creativity interfered with participants’ ability to recognize a creative idea. These results reveal a concealed barrier that creative actors may face as they attempt to gain acceptance for their novel ideas.

Alice in Wonderland and Philosophy: Curiouser and Curiouser
The anthology of essays asks seventeen contemporary thinkers to examine the Lewis Carroll classic through the lens of philosophy, exploring subjects as diverse as drugs, dreams, logic, gender, perception, escapism, and what the Red Queen can teach us about nuclear strategy.

Journal of European Television History and Culture is to be the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It will offer an international platform for outstanding academic research and archival reflection on television as an important part of our European cultural heritage. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.

In a new book, Cultivating Communities of Practice: A Guide to Managing Knowledge, the authors offer a practical guide to making knowledge work inside an organization. In this excerpt, the authors detail seven design principles for cultivating communities, everything from "design for evolution" to "combine familiarly and excitement."

TrendsWatch is a new annual report that helps museums paint a picture of the future, and find practical applications for the information presented in CFM's popular e-newsletter, Dispatches from the Future of Museums.

The inaugural issue of TrendsWatch-TrendsWatch 2012: Museums and the Pulse of the Future-highlights seven trends that CFM's staff and advisors believe are highly significant to museums and their communities, based on scanning and analysis over the past year: Crowdsourcing; Threats to Nonprofit Status; Mobile, distributive experiences; New forms of funding; Creative Aging; Augmented reality; Shifts in Education

For each trend, the report provides a summary, examples of how the trend is playing out in the world, comments on the trend's significance to society and to museums, dozens of links to relevant news and research and suggestions for ways that museums might respond.

"While Fluxus can best be described as a laboratory, it is often labelled as a collective or even an art movement. In the early 1960s, Fluxus took shape as a floating international community of artists, architects, composers, and designers who pursued what was then one of the world's most radical and experimental programs of research and development in art and design. Including such figures as Nam June Paik, George Maciunas, Dick Higgins, Alison Knowles, Yoko Ono, and George Brecht, Fluxus pioneered art forms, social practices, and new media. The exact nature of Fluxus is as varied as its participants, and the descriptions applied to it reflect their divergent ideals and aspirations. For a time in the early 1960s, George Maciunas described Fluxus as a collective. Maciunas was the de facto chairman of Fluxus and the primary designer and publisher of Fluxus multiple editions. He is also the central focus in the legendary Gilbert and Lila Silverman Fluxus Collection, now housed at the Museum of Modern Art. The special attention now given to Maciunas has tended to privilege Maciunas's view of Fluxus over equally valid competing views, and attention to his publications during the period in which he saw Fluxus as a collective privileges that view over Maciunas's own later ideas. In this chapter, a Fluxus artist from the 1960s will examine Fluxus - the historical Fluxus, the notion of the collective, and a vision of what Fluxus might have been."

"That the compositing of camera and mobile phone has proven to be highly popular should come as no surprise to anyone interested in both the history of mobility and the history of photography. [1] As media archaeologist Errki Huhtamo recently asserted, the first mobile medium proper was amateur photography (Huhtamo, website, 2004). An examination of the correspondences between the reception and promotion of early amateur photography and the current fascination with (and revulsion of) mobile camera phone practices is instructive in terms of trying to understand our contemporary moment. In particular, the long association between amateur or snapshot photography and the family appears to be rapidly extending itself to the mobile camera phone. Camera phone marketing is awash with images of children, pets, family events and ritualised personal experiences. This raises a couple of interesting questions that this paper will seek to address. Firstly, what impact will camera phone imaging have, if any, on the existing practices of capturing, collecting and the distribution of family photographs? And secondly, how does the promotion of the family as a legitimate subject for mobile camera photography play out against the increasingly hysterical response to the use of mobile camera phones in public spaces?"

"An exploration of the aesthetic in Graphic Design. Graphic Design is a universal language of expression and yet so few of us understand its full dimension or ways of communicating meaning. Through looking at contemporary examples of design, Keith Robertson describes graphic design as a codified system of signs which has developed largely to service the commercial market place where the role of sh*t is crucial to defining what is right for them but not for us."

"Fluxus began in the 1950s as a loose, international community of artists, architects, composers and designers. By the 1960s, Fluxus has become a laboratory of ideas and an arena for artistic exprmentation in Europe, Asia and the United States. Described as 'the most radical and experimental art movement of the 1960s', Fluxus challenged conventional thinking on art and culture for over four decades. It had a central role in the birth of such key contemporary art forms as concept art, installation, performance art, intermedia and video. Despite this influence, the scope and scale of this unique phenomenon have made it difficult to explain Fluxus in normative historical and critical terms. The Fluxus Reader offers the first comprehensive overview on this challenging and controversial group. The Fluxus Reader is written by leading scholars and experts from Europe and the United States."

The National Gallery Technical Bulletin, first published in 1977, has achieved a leading position in the study of the materials and techniques of painting, and the scientific examination of paintings. It is essential reading for conservators, conservation scientists, art historians, collectors and curators. Drawing on the combined expertise of curators, scientists and conservators, it brings together a wealth of information about artists materials, practices and techniques.
Browse the archives from the listing below, or search via the indexes: artist index, author index, volume index

Visual Culture and Gender (VCG) is an international, freely accessed online journal. The journal's purpose is to encourage and promote an understanding of how visual culture constructs gender in context with representations of race, age, sexuality, social units, (dis)ability, and social class and to promote international dialogue about visual culture and gender. VCG concerns the learning and teaching processes or practices used to expose culturally learned meanings and power relations that surround the creation, consumption, valuing, and dissemination of images, and involves issues of equity and social justice in the learning, teaching, and practice of art.

Papers of Surrealism is a web-based journal produced by the Centre for the Study of Surrealism and its Legacies. The journal welcomes a diversity of opinions and approaches and seeks to represent the breadth of academic disciplines engaged in the study of surrealism. It publishes original scholarly articles, translations, interviews, book and exhibition reviews as well as news and commentary. While principally serving the academic community, and subject to peer review, material published by Papers of Surrealism is intended to be accessible to interested non-specialist readers. The opinions expressed in this journal are those of the authors and not necessarily those of the editors.

Reconstruction: Studies in Contemporary Culture (ISSN: 1547-4348) is an innovative online cultural studies journal dedicated to fostering an intellectual community composed of scholars and their audience, granting them all the ability to share thoughts and opinions on the most important and influential work in contemporary interdisciplinary studies. Reconstruction publishes three Themed Issues and one Open Issue per year.