Creative Works

Permanent URI for this collectionhttps://hdl.handle.net/2292/8272

Use the Deposit button on research output records in Te Waka Huia Rangahau | Research Outputs to archive compositions, designs, exhibitions, media, performances, software, and other creative works.

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Methods for the Practice of Envisioning: Collaborative Tools for Change-Orientated Research [Research Infographic]
(2025-03-14) Chubb, Laura Ann
Introducing the 'practice of envisioning'—a participatory research approach that integrates futures thinking and creative techniques to gather data and map out steps toward achieving a specific social change agenda. This research infographic briefly introduces the methods discussed in further detail in the associated article.
Ground-truth transcriptions: sonic re-enactments of Paul Cullen’s one-meter reduced ruler series
(2024-03-15) Kerr, Sean
"Eight Thousand Layers of Moments" is a group exhibition that explores the concept of luck through diverse artistic perspectives. The exhibition features works that span multiple geographies and cultural contexts, addressing themes of chance, unpredictability, agency, and control within artistic production. By inviting viewers to consider various interpretations of luck, the exhibition seeks to deepen the understanding of how luck intersects with place, privilege, history, and language. The title of the exhibition is inspired by a line from Celine Song’s 2023 film Past Lives, which challenges the notion of isolated existence through a narrative informed by the concept of ‘inyeon’ in Korean Buddhism. Inyeon, meaning "direct cause" (in/因) and "indirect cause" (yeon/緣), provides a framework for understanding why certain beings meet in specific places and times, touching on ideas of providence and fate. Within the exhibition, inyeon serves as a lens to discuss the convergence of multiple geographies and cultural contexts, and how luck, as a human experience, helps make sense of chance events and their consequences. This exhibition is a collaborative effort between doctoral students and alumni from the Academy of Fine Arts, Uniarts Helsinki, and the Elam School of Fine Arts at Waipapa Taumata Rau | The University of Auckland. It is part of a broader exchange among the participating artists, which includes an experimental publication and a reciprocal exhibition in Helsinki. Artist: Roma Anderson, Katrina Beekhuis, Matthew Cowan, Paul Cullen, Miklos Gaál, Matthew Galloway, Henna-Riikka Halonen, Sean Kerr, Yukari 海堀 Kaihori, Louise Menzies, Ilya Orlov, Mirimari Väyrynen, Denise Ziegler My contribution, "Ground-truth Transcriptions," involves a multifaceted exploration of Paul Cullen’s one-meter reduced ruler series. This work includes sonic re-enactments that translate the physical measurements into auditory experiences, creating a unique interplay between visual and sonic art forms. Additionally, I developed an AI-driven Unity project that interprets Cullen's ruler works into MIDI compositions. These compositions are played in the gallery, offering an immersive experience that bridges traditional art with contemporary digital interpretations. Through this innovative approach, my work aims to highlight the intersections of technology, art, and perception, inviting viewers to engage with Cullen's series in a novel and dynamic way.
Ba-Dum-Tiss
(2024-04-20) Kerr, Sean; Gawronski, Alex
This research output, titled "Ba-Dum-Tiss," explores the intersection of technology and art through the integration of Unity 3D AI API, Arduino, actuators, a snare drum, and a cymbal. Included in the exhibition "Stupid As," curated by Dr. Alex Gawronski at Gertrude Contemporary, the work investigates the generative possibilities of perceived stupidity within artistic practice. The exhibition, featuring artists such as Hany Armanious, Alex Gawronski, Ronnie van Hout, MP Hopkins, Sean Kerr, Cescon & Donovan, Del Lumanta, Michelle Nikou, Jelena Telecki, Justene Williams, Salote Tawale, and The Estate of Quinto Sesto, ran from April 20 to June 2, 2024. "Stupid As" challenges the normative imperative to avoid appearing foolish, instead embracing failure, mistakes, satire, parody, slapstick, mimicry, and the absurd as critical tools. This approach aligns with Gawronski's broader interest in the socio-political implications of galleries and museums as contested cultural sites. His extensive body of work, including his PhD thesis "No New Utopia: The Crisis of Art as Critique Under Globalisation," underscores the critical potential of art in the contemporary global context.
{gridGeometry} version 0.4-0
(2024) Murrell, Paul; Wong, Jack
Add polygon and polyline offset functionality, plus minkowski sums to {gridGeometry} package for R.
Tales of Diversity Short Documentary Trailer 2
Nemaia, tony; Woodward, Suzanne; Locke, Kirsten; Hikuroa, Daniel; O'Sullivan, Michael
Tales of Diversity Short Documentary Trailer 1
Nemaia, Tony; Woodward, Suzanne; Locke, Kirsten; Hikuroa, Daniel; O'Sullivan, Michael
Creative Collaboration: disrupting dogmatism through ontological confluence
(University of Auckland, 2023-10-17) Melhuish, Kingsley Spargo
This research investigates the ontological exchange in creative collaborative settings. Creativity in a collaborative context requires co-creation of an output (artwork) that is not predetermined, as distinct from co-operatively achieving a specified goal. It is proposed that creative potential is greatest when collaborators’ inherent differences are embraced (Giles Deleuze’s difference-in-itself).
Creative Collaboration as a Means to Disrupting Dogmatism
(academyEX, 2023-11-24) Melhuish, Kingsley Spargo
This research investigates the ontological exchange in creative collaborative settings. Creativity in a collaborative context requires cocreation of an output (artwork) that is not predetermined, as distinct from co-operatively achieving a specified goal. If a creative work by an individual artist is an actualisation of self-expression informed by the artist’s reality, then cocreated works might be considered expressions of ontological exchange. It is proposed that this exchange is greatest when collaborators’ inherent differences are embraced (Giles Deleuze’s difference-in-itself), broadening the field of possibilities and optimising the potential for unexpected and creative results, than if they were to just focus on what they have in common. Furthermore, relinquishing the need for a defined output or solution can encourage creative thinking and help break through dogmatic thinking patterns.
Particle-Trail
Davis, Michael; Premier, Alessandro; Mulla, Sarosh
The research project proposed by the University of Auckland team is a furniture element generated from a conceptual design created using Unity Particle System Trails. It represents a fusion of the organic with the technology of a real-time 3D digital development platform, expressed in travertine, a building material with classical antecedents. At the heart of the project, presented at Marmomac 2023, is a question and exploration. Can the inner structure of bone – which provides critical support and strength to the human skeleton – be transposed and transformed into an architectural element? Conceived as an assembly of 3D-printed components, the goal of ‘Particle-Trail’ is to exploit new technologies of subtractive manufacturing to design and fabricate furniture that can be built in natural stone, re-using any manufacturing waste generated in subsequent projects, for a more circular approach. The conceptual design is based on an approximation of the internal structure of cancellous or spongy bone, as observed through a Scanning Electron Micrograph. While compact bone makes up the hard exterior of bone, cancellous bone – characterised by its honeycomb-like structure – forms part of the interior structure of long bones and ribs, the skull, pelvic bones and vertebrae. A small portion of these small, coral-like, honeycomb structures became the foundation for the creation of particles in Unity. Through complex manipulation to explore possibilities for transformation, we created an architectural element able to function as a new model of support. Through algorithmic shaping, our cancellous structure became an arch-shaped object, which was then realised in ‘Particle-Trail’ as two arch-shaped structures – equal but opposite – the supporting structure of a table. As a modular architectural furniture element, its potential is to be scaled for use in different contexts and scenarios, providing a structure of support for the creation of varied and distinct architectural objects.
Academic Writing as a Language Barrier. A Learning Framework
(2021-07-07) Benton Z, Ana Maria
Based on a self-reflective and critical inquiry into my own writing development and on the notion of voice, I designed an Academic Writing Learning Framework with a decolonial view that might be an invitation to rethink some university assumptions and expectations that can be reproducing social inequities. After experiencing academic writing as a language barrier in my own doctoral journey and struggling to find my own voice, I completed my doctorate and experienced a shift in perspective on students’ identity and students’ voice. This experience also affected my view on the learning opportunities university could provide for the development of academic writing. This personal experience was the origin of the research project; the need to overcome the struggle, develop awareness and increase agency. The Academic Writing Learning Framework may provide an alternative, empowering view to look at the development of academic writing for students who may have been disadvantaged by their linguistic, cultural, or educational backgrounds.
Envoy, 2022
Cousins, James
The SOTG 2022 Selection committee members include Curator Nigel Borrell, formally of Toi o Tāmaki and Te Papa, and Curator of Pacific Cultures, Rachel Yates. Since 2003, Sculpture on the Gulf has become established as New Zealand’s foremost outdoor sculpture exhibition, a unique contribution to the cultural life of Aotearoa New Zealand. The event is estimated to have attracted over 30,000 visitors over 2 weeks. Envoy consists of two billboard skins stretched across a supporting steel frame, installed back-to-back, and positioned close to shore with a seaward/inland orientation. The site-specific positioning of billboards reflected a vantage point enabling the seaward facing billboard to be viewed by vessels entering and leaving Matiatia harbour. The reverse side, inland facing billboard enabled a viewing for walkers from a distant and close proximity. A satellite exhibition showcasing works from participating artists was concurrently staged at the Waiheke Galley space.
Affective Communication
Chen, Wei-An
A Following Cadence
Cousins, James
James Cousins' work is known for combining found lens-based depictions of nature with elements drawn from genealogies of abstract painting. His 2020 exhibition, Song Chain, significantly stripped away the densely packed layers prominent in earlier works. In these pared-back works, Cousins' spray-painted rhythmic bands were given space to oscillate and perform. A Following Cadence similarly sees the use of banded grounds, but with an additional layer of oil paint in a re-purposing of a wave motif into patterned overlays. Here Lupin refers to a rendered use of a botanical image embedded within the stencilled layer, albeit with likenesses pushed to peripheries of colour and shadow. In this sense, the lupin's faux presence as concealment rhymes with the canvas' reliance on the frame supports. In other included paintings, arrangement or composition are derived through accumulated direct paint application. These works self-consciously capture acts of trialling and testing, rehearsals of colour, scale and variation. The two sets of works could be seen to be coercive in capturing moments of interrelation between input and output, control and unpredictability, malleable expressions that allude to pressures and forces external to the works and their place.
Waimataruru
(2022-01-01) Mulla, Sarosh; Paterson, Aaron
Few sites have the great character and engrossing natural beauty of this Otama house. In fact, it’s rare to have a situation so varied. Commanding ocean vistas give way to forested gullies, shadowy streams, wide beaches and rocky outcrops. The house is entered from the south – via a meandering path climbing from a stream below. It is a purposeful approach that manages the way the home and the landscape beyond are revealed. To make greatest use of the site’s unique natural characteristics, the house is arranged, from entry, around a series of particular landscape moments. A set of primary spaces cascade from east to west according to the natural fall of the site, with a series of timber portal frames sitting astride this main axis. Each space is articulated to make the most of a particular view – and best suited to the time that space would be occupied, while to the south, the spine of the house contains service pods for all the practical functions of a home; it’s a mostly closed face, punctuated only by concealed hatches and doors. Throughout this house, carefully selected timbers, crafted steelwork and natural materials shroud the interior with warmth and character; externally, charred and weathering timbers allow the building to gently rest within the regenerating bush. The apertures in each space give the landscape an interior quality by bringing it close. They vary in scale and function: for example, the bathrooms are an intimate, private zone celebrated with sky views and light; the living area frames the coastal rocks and draws your eyes to the horizon – a view to share with others. These moments, and the many between, piece together the wider story of how the building sits in its landscape and ultimately encourage you to go out and enjoy it.
Crinkle Cut
(2022-01-01) Mulla, Sarosh; Paterson, Aaron
Located on a corner site surrounded by pōhutukawa, this house epitomises perfect summer living in a picturesque coastal setting with a close-knit community. The façade is composed of horizontal weatherboards with a battened grid that sets the windows of the building in elevations that are constantly in the feathered shadow of trees – which is emblematic of our intention to design a house to harness the interplay of light and shadow. Built to an ‘S’ plan, the predominant living spaces wrap around a central courtyard, with verandas and breezeways with louvred edges contributing both a garden lightness and the experience of being simultaneously inside and out. Predominantly a pristine white inside – the exterior is a pale pinkish colour reminiscent of seashells; which, we have to admit, is not to the taste of every passer-by. At night, the home glows like a lightbox, which we have found appeals to almost everyone’s sensibilities. The louvres add a dynamic edge to the home that allows it to be precisely fine-tuned for airflow and light, prospect or privacy, openness or shelter. The street can be shut off while the interior is open. Or, on a summer's day you can engage with the neighbourhood to enjoy the spectacle of dog walking, swimmers and bike riding, or otherwise modify the rhythm and porosity of the louvres to control the wind, sun and ambient light. Raking clerestory windows are another key design element. They wrap around the house, allowing our clients to enjoy the movement of sun or moon as they track across the sky, and the dance of light across the interior’s carefully crafted structural elements.
I Bought Me a Cat
(2022-11-06) Camp, Gregory
An arrangement of the American folksong.
Monadic Device
Ingram, Simon
In September in Sydney Contemporary 2018 in the former railway factory at Sydney’s Carriageworks, over a period of five days, I performed Monadic Device, a mechatronic painting machine assemblage whose operations and my participation were real-time and endurance-based. The work used a device to monitor my brain activity as the basis for a series of paintings. This was wearable technology in the form of a brain sensing headset, a consumer grade electroencephalogram (EEG). To make this work possible I produced custom software by working with an RA to use data streamed from the EEG to generate a line that wandered around the domain of the canvas avoiding the linear path it previously traced. The software specification detailed a drawing programme structured around the principle of self-avoiding random walks of the sort one might find in computer science blended with the mind wandering Psychic Automatism of French Surrealist Andre Masson. The progress of each hybrid wandering-self-avoiding line plotting brain energy was made visible to the public via the monitor of the laptop computer that controlled the painting machine and by the progress of the brush as it navigated its way around a series of linen canvases prepared for the artwork. To provide the artwork with an operational structure independent from the wall, I produced an open-cube framework made with modular and reusable aluminium elements including 25mm tube and assembly clamps. The structure encompassed all the operations of the work forming a new habitat or zone of creativity. The work was an open system, modelling, in plain sight, diagrammatically, the operations of a painting practice facilitated by digital methodologies and using signs derived from painting’s long history including linen canvas, oil paint and brush, a provisional artist’s studio and a human person. Over the course of Monadic Device, wearing the consumer grade EEG headset I engaged in a range of art-studio related activities to run the machine. These included: mixing paint and refilling the painting robot’s paint tray, using a wacom tablet to draw into the painting robot’s interface, reading Stanislaw Lem’s Solaris, writing email correspondence, talking with the public, making telephone calls and drinking coffee. The project ran for five days and was an enormous undertaking in terms of research, cost, development and logistics.
Simon Ingram and Moniker (Lukasz Buda, Samuel Flynn Scott, and Conrad Wedde), 'Moniker-Ingram Studio Session.
(2020-11-22) Ingram, Simon; Wedde, Conrad; Buda, Lukasz; Flynn Scott, Samuel; Brick, Jeremy
Simon Ingram and Moniker (Lukasz Buda, Samuel Flynn Scott, and Conrad Wedde), 'Moniker-Ingram Studio Session,' performed on 'Monadic Device' in Simon Ingram's exhibition 'The Algorithmic Impulse,' at City Gallery Wellington | Te Whare Toi, 22 November 2020. 'Monadic Device' is a collaboration between Ingram, John-Paul Pochin, and Kamahi Electronics. Video by Jeremy Brick. 'Monadic Device' responds to electrical activity in the brain via the input of EEG headset. The machine is programmed to paint a line that wanders around a canvas, avoiding paths previously traced by tunnelling under or glancing off them. The user's beta waves determine the length of lines, and their aplha waves whether lines turn left or right. 'Moniker-Ingram Studio Session' involves a feedback loop between actors in a system. In a series of cycles, electrical activity in Ingram's brain is streamed as data to 'Monadic Device' and to Moniker's synthesisers, becoming a layer in the group's improvised response-as Ingram listens to it.
rmmc
(2021-11-29) Ljubownikow, Grigorij
This is a package for calculating multimarket contact. It consists of seven measures: Baum & Korn (1999), Chen (1996), Baum & Korn (1999), Count, Feinberg (1985), Boeker, Goodstein, Stephan, & Murmann,(1997), Baum & Korn (1996), and Evans & Kessides (1994). The measures closely follow the definitions used in Gimeno, J. and Jeong, E. (2001), "Multimarket contact: meaning and measurement at multiple levels of analysis", in Baum, J.A.C. and Greve, H.R. (Ed.) Multiunit Organization and Multimarket Strategy (Advances in Strategic Management, Vol. 18), Emerald Group Publishing Limited, Bingley, pp. 357-408. https://doi.org/10.1016/S0742-3322(01)18013-7
Assemblage
Ingram, Simon; Taylor, Alex; Hall, Amalia
Assemblage is a collaboration commissioned by Marc Taddei (Conductor, Orchestra Wellington) between notable composer Alex Taylor and artist Simon Ingram. Months before the performance, in its Auckland studio, audio of Ingram's painting robot making a simple painted composition was recorded using a special piezo electric contact mic. This audio is treated by Taylor as a soloist of sorts and a composition and instrumentation written as a response to it. On 2 August 2019 Assemblage is performed to 2000 people in the Michael Fowler Centre. The sound of the robot remaking the painted composition on stage and in time to the orchestra is amplified to become a layer in the performance as the pitch and tempo of the orchestra approaches and moves away from it. Assemblage was one of three 2020 SOUNZ Contemporary Award Te Tohu Auaha Finalists. Contemporary classical composition, robotics and abstract painting: https://tinyurl.com/xrtbfddd

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