NiTRO Creative Matters

Perspectives on creative arts in higher education


Professor Barb Bolt is well known here and overseas for her work in creative arts research and particularly the creative PhD.  Now that she has stepped away from the university “day job” we took the opportunity to get her perspective of the past and current state of play in

In 2016 I wrote an article for NiTRO titled “Styling Australia’s New Visual Design Identity”, which sought to explore how to incorporate the amazing features of Indigenous iconography into design without denigrating or disrespecting the original owners and creators.

Recent design studio curriculums in architecture schools reflect a significant shift towards projects focused on socially conscious design and humanitarian challenges … recognising that sustainability is not enough and that the design of built environments must encompass an expanded ethical, political, and social position towards regenerative place-making that responds

In 2015, The Australian National University’s School of Art and Design’s Environment Studio launched a unique field-based program, The Balawan Elective, honourably named with guidance and permissions of the First Nations community on Yuin Country, after their culturally significant mountain Balawan … Seven years on, much has come from

For some years now, I’ve taught a course called Pop & Trash … It’s always struck me as entirely odd that I teach a course that attempts to critique such constructed cultural hierarchies, and the next day I need to report to my university my ERA outputs based on

In 2018 I wrote a piece for NiTRO subtitled ‘Are we there yet?’, tracing some of the practical and institutional effects of the Dawkins reforms that folded art schools and other creative teaching programs into universities … Forward (almost) five years, and I am again taking the pulse and

In June 2016, we launched the first issue of NiTRO and it is hard to believe that that was over seven years ago. It feels both a short time and a very long time with the last two to three years, stretching time in uncanny ways.

Creative industries are characterised by a gig economy featuring short-term, intensive contracts, word-of-mouth recruitment, ten-hour days, and precarious work. Such conditions can pose challenges for filmmakers with disability to flourish.

Screen stories have evolved away from the simplistic dichotomies of conflict between good and evil, goodies and baddies. Audiences expect and appreciate more nuanced and complex depictions of character, culture and conflict … ‘engaging writing’ features three dimensional characters and dramatic irony which follow from the application of the

The screen market has experienced a contraction of traditional free-to-air distribution in favour of pay on-demand or subscription services … (and) begun to cross-over into gaming, and gamification content towards incentivised engagement of consumption … Such change has … produced a requirement to equip screen business students with a