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This data constitutes stage 3 of 3 stages of data collection for a doctor of professional studies research higher degree. These recordings and transcripts contain the online workshops conducted to: 1. explore the suitability of the LM-GM (Learning Mechanics - Game Mechanics) framework as a suitable tool for learning designers to develop digital game-based learning for human resources development; 2. investigate views and perceptions of educational professionals for designing learning experiences in serious games; and 3. investigate technologies that educational professionals apply to design serious games and analyse learning data The recordings include conversations, commentary and observations of educational games, collaborative discussions and interviews

These sources are manuscript entries for each prisoner admitted and discharged. The entry covers a wide range of descriptive attributes characterising the individual prisoner as well as a record of the offence and sentence for the current imprisonment, as well as information on previous convictions . Later decades included photos of the prisoners. Users should note that date attributes are formatted as dates and should be treated as such, not as text. As this data covers both nineteenth and twentieth century dates, opening the csv file in some programmes (eg Excel) will result in loss of formatting for some dates. Files are best opened in a csv editor or an analysis software such as SPSS that can translate dates consistently. Female Prisoners discharged from Victorian Prisons 1860-1934. The data includes name, offence, sentence, trial date, discharge date, conviction history and some prisoner attributes including religion, literacy, place and year of birth and ship of arrival in Australia This dataset was accessed by the Prosecution Project from records in the Public Record Office of Victoria Series 516/P0. Some records do not include date information for either or both of trial date and discharge date. Prison registers maintained by the Prisons Department and archived at PROV VPRS Series 516/P0 PROV VPRS 516/P0

Appendix 14 provides a brief description and other data about 708 of the ASAGE sites documented in the ten Study Areas. It does not provide specific latitude / longitude coordinates, so as not to facilitate looting of these sites, although the spatial data are available to bona fide researchers.

Lightening Talk: Brown Skin, White Masks: Predictive Technology, Colonial Histories, and Queer Sexuality Today

Background: The history of chess-engines (computer programs which analyse any given combination of chess pieces in order to generate a response in the form of a move, or series of moves, considered statistically strongest), and their influence on, and reception in, the game of chess, is useful in the analysis of the broader impact of Machine Learning and AI on society (Turing, 1953). Chess was once considered too complex a game to be computationally resolvable, however within a few decades of their invention, chess-engines were capable of defeating grand-masters. Similarly, the activities of reading and writing, once considered the exclusive domain of humans, are increasingly becoming co-agentic human-nonhuman endeavours. This research also speaks to the tradition of incorporating the game of chess in artworks and literature, with an intention to explore “machinic” reading and writing practices (D. G. Burnett and W. J. Walter, 2009). Contribution: Le Traité des Amateurs (2022) is a generative work which combines Natural Language Processing through two adversarial AI chess players which each systematically move 16 word stanzas taken from two pieces of literature, as chess pieces across the page/board. Once the work initiates, the movement of the words is determined by these AI ‘authors’ playing against each other, representing an attempt to bridge human and nonhuman understandings of AI through the metaphor of chess. Each move becomes an attempt to resolve the page differently through the making and unmaking of meaning. Significance: The work premiered in Electronic Literature Organisation’s ELO 2022, Como, Italy in Collegio Gallio, on Lake Como, one of the oldest schools in Europe (est. 1593). Selected for the curated art festival via a competitive 3 step jury review process, alongside internationally renowned artists including Jason Nelson & Alinta Krauth, Caitlin Fisher & John Cayley. Attendance at the exhibition was made possible through an SRC travel grant.

This series comprises six watercolour ink portraits, each depicting unnamed and unidentified women, symbolizing diverse ages and ethnicities. The project delves into the wrongful conviction of women who, in defending themselves against abusive partners, ought to have been acquitted of murder or manslaughter on the basis of self-defence. The research conducted on these Australian cases, coupled with the method employed in creating the portraits, aims to draw attention to this pressing legal issue and illustrate the lack of agency experienced by these women within the justice system.The series was exhibited at the inaugural event of the Brisbane Arts Collective in an exhibition titled "Embracing Diversity" at the Petrie Terrace Gallery, curated and selected by the executive team (comprised of professional artists) of the Brisbane Arts Collective. The exhibit received support from the Brisbane City Council and the Royal Queensland Art Society by means of a competitive stipend. Two paintings from the series were selected as a Gallery and Salon Finalists in the Lethbridge 20000 Small Scale Art Award in 2023, curated and judged by the gallery director, gallery curator and invited guest artist judges recognised for their expertise in the field. The painting, "Can You See Me Now?" received the People's Choice award, having had the most votes by the public. The works in this exhibition served as a platform to shed light and open discussion on this understudied area of social justice and to draw attention to the complex challenges faced by women in the criminal justice system.

The beautiful focus of this film is a quilt made in c.1890 in Swaledale and its journey through the generations of a family and on to the Quilters’ Guild collection in the early twenty-first century. It conveys how textiles hold powerful emotions for their makers and the relatives who have inherited them, and communicates the pleasures of hand quilting in the past and today. It also shows how inherited objects offer insights into our history, reflecting on the way inherited quilts provide insights into changing regional patterns of women’s work and lives. With Deborah McGuire and Joanne Begiato.

Research Background: The context and site for this creative work is The Emily McPherson Building at RMIT, which historically housed the first Women's College in Victoria. It was commissioned by RMIT University to highlight and communicate specific histories of the college and its role in the education of women. The research also explores the materiality of sculptural relief in relation to its historical, technological and theoretical context of architecture, the city and the viewer. The project investigates the potential of contemporary relief to change the experience of the contemporary urban environment. Research contribution: This creative work "The Pattern Table" represents an original, site specific, sculptural relief work within the Australian urban context. Drawing off the historical, archival materials held in the RMIT University Library and antecedents in relief sculpture It addresses key theoretical ideas around the contemporary experience of spatio-temporal compression in the urban context and successfully demonstrates how these precedents can be redeployed through studio-based research to redefine the contemporary status of relief sculpture and extend existing narratives of time and space. In so doing this work makes a valuable contribution to the local and international field of public urban art. Research Significance: This creative work represents the first permanent Public Art Work ever to be commissioned RMIT University and was selected by a prestigious judging panel which include professional peers and the current Vice Chancellor Margaret Gardner. It has been featured on the RMIT main web page promoting creative work at the University and as part of the permanent art collection will have an ongoing impact into the foreseeable future.

In Clouded Over curator Janice Baker created a 400 year international journey reviewing the depiction of clouds. Other artists included John Constable, Rosalie Gascoigne, Hans Heysen, Magritte, JMW Turner and Aert van der Neer. The five prints that make up this work question the ways we perceive the sky and cultural interpretations of colour. The work utilises traditional and contemporary print technologies to refer to direct experiences of the weather. Acknowledging the tradition of nineteenth century landscape art, Duxbury investigated English culture, weather diaries, writings and artworks of the time and discovered that there were very few references to blue sky, although in the same period the 'cyanometer' which could determine the shade of blue of the sky was devised in France. The art critic John Ruskin used text to describe the sky, very poetically, in his 'word-paintings'. In Sky Blue I-V (2002) Duxbury created large-scale photographic works of stormy skies, predominantly black and white, overlaid with words for the colour blue - indigo, azure, sapharine, ultramarine and caerulean. The space behind the clouds that Duxbury's words evince are described by Ruskin as the result of an effect peculiar to rain clouds, 'its openings exhibit the purest blue which the sky ever shows. 'The incongruity between overcast skies and Duxbury's text gives expression to the inadequacy of language to prescribe order on nature.' (Janice Baker, curator, exhibition notes). Sky Blue I-V invite the viewer to picture colour in the mind's eye. Each large-scale image of a particularly grey cloudy sky is discreetly overprinted in silver with a word for blue. The word triggers additional associations with language to recall the experiential influence of the weather and our recording of it.

The photos, Metashape project files, and 3D photgrammetry models of objects excavated from the Moses Thomas flour mill and cottage, used in the creation of the Mernda VR Project. The unedited raw photos are not included due to file size restrictions.