Jacqueline Gothe is a design researcher in visual communication design and the Director of Visual Communication Design in the School of Design at UTS.
Her research approach emphasizes research through design as a knowledge creating paradigm.
Jacqueline has widely researched the application of communication and design principles in the natural resource management sector, investigating transdisciplinary approaches in projects dealing with the consequences of environmental flows and pesticide toxicity on the Hawkesbury Nepean River.
Her doctorate, awarded in 2016, titled Tracing Country: Visual Communication Design and Chorography. Towards a critical practice in Visual Communication Design, investigates the role of the visual communication designer in complex interdisciplinary and cross-cultural environmental communication design projects.
Since 2011 she has worked in partnership with Firesticks, an Indigenous-led network that mentors, shares and supports the revival of cultural burning practices in natural resource and fire management contexts. Her communication and information design contribution to Firesticks has been recognised in 2011 and 2014 by the International Institute of Information Design Awards (IIID).
At UTS, Jacqueline teaches Visual Communication and Emergent Practices and Contexts of Visual Communication and Researching Contexts, and supervises Honours students in Critical Practice: Exploration and Realisation.
Recent exhibitions include Chora Fire Water Country at UTS Gallery November 2015, participation in Slow Burn at Delmar Gallery Sydney June 2015 and Interpretive Wonderings, a collaboration with the Culpra Milli Aboriginal Corporation at Mildura Arts Centre 2016.
Can supervise: YES
This essay considers three design projects as microprotests. Reflecting on the ways design practice can generate spaces, sites and methods of protest, we use the concept of microprotest to consider how we, as designers ourselves, can protest by scaling down, focussing, slowing down and paying attention to the edges of our practice. Design microprotest is a form of design activism that is always collaborative, takes place within a community, and involves careful translation of a political conversation. While microprotest can manifest in any design discipline, in this essay we focus on visual communication design. In particular we consider the deep, reflexive practice of listening as the foundation of microprotests in visual communication design.
While small in scale and fleeting in duration, these projects express rich and deep political engagements through conversations that create and maintain safe spaces. While many design theorists (Julier; Fuad-Luke; Clarke; Irwin et al.) have done important work to contextualise activist design as a broad movement with overlapping branches (social design, community design, eco-design, participatory design, critical design, and transition design etc.), the scope of our study takes 'micro' as a starting point. We focus on the kind of activism that takes shape in moments of careful design; these are moments when designers move politically, rather than necessarily within political movements. These microprotests respond to community needs through design more than they articulate a broad activist design movement. As such, the impacts of these microprotests often go unnoticed outside of the communities within which they take place. We propose, and test in this essay, a mode of analysis for design microprotests that takes design activism as a starting point but pays more attention to community and translation than designers and their global reach.
In his analysis of design activism, Julier proposes 'four possible conceptual tactic...
Gothe, J 2016, 'Thoughts on working with land and designing for country'.
The recognition of the connection between people and place, informed by
Indigenous perspectives, can have a significant influence on the practices
and understanding of the dimensions of responsibility for a design
researcher. As a visual communication designer and researcher, working
in a context of communication and information design in contemporary
Australia, the ways in which land, place and people are represented in the
visual communication of intercultural and interdisciplinary understandings
is a complex challenge. This paper describes the role of the visual communication designer in an interdisciplinary and intercultural collaboration with Indigenous and non-Indigenous land- managers, scientists and regional authorities. In this environmental communication design project focussing on Indigenous-led cultural burning practices and mentoring networks in a contemporary land management context, I have adopted a research through design approach to establish a complex reflection of the project. The paradigm of research through design brings into relationship various perspectives or observer positions. This investigation of intercultural signification is undertaken from the perspective of a practitioner researcher who recognises the histories of information and communication design, alongside learnt and shared sensitivities informed by Indigenous guidance when designing for country.
My concern in the research is the relations between the creative affect of
experience generated in the social design process, together with the
question of intention and effect. These positions produce a narrative that
constructs an intricate interpretation of the making and meaning of visual communication design in intercultural and interdisciplinary situations.
As a practitioner researcher, who acknowledges the significance of cultural
Plant, R, Walker, JR, Rayburg, SC, Gothe, J & Leung, T 2012, 'The wild life of pesticides: Urban agriculture, institutional responsibility, and the future of biodiversity in Sydney's Hawkesbury-Nepean River', Australian Geographer, vol. 43, no. 1, pp. 75-91.View/Download from: UTS OPUS or Publisher's site
Agricultural chemicals are a notoriously intractable source of environmental pollution. Offering enhanced agricultural productivity, they simultaneously risk degrading the ecological basis upon which agriculture depends. This paper considers chemicalisation as a cause of the erosion of aquatic biodiversity and ecosystem resilience, focusing on the Hawkesbury-Nepean River and the small-scale horticulturalists who supply the city's fresh vegetable markets, working under the pressure of urbanisation, retail monopolies, indifferent land-use planning, and often without access to information about pesticide use in the languages they understand. Arguing that standard practices of `risk management are unable to adequately control chemical contamination, the paper presents findings from interviews with actors within the `assemblage of institutions with responsibility for agriculture, water quality, and environmental protection, in order to assess the effectiveness of pesticide governance in the Greater Sydney Basin. It appears that pesticide pollution is far from being tamed: it is rarely measured nor monitored, neither is it a priority of any particular agency. Arguing that public health, the long-term viability of local farming and the ecological well-being of the Hawkesbury-Nepean River are mutually consistent goals, we conclude that these vital elements of the common-weal are currently subject to a system of `organised irresponsibility. The paper concludes by proposing several ways forward
Standley, P, Bidwell, N, George, T, Steffensen, V & Gothe, J 2009, 'Connecting Communities and the Environment through Media: Doing, Saying and Seeing Along Traditional Knowledge Revival Pathways', 3C Media Journal of Community Citizen's and Third Sector Media and Communication, vol. October, no. 5, pp. 9-27.View/Download from: UTS OPUS
With the proliferation of global information and communications technologies (ICT), the concept of community no longer has geographical limitations. Yet, from ecological and social perspectives, connecting people and communities to their immediate environment is now more urgent than ever. In this paper we show how an Indigenous led initiative reaches across geographical and cultural gulfs by using digital media in ways that are profoundly embedded in the values associated with specific places. We refer to a grass-roots Indigenous created and led organization that with support from numerous partnerships across Australia has for many years used media to convey cultural and environmental values. The methodology of Traditional Knowledge Revival Pathways (TRKP), co-created according to the ancient knowledge system of the Kuku Thaypan Traditional Owner Elders in Cape York Peninsula, illustrates the way media can be used to traverse disciplinary boundaries and connect both Indigenous and non-Indigenous people to places.
Gothe, J, Harris, D, Sparkes, T & Bailey, J 2018, 'Designerly approaches to science communication', Australian Science Communicators Conference 2018, Powerhouse Museum of Applied Arts and Sciences Sydney Australia.
Design is not about prettifying information. Design is not a final step in production after the 'real work' is done. But what is design, especially in the context of science communication?
Designer Horst Rittel introduced and defined the term 'wicked problems' to denote problems that are resistant to resolution, especially due to issues of social complexity. He contrasted these to the 'tame' problems that science has effectively developed techniques to deal with. Many science communication scenarios are wicked problems (they all deal with people in social contexts) and experienced designers can bring a different set of perspectives and skills to these problems.
Although design perspectives are relevant to all branches of science communication, they have particular resonance in countries like Australia and New Zealand where science communication projects regularly intersect with Indigenous communities. Commonly employed scientific frameworks and methodologies, from which much science communication derives, are ill-equipped to deal with the needs of such communities.
In this session, design professionals who engage with science communication will provide case studies, advice, processes, and frameworks for thinking that offer alternatives to the techniques often employed by those who come to science communication from science. They will demonstrate how designers can successfully play a significant role in science communication conception, development, and implementation using their unique skills and approaches.
Gothe, J, Costello, O, Standley, P & Steffensen 2011, 'Reading Country', Rural HCI - Distributed Interaction on a Landscape Scale, OzCHI, Australian National University, Canberra, pp. 26-27.
Speculation on the use of digital interactive
media to create a shared networked practice to
support the monitoring and evaluating of test
sites for Indigenous cultural burning practices in
* Mediated representations through image and text, using
video, photography and sound with the support of illustrations,
maps, diagrams and typography to document country over
* Information and expression of cultural practices, located in
specific places, to be shared between participating
* Production of the content and management of any system
needs to reside with participating communities.
* This system holds visual representations of places and
practices to support knowledge sharing and enhance the
recognition of Indigenous Ecological Knowledge in
contemporary landscape management.
* Records and observations, gathered over time, shared
locally, nationally and globally.
* Paramount is understanding the relation between effects
and affects - the experiential and the observational - in order
to maintain connections between the country, people and
Gothe, J, Leung, T, Lim, RP, Phyu, YL, Plant, R & Walker, JR 2011, 'Advocating for Biodiversity in the Hawkesbury Nepean River: critical research practices of visual communication design', Geography on the Edge, Institute of Australian Geographers, University of Wollongong, pp. 1-47.
Plant, R, Walker, JR, Rayburg, SC, Gothe, J, Leung, TM, Phyu, YL & Lim, RP 2011, 'The 'Social Life of Pesticides': How organised irresponsibility in the Greater Sydney Basin threatens the biodiversity of the Hawkesbury-Nepean River', Institute of Australian Geographers (IAG) Conference Wollongong 2011, Wollongong, NSW.
Gothe, J & Standley, P 2011, 'Communicating Fire Building Relationships and Creating Change', Bushfire in the Landscape: Different Values, a Shared Vision, Bushfire in the Landscape: Different Values, a Shared Vision, NSW Nature Conservation Council, Sydney NSW.
Gothe, J 2012, 'Reading Country', Rural HCI - Distributed Interaction on a Landscape Scale, OzCHI 2011, Interactivation Lab UTS, Australian National University, Canberra. A.C.T..
Gothe, J 2009, 'Fire Water Country - visual communication and the project of relational design.', How Can Graphic Design Help Save the Planet?, Powerhouse Museum.
'being-for' country - visual communication, the project of relational design and sustainable landscapes.
Gothe, J & Steffenson, V 2008, 'Communicating Shared Traditional Knowledge. A model for the future: the role of design research as a contributor to change.', Changing the Change: Design Visions Proposals and Tools, Changing the Change: Design Visions Proposals and Tools, Changing the Change -, Torino, pp. 1-2.
Gothe, J 2008, 'Communicating Shared Traditional Knowledge - Water We Know', Water Wisdom The Aboriginal Support Group - Manly Warringah Pittwater (ASG), Narrabeen NSW Australia.
Gothe, J 2007, 'Communicating Shared Traditional Knowledge - Water We Know', Water SOS Cameraygal Festival 2007, Lane Cove Civic Centre Lane Cove NSW Australia.
Forum on water management
Palmer, CG, Gothe, J, Mitchell, CA, Riedy, C, Sweetapple, K, McLaughlin, SM, Hose, GC, Lowe, M, Goodall, H, Green, T, Sharma, D, Fane, SA, Brew, K & Jones, PR 2007, 'Finding integration pathways: developing a transdisciplinary (TD) approach for the Upper Nepean Catchment.', Proceedings of the 5th Australian Stream Management Conference. Australian rivers: making a difference, Australian Stream Management Conference, Charles Sturt University, Albury, NSW, Australia., pp. 306-311.View/Download from: UTS OPUS
Gothe, J 2005, 'Towards an Understanding and Recognition of the significance of relationship in the framing of practice-led research projects', Speculation and Innovation: Applying practice-led research in the creative industries, Speculation and Innovation, Queensland University of Technology, Brisbane, Australia, pp. 1-10.View/Download from: UTS OPUS
The ways in which relationships informs the designing process require significant attention in the framing of collaborative, cross-institutional, multi-partnered practice-led research projects. This paper brings a relational focus to the task of project framing in practice led research projects.
Bowman, CP, Gothe, J, Ireland, DJ & Leggett, MG 2003, 'Interface, Design and Visual Indexing', MelbourneDAC 2003: the 5th International Digital Arts and Culture Conference, Digital Arts and Culture, School of Applied Communication, RMIT, Melbourne, VIC, pp. 1-4.View/Download from: UTS OPUS
Each of the panel are working in related ways in the context of this session, to address the storage and retrieval of the stories of a modern oral and visual culture. Four distinct projects will open out the approaches and thinking being pursued and the overlap that exists between them. We have become aware of one anothers work over the last nine months, have been working on our separate projects for varying periods with and without budgets, and also have in common development cycles of from 5 10 years.These short presentations will each highlight the specific problem encountered or theoretical concept being tested and why the outcome of the project could be of wider social value.
Gothe, J 2000, 'Designing projects: Enabling collaborations between the university and the community', Proceedings of the Perth Conference Re-inventing design education in the University Dec 2000, School of Design, Curtin University of Technology WA, N/A, pp. 0-0.
Gothe, J 2019, 'Drawing Water IV 2016', The Art of Science Communicaton, David Harris Queensland College of Art Griffith University, Powerhouse Museum.
The connection between the Blue Mountains and the waterways of Sydney is hard to visualise. This work allows the viewer to move from the Pacific Ocean through the complex waterways of Sydney to the foothills of the Blue Mountains.
The map that is the ground for the tracing is made up of three topographic maps produced by Department of Lands Geocentric Datum of Australia 1994 (GDA94: Sydney Heads 9130-2N, Parramatta River 9130-3N and Prospect 9030-2N). The dimensions of the drawing from these three maps is 600mm wide and 3.6 metres long and is created on a specially designed table. The drawing is then scanned and digitally animated with an audio track. The foundation of the sound is the human voice singing the note G as a single tone that holds the human breath.
Gothe, J, Hong, V, Bender, C, Steffensen, V & Costello, O 2018, 'National Indigenous Fire Workshop Bundanon 2018', National Indigenous Fire Workshop 2018, Firesticks Alliance Indigenous Corporation, Firesticks Alliance www.firesticks.org.au.
Gothe, J 2018, 'National Indigenous Fire Workshop Bundanon 2018', Producer, Bundanon Trust Shoalhaven NSW Yuin Nation.
In July 2018 the National Indigenous Fire Workshop was held outside Cape York for the first time since the workshops were started in 2004. This five-minute video documents the four days of the workshop held at Bundanon on the Shoalhaven River, the masterclasses that were led by experienced fire practitioners and the visitors from all over Australia that attended to learn about Aboriginal fire management.
Gothe, J 2012, 'The Pathway Building the Track', Design Facilitation, DAB LAB.
The Gandangara Local Aboriginal Land Council (LALC) Biodiversity Strategies Media Project is part of the Land Alive initiative aimed at supporting Aboriginal landowners as they considered BioBanking on traditional lands. The interactive DVD 'The Pathway - Building The Track' has been designed to be shared with Aboriginal land councils, Aboriginal landowners and the broader public. The Pathway: Building the Track is a collaborative media project that considers the process of BioBanking â a scheme developed by the Land Alive team at Department of Environment and Climate Change (DECC) as experienced by Gandangara Local Aboriginal Land Council (LALC). The key collaborators are Gandangara LALC, Jumbunna Research Unit, UTS Visual Communication Design, the Traditional Knowledge Revival Pathways Project and Land Alive DECC. The Pathway: Building the Track is an interactive DVD that provides a checkpoint for landowners, highlighting the benefits, risks and challenges for Aboriginal landowners considering participation in the BioBanking Scheme. It is an attempt to get to the heart of the issues related to BioBanking in order to clarify notions of property, land and country through the perspectives of biodiversity, eco-system conservation, sustainable landscapes, development opportunities, cultural values and social well being. This DVD provides not only a visual experience of the country at Mill Creek but also allows the voices of country to be heard. Through the insights of elders, traditional owners, custodians and knowledge sharers including Gandangara and Dharawal/Tharawal perspectives; the Land Alive BioBanking perspective; Land Alive trainees and environmental sciences, Aboriginal cultural and ecological knowledge are highlighted alongside scientific approaches to land management. The Menai site is beautiful country filled with vibrant flora and fauna. Mill Creek flows through the site and into the Georges River. It is part of the Burragorang Valley and is a ri...
Gothe, J 2012, 'Firesticks Communicating Fire: Building Relationships and Creating Change', Design facilitation and production, Sydney Australia.
'Today fire is seen as a destructive force which most Australians fear. This fear disconnects society from the land and its people. Fire is a powerful natural element. Fire illuminates life and provides culture with ceremony, medicine, food, warmth and above all a lore that the land taught the people. We must respect this as an inherited responsibility to be passed on in our changing world. The challenge today is to keep this respect alive, not only in terms of looking after the land but to heal the differences between people and their relationship to country.' 'Firesticks - building relationships and creating change' is a seven minute digital pilot video produced through the Firesticks Project, a collaboration between National parks and Wildlife Services (NPWS NSW) Department of Climate Change and Water, (DECCW) Traditional Knowledge Revival Pathways (TKRP), Kuku Thaypan Fire Research Management Project (KTFRMP), University of technology Sdney( UTS) School of Design and UTS Media Lab with funds provided by Perpetual Trust. The Firesticks Project aims to support the use of Aboriginal knowledge in natural resource management with a particular focus on Traditional Aboriginal Fire Management as a cultural practice. Firesticks assists in the development of collaborative fire management projects in NSW In February 2011 a meeting was held at University of Technology Sydney to bring together interested parties. This meeting brought together people who had experienced the fire workshops in Cape York in 2010 where NSW traditional owners, Rural Fire Services and NPWS spent time with Elders understanding the benefits to country of traditional fire practices through practical demonstration using the Traditional Knowledge Revival Pathways (TKRP) mentorship program The objective of this film is to support communities to introduce traditional fire practices using TKRP as the model. The film demonstrates the stages of the process leading up to a pilot burn. The outcomes,...
The Traditional Knowledge Revival Pathways (TKRP) is a grassroots indigenous Elder led and co-created project. The project was initiated by Kuku Thaypan Elders from Laura - Tommy George and George Musgrave with Victor Steffensen to support the maintenance of indigenous knowledge in the context of land management. Working alongside Traditional Knowledge Revival Pathways Project (TKRP) and Cape York Traditional Owners from indigenous communities in Cape York, the team from UTS (through the Communicating Shared Traditional Knowledge Project led by Jacqueline Gothe) supported the development of on-ground digital video and sound recording, editing and database skills, in order to support the indigenous-led project to build secure knowledge transfer processes. This documentary is an outcome of the indigenous led process and demonstrates the understanding that elders and traditional owners of natural resources (in particular, water). Water We Know is an audio-visual outcome of the Communicating Shared Traditional Knowledge Project. This documentary is about the clarity of the indigenous voice as it is recorded and conceptualised as an indigenous comment on the lack of power in decision-making in the natural resource management processes. Further, it involves sharing of the traditional understandings.
Gothe, J & Ireland, DJ 2003, 'Design for CCMA Regional Catchment Strategy 2003-2008 - web version', Corangamite Catchment Management Authority (CCMA), www.ccma.vic.gov.au/rcs.View/Download from: UTS OPUS
Web site to support the communication of CCMA Regional Catchment Strategy. Provides linked documents in order to facilitate a deeper understanding of the principles underpinning the process of the development of the CCMA Regional Catchment Strategy 2003-2008.
Gothe, J 2003, 'A Visual Guide Corangamite Regional Catchment Strategy - Priorities 2003-2008', A Visual Guide Corangamite Regional Catchment Strategy - Priorities 2003-2008, Corangamite Catchment Management Authority, Colac Victoria, pp. 1-2.View/Download from: UTS OPUS
Visual Guide A3 two sided colour print format to support an understanding of the assets identified as 'under threat' in the Corangamite region as a consequence of the regional catchment strategy process in order to establish priorities
Gothe, J & Snape, M, 'Kulpyara', Interpretive Wonderings: Mapping Culpra Station, Mildura Arts Centre Victoria.
Gothe, J, 'Thinking through the past into the present and wondering about the future', 888 An exhibition that coincided with the Beijing Olympics, Mark Gerada, China Heights Gallery, Crown Street, Darlinghurst.View/Download from: UTS OPUS
These days we all share a global concern for the world in which we live, but have many different views on how exactly it is we should be living within it. Jacqueline Gothe's exhibition Worldviews explores visual representations of such varying understandings and perception. Through drawings, prints and painting, Gothe, Senior Lecturer of Visual Communication at the University of Technology, Sydney, attempts to create an imaginative re-interpretation of a world view that values place, connection and the relational. "This exhibition is a creative and experimental process of visually representing a worldview for our time," says Gothe. The inspiration for the exhibition stems from Gothe's involvement in two separate projects in the community surrounding people, culture and the environment.
Gothe, J, 'Corangamite Catchment Regional Catchment Strategy 2003-2008 Design and Comms', Corangamite Catchment Regional Catchment Strategy 2003-2008, Corangamite Catchment Management Authority (CCMA), Victoria Australia.
Design and communication CCMA Regional Catchment Strategy 2003-2008
Gothe, J & Sandford, L, 'Traditional Knowledge Revival Pathways Project - animation', ChangeX07 - New Designs Inspiring Change, Society for Responsible Design ChangeX, Australian Technology Park Sydney Australia.
SRD ChangeX is an annual exhibition of new graduate design and ideas that address issues of sustainability, environmental change and responsibility, social equity and community, often directly challenging conventional expectations. Responsible designs for our changing environment. Exhibits are selected from a diverse range of areas, including industrial design, graphics, architecture, textiles, planning, landscape design and more. Featuring 2D / 3D works, audio/visual content and high fashion.
Cold Language/Cold Tongue exhibition curated by William Wright AM and Conny Dietzschold, international art dealer with galleries in Sydney and Cologne. The curatorial premise established was to provide an opportunity foreground the diversity and complexity of text-based art. The curators chose works by artists from varied backgrounds - academics, curators and researchers who work in different media including video, painting, photography, sculpture and objects. Artists included Tony Bond, Jacky Redgate, Brad Buckley, Adam Geczy, GeoffKlem, Elizabeth Day, Alan Cholodenko, Derek Kreckler, Peter Burgess, Dennis del Favero, John Conomos, Eugenia Raskopoulos and others.The method developed for my work, Lament for the Land 2002, was initially shown in an exhibition titled 'The Static of Words Paintings and Works on Paper' 1993-1999 at the UTS Gallery in conjunction with Winds of Change: Women and the Culture of Universities.
Artists from the Centre for Media Arts Innovation (UTS) collaborate around the shared theme of rivers and memory flows. memory Flows is a series of distributed events. the first iteration is produced, distributed and exhibited in collaboration with Liquid Architectur, carriageworks, performance Space and the ABC social media and collaborative space, Pool.
Inside Out, curated by Claire Smith, is an international touring exhibition that focuses on emerging digital design techniques and the growth of sophisticated rapid prototyping tools and methods. It features forty-six miniature sculptures produced in resin using 3D printing technologies by emerging and established artists and designers produced through an exchange programme between art and design schools in the UK and Australia. Developments in virtual computer visualisation and integrated digital technologies are giving contemporary makers new insight and opportunities to create objects and forms which were previously impossible to produce or difficult to envisage. The intention of the exhibition is to explore future rapid prototyping technologies currently being investigated via practice as research paradigm. Collaborators included the Art Technology Coalition, the University of Technology, Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and University College Falmouth incorporating Dartington College of Arts in the United Kingdom. ...sphere of possibility... explores the connections and disjunctions between the digital and analogue, the hand and the mechanical and the translation between 2-D and 3-D forms. This work questions the relationship between the scientific and the sacred and demonstrates the possibility of a drawing on paper being applied to a 3-D process. As an outcome of an experimental process, it provides a new element in Gotheâs larger research project, Drawing Country 2009-2011, that advocates an examination of the ways to enhance connectedness and connection to place through visual communication.
Gothe, J, 'Basilica Chryssopolitissa, Paphos Plan of position of Corinthian column capitals from Paphos Theatre, Cyprus', Who has the amphora handle? Responses to Cyprus, University of Wollongong Gallery.View/Download from: UTS OPUS
Gothe, J, 'Thinking about Loss', The J Balbi/E Pulie Collection, MOP Projects Gallery 2, MOP Gallery.
Gothe, J & Gwilt, ID, 'Drawing Water II', Memory Flows: Rivers, Creeks and The Great Artesian Basin, Centre for Media Arts Innovation, UTS, Armory Gallery, Sydney Olympic Park.View/Download from: UTS OPUS
Memory Flows, a project of the Centre for Media Arts and Innovation, UTS, culminated in an exhibition entitled 'Memory Flows: rivers, creeks and the great artesian basin' which examined the concepts of 'water, flows and memory'. Curated by Sophia Kouyoumdjian, Norie Neumark and Deb Turnbull, it featured fifteen media artworks by twenty CMAI members and affiliated artists: Ian Andrews, Chris Bowman, Chris Caines, Damian Castaldi, Sherre DeLys, Clement Girault, Jacqueline Gothe, Ian Gwilt, Nigel Helyer, Megan Heyward, Neil Jenkins, Solange Kershaw, Roger Mills, Maria Miranda, Norie Neumark, Shannon O'Neill, Greg Shapley, Victor Steffensen, Jen Teo and Jes Tyrrell. The exhibition, open for 15 days over two months with a public forum on June 20, included video and audio installations, interactive media works, mobile devices, projections on surfaces and through water, and an array of river related artworks and artefacts. Audience numbers totalled 2,700 visitors. 'Drawing Water II' is a collaborative work by Ian Gwilt and me. Using drawings of Sydney Harbour waterways, an animated projection with an accompanying sound design was developed that allowed the viewer an immersive experience of walking country and provided an understanding of the landforms and waterways that make up the Sydney Harbour from the Pacific Ocean to the Blue Mountains. This project is part of an ongoing research project, 'Drawing Country, that advocates an examination of ways to enhance connectedness and connection to place through visual communication. Memory Flows 2009-2010, a distributed media art project of the CMAI, was funded by the Inter-Arts Board of the Australia Council for the Arts.
Gothe, J & DeLys, S, 'Collecting Places', Memory Flows: Rivers, Creeks and The Great Artesian Basin, Centre for Media Arts Innovation, UTS, Armory Gallery, Sydney Olympic Park.View/Download from: UTS OPUS
Memory Flows, a project of the Centre for Media Arts and Innovation, UTS, culminated in an exhibition entitled 'Memory Flows: rivers, creeks and the great artesian basin' which examined the concepts of 'water, flows and memory'. Curated by Sophia Kouyoumdjian, Norie Neumark and Deb Turnbull, it featured fifteen media artworks by twenty CMAI members and affiliated artists: Ian Andrews, Chris Bowman, Chris Caines, Damian Castaldi, Sherre DeLys, Clement Girault, Jacqueline Gothe, Ian Gwilt, Nigel Helyer, Megan Heyward, Neil Jenkins, Solange Kershaw, Roger Mills, Maria Miranda, Norie Neumark, Shannon O'Neill, Greg Shapley, Victor Steffensen, Jen Teo and Jes Tyrrell. The exhibition, open for 15 days over two months with a public forum on June 20, included video and audio installations, interactive media works, mobile devices, projections on surfaces and through water, and an array of river related artworks and artefacts. Audience numbers totalled 2,700 visitors. 'Collecting Places' is the outcome of a collaboration between Jacqueline Gothe and Shere Delys from ABC Radio and Executive Producer of POOL, http://pool.abc.net.au/. The installation is a chalk drawing on a brick wall with a sound scape. The image resulted from Gothe drawing in the studio as DeLys meditated at the Coorong in South Australia, the place where the Murray River meets the ocean. The outcome of the collaborative process contributes to Gothe's participatory practice, Drawing Country, an ongoing research project that advocates an examination of the ways to enhance connectedness and connection to place through visual communication. Memory Flows 2009-2010, a distributed media art project of the CMAI, was funded by the Inter-Arts Board of the Australia Council for the Arts.
Gothe, J, 'The Pathway Building the Track', Collaboration Design and Country, DAB Lab, Dab Lab Research Gallery University of Technology Sydney.
Central to this exhibition Collaboration Design and Country is the Gandangara Local Aborigial Land Council (LALC) Biodiversity Strategies Media Project. The exhibition provides an opportunity to consider challenges of collaboration and social responsibility for contemporary design. In a program of conversations and talks during the exhibition examining the process of the collaboration within this project, issues of responsibility to Self, Other and Country in Indigenous - led contexts is discussed from a designer's persepctive. The DVD 'The Pathway Building the Track' produced as part of the Land Alive initiative, is designed to support Aboriginal landowners as they consider BioBanking on traditional lands. The interactive DVD will be distributed to Aboriginal Land Councils, Aboriginal landowners and the broader public. This project is a collaboration between Jumbunna at University of Technology Sydney (UTS), Communicating Shared Traditional Knowledge Project - the long term partnership between UTS Design and Traditional Knowledge Revival Pathways (TKRP), Gandangara Local Aboriginal Land Council (LALC), Land Alive Department of Environment and Climate Chamge (DECC) with the trainees and rangers working at the Mill Creek site at Menai. Key participants in this collaboration are Marcia Ella Duncan, Naomi Hogan (Land Alive DECC); Jack Johnson, Ian Edwards (Gandangara Local Aboriginal Land Council) Victor Steffensen (TKRP Mentorship Program) and the media and design team:- UTS Jumbunna Jason De Santolo (Project Leader, Video, & iBook), Oliver Costello (Liaison) UTS Design Jacqueline Gothe (Design Facilitation), ClÃ¨ment Girault (Video DVD & iBook) Robyn Murphy (Digital Support) Universal Favourite Dari Israelstam, Teresa Leung (Design) The information architecture and structure of the DVD is organised around the categories of Sharing Knowledge, People and On Country Sharing Knowledge : Intentions, Strategies and Outcomes. The risks and challenges in the consi...
Gothe, J, 'Paphos', Response to Cyprus, CANESSA University of Sydney, University of Sydney.
The Australian Archaeological Institute (AAIA) is hosting its first exhibition 'Response to Cyprus' in the revamped exhibition space in the foyer of the Centre of Classical and Near Eastern Studies of Australia (CCANESA). The exhibition will feature artworks by artists Jacqueline Gothe, Penny Harris, Nikki Heywood, Derek Kreckler, Tim Maddock, Jacky Redgate, Lawrence Wallen and Diana Wood Conroy. "Response to Cyprus" developed out of the participation of the Senior Artists' Research Forum (SARF) from the University of Wollongong (UOW) in the Nea Paphos Theatre Excavation in Cyprus in 2010. The project represents the culmination of eighteen years of collaborations between artists in Wollongong and archaeologists at the University of Sydney and its Nicholson Museum.
Gothe, J, 'The Diary', Wunderkammer, NG Art Gallery, NG Art Gallery.
Wunderkammer Wunderkammer is a collection of research artefacts, found objects, artworks and texts from the diverse, mysterious and sometimes obscure collections of academia. The collection as a whole forms an installation (of sorts) that resembles a cabinet of curiosities as opposed to the usual minimal and focussed presentation of high end design. The show pre-empts work to follow, unfinished thoughts, forgotten objects and incoherent texts.
Benz, C, 'Slow Burn', Delmar Gallery.
Gothe, J, 'Chora Fire Water Country', UTS Gallery, UTS Art Gallery.
An exhibition that examines the role and practices of the visual communication designer researcher in environmental communication design projects and the influence on the development of a creative practice. Three projects are represented under the categories of fire water and country. The Firesticks project is represented by a poster, a video and a A1 book printed on newsprint that represents the processes of collaboration in the design of the poster. Two projects that consider the health of the Hawkesbury-Nepean River through interdisicplinary teams examining the impact of environmental flows on the Upper Nepean and pesticide toxicity.
Gothe, J, 'Firesticks', Slow Burn, Delmar Gallery.
This exhibit comprised an assemblage of works generated between 2011 and 2014. The Firesticks project is a partnership between UTS and the Firesticks network initiated in 2010. The exhibited works are
1. 'Communicating Fire Building Relationships and Creating Change' (2011) A1 poster digital print
2. Interactive ipad presentations made up of two videos 'Yellomundee Firesticks' (2013) and Communicating Fire: Building relationships and Creating Change' (2012)) and a PDF of the process of producing the Firesticks poster (2014)
3. 'The sound of fire' - five minute audio loop (2014).
4. A contribution to the catalogue - an essay titled Communicating Fire: Buildng Relationships and Creating Change.
Gothe, J & Harris, L, 'Firesticks Project (iPad presentation of the design process for the Fire Sticks poster)', Slow Burn, Delmar Gallery, Delmar Gallery.
Gothe, J, 'Firesticks', International Institute for Information Design Awards 2014 touring exhibition, D-Day, Zagreb, Croatia, 3 -5 Jul 2015; VisionPlus, Birmingham, UK, 3-4 Sep 2015; ECinformationdesign, Vienna, Austria 17 Sep 2015; RaPaPro, Riga, Latvia, 1 Oct 2015; City Museum, Split, Croatia, 5-15 Oct 2015; stadtland- schluss, Marktoberdorf, Bavaria, 7-9 Oct 2015; designforum, Dornbirn, Austria, 4-18 Nov 2015; Weissraum, Innsbruck, Austria, 24 Nov – 18 2015.View/Download from: UTS OPUS
The IIID Awards recognize the benefit of information design and showcases the variety of ways that information design impacts our lives. The IIID Awards are an excellent way to heighten the visibility of the work of information designers and promote the value of their work in research and in addressing vital – and often critical – human needs worldwide.
Prof. Judith Moldenhauer, Wayne State University, USA
Gothe, J, Harris, L, Gusheh, M, Costello, O & Hromek, S, 'International Institute for Information Design Award 2014 Exhibition', International Institute for Information Design Awards 2014 Exhibition, International Institute for Information Design, International Institute for Information Design Awards 2014 touring exhibition, D-Day, Zagreb, Croatia, 3 -5 Jul; VisionPlus, Birmingham, UK, 3-4 Sep; ECinformationdesign, Vienna, Austria 17 Sep; RaPaPro, Riga, Latvia, 1 Oct; City Museum, Split, Croatia, 5-15 Oct; stadtland- schluss, Marktoberdorf, Bavaria, 7-9 Oct; designforum, Dornbirn, Austria, 4-18 Nov 2015; Weissraum, Innsbruck, Austria, 24 Nov – 18 Dec; Danube University, Krems, Austria, 2 Dec 2015.
Two award winning submissions in the categories of Sustainability and Social Affairs that are central in the touring exhibition for International Institute of Information Design Awards 2014.
Gothe, J & Girault, C, 'The sound of fire', Slow Burn, Delmar Gallery.
Lyngdoh Reye, R, Gilbert, R, Costello, O, Gothe, J, Webster, N, Standley, P, Steffensen, V & Gowers, J Firesticks Alliance 2018, Healing People and Country with The Knowledge of Fire: National Indigenous Fire Workshop 2018 Bundanon, firesticks.org.au.View/Download from: UTS OPUS
Gothe, J CCMA, NAP - Australia Commonwealth and Victoria Government 2002, Design for CCMA Regional Catchment Strategy - Community Draft 2002-2007, pp. 1-173, Colac Victoria.
Gothe, J 2016, 'Tracing Country: Visual Communication Design and Chorography.Towards a critical practice in visual communication design.'.
Visual communication design is traditionally a practice embedded in
the professional context of creative service provision within the fabric of
post-industrial knowledge economies. The recent emergence of the visual
communication designer as researcher and practitioner in collaborative,
interdisciplinary and cross-cultural research projects suggests that a
reconsideration of the practice of visual communication design is important
(Findeli et al 2008; Poggenpohl & Winkler 2010). This new role of researcher
and practitioner challenges the service provision model by accentuating social
relations and responsible action. In this role a critical attitude (Blauvelt 2002;
Fry 2009; Malpass 2012; Maze 2014) is necessary, as participation in research
projects requires the negotiation of social and cultural complexities and
disciplinary uncertainty (Kagan 2011; Nicolescu 2002a; Smith 1998).
This exegesis encompasses three research strands in environmental
communication design. These include Indigenous-led projects that I have
participated in since 2002, interdisciplinary research projects in natural
resource management and Drawing Country, a self-initiated creative
drawing project. In this research through design (Jonas 2012), the analysis
of these strands is informed by an historical and theoretical investigation of
chorography, the practice of tracing or describing a region or place (Casey 2002;
Rickert 2007; Ulmer 1994).
Tracing and its connection to drawing provides a way of thinking about the
practice of visual communication design as a critical material, conceptual
and performative act (Butler 2010; Petherbridge 2012). In this thesis I argue
that critical tracing practice not only shapes innovative connections between
designer, multi-disciplinary research team and community stakeholders, but
also shapes a new relationship between designer and ground.
Gothe, J, Harris, L, Costello, O, Hromek, S & Brittingham, R 2015, 'Firesticks - Fire Plans Minyumai IPA, Ngunyah Jargoon IPA, Wattleridge IPA, Turrukun'.
Gothe 2015, 'Design research and development of educational resource for Firesticks Project.'.
To support skills and resources to facilitate community consultation and negotiation to develop fire plans for Indigenous managed lands.
Gothe, J & Harris, L 2014, 'Visual language for Firesticks network'.
A visual language that addrsses science, Indigenous communities and mainstream audiences
Gothe, J 2011, 'IIID Awards 2011 - Editor's Choice Award'.
Background Memefest, is an online "festival of radical communication," which encourages students, professionals, artists and activists alike to contribute their talents to a collective counter-culture of open source. The festival of radical communication nurtures and rewards innovative and socially responsible approaches to communication. www.memefest.org/2007/en/ Contribution In response to the international call for entries from memefest07, I worked with fourth year Visual Communication students over a three month period as part of the curriculum in the subject 'Visualising Research', developing digital animations for web delivery. The work focussed on communication of sustainability and environmental issues in the context of climate change. Significance I was awarded 'visual arts moving undergraduate awards, for two groups of student works.
Steffenson, V, George, T, Musgrave, G, Gothe, J, Godbold, NJ & Wood, A 2002, 'Traditional Knowledge Recording Project Database', Traditional Knowledge Recording Project, Laura Cape York Queensland.
Indigenous knowledge database
Gothe, J, 'National Indigenous Fire Workshop 2018 Bundanon Report'.