Creative Technology and Transformative Storytelling Symposium & Showcase

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1	Creative Technology and Transformative Storytelling Symposium
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3	Thursday, 13th November	Showcase	Screening details see row 89 to 96		11:00 - 12.15
4			VR showcase details see row 104 to 108		13:00 - 16:00
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7	Friday, 14th November	Symposium
8	Zoom: https://swinburne.zoom.us/j/88382495177?from=addon			MEL		AKL
9				CTMT		AUT	Online
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11	Welcome		09:00:00 - 9:05	Welcome Prof John McCormick	11:00:00- 11:05	Welcome A/P Dafydd Sills-jones
12			9:05 -9:30		11:05 - 11:30	Nigel Sutton and Arvid Eriksson from Untold Projects
13			09:30:00 - 9:40	Q&A	11:30:00 - 11:40	Q&A
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15	Panel 1 10 min presentation & 20 min Q&A Transformative storytelling, Post-human approaches & Expanded Screens Chair Professor Susan Kerrigan
16	Speaker 1		09:40-9:50		11:40-11:50		22:40 (UK) 13th Nov or video	Roy Hanney Southampton Solent University Rituals for Earthly Survival: Composting as a Methodology for Transformative Immersive Storytelling
17	Speaker 2		09:50-10:00		11:50-12:00	Joanna Pascoe (AUT) Stefano Rozzoni (University of Bergamo) Hopepunk Labyrinth: Posthuman Possibilities Across Narrative, Installation, and Performance
18	Speaker 3		10:00-10:10	Hanna Zhu (SWIN) Human, Machine, Data: Rethinking Agency	12:00-12:10
19	Q&A		10:10-10:30	Q&A	12:10-12:30	Q&A
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22	Panel 2 20 min Keynotes & 20min Q&A Chair A/P Max Schleser		11:00-11:20	Simon Burgin	13:00:00-13:20
23	Speaker 4
24			11:20-11:40	Q&A	13:20-13:40	Q&A
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28	Lunch		11:40-12:50	Lunch	13:40-14:50	Lunch
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30	Panel 3 10 min presentation & 15 min Q&A		12:50		14:50
31	Transformative Creativity: DADA & Documentary Chair A/P John McCormick
32	Speaker 5		12:50 - 13:00	Carl Knox (SUT) Swinburne Virtual Universe	14:50-15:00
33	Speaker 6		13:00-13:10		15:00-15:10	Justin Matthews, Angelique Nairn (both AUT) Experiencing Creativity in the Age of Generative AI: Expertise, Evaluation, and Practice
34	Speaker 7		13:10-13:20	Katy Morrison (Deakin University) Frame Documentary	15:10-15:20
35	Speaker 8		13:20-13:30		15:20-15:30	Misagh Azimi & Alfio Leotta (Victoria University of Wellington) Computational Dada: Generative AI, Adaptation and Poetry Film
36	Speaker 9		13:30-13:40		15:30-15:40		10:30 (Kuching)	Predrag Nikolic (SUTS) Singularity Dadaism
37	Q&A		13:40-13:55	Q&A	15:40-15:55	Q&A	10:40-11:00	Q&A
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39	Panel 4 10 min presentation & 15 min Q&A		14:00		16:00
40	Transformative Education & speculative design A/P Dafydd Sills-jones
41	Speaker 10		14:00-14:10		16:00-16:10	Emily Ramsay (AUT) Personal storytelling as a transformative learning device
42	Speaker 11		14:10-14.20	Hadis Salehi Gahrizsangi (SUT) Introducing Cordy The Love Link\| Gamified biological science for early learners	16:10-16:20
43	Speaker 12		14:20-14:30	Bushra Ameer (SUT) Assessing Preservice Teachers’ Digital Competency in Primary Education for STEM Integration and Teaching	16:20-16:30
44	Speaker 13		14:30-14:40		16:30-16:40	Lawrence Joseph Paculan (AUT) Designing Alternate Histories in VR: A Narrative Framework for Speculative Time Travel
45	Q&A		14:40-14:55	Q&A	16:40-16:50	Q&A
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47	Tea break		15:00-15:30		17:00-17:30
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49	Panel 5 Education with, for and through Transformative Storytelling & Creative Technology 5min videos (x4) and 10 min presentation Chair: Gregory Bannett		15:30		17:30
50	Speaker 14		15:30-15:40		17:30-17:40		Tyler Shane Tesolin (Victoria University of Wellington) Electromagnetic Technology as a Source for Poetry: Marshall McLuhan and the Translative Force of the Cinema
51	Speaker 15		15:40-15:50		17:40-17:50	Marco Andrew Staines (AUT) An exploration into how the personification of artificially and human-created imagery might be employed to articulate themes of identity and self-discovery
52	Speaker 16		15:50-16:00		17:50-18:00	Dafydd Sills-Jones (AUT) Virtual production facility at Auckland University of Technology
53	Speaker 17		16:00-16:10		18:00-18:10	Lian Passmore (AcademyEx) Mā te huruhuru ka rere te manu: When Creation Becomes Education. Examining how creation became education through three storytelling experiments.
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55	Roundtable Transformative Storytelling Helen De Michel (California College of the Arts )		16:10		18:10		Berkley 21:10 Thu 13th Nov
56	with
57	Yara El Turk (UN Sustainable Development Solutions Network)						Beirut Lebanon 9:00 Fri 14th Nov
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59	"Blindness and media engagement for Wellbeing"	Catalin Brylla via video (Bournemouth University)	16:10-16:20
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61	Soyun Jang (Utrecht University) Transforming Robotics by Capturing Creativity		16:20-16:30
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63	GenAI and Documentary Ethics in Portraying Vulnerable Groups	Jasmin Kermanchi via video (University of Hamburg)	16:30-16:40
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65	Who Tells the Story?: Co-Creation, Collective Intelligence and Ethics in Documentary Filmmaking	Onur Birol via video Burdur Mehmet Akif Ersoy University	16:40-16:50
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67	Q&A		16:50-17:00
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69	Ends		17:00		19:00
70			17:30 Table at Hawthorn Hotel (Next to Swinburne Uni)
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78	Showcase
79	Thursday 13th November
80	Zoom: https://swinburne.zoom.us/j/87488694853?from=addon
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82	Thursday 13th November
83	Melbourne time
84	10:00-11:00	Talk by Agnieszka Kiejziewicz - Online - Creative regeneration and micro-worlds. Morphology of Kinesis					6am Ho Chi Minh City
85	11:00 - 12:00	Screening - online & in-person
86	12.00 - 12:15	Online - AKL/MEL connect
87	13:00 - 16:00	VR Showcase Melbourne in-person
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89	Screening	Creative Producer, director, filmmaker, artis, designer	Format	Duration	Title	Synopsis	Credits
90	From Podcast to Fantasy: Evolving Creative Academic Methodology	Lian Passmore	Video - Reel	12.07	From Podcast to Fantasy: Evolving Creative Academic Methodology	What if academic rigor looked like fantasy novels instead of reports? This showcase follows three storytelling experiments that reimagine how we learn and communicate research: a detective-style podcast investigating sleep science, a family-centered storybook exploring AI's digital divide, and a fantasy epic research proposal grounded in Kaupapa Māori methodology. Each iteration reveals something crucial: creative approaches don't bypass academic standards—they demand deeper engagement with them. Through honest examination of AI bias, cultural supervision processes, and Indigenous research frameworks, this work proves that some minds don't just learn better through story—they learn truer. The progression documents how the Tafatolu framework guides ethical AI collaboration while maintaining academic integrity, and why rigorous creative methodologies require more intellectual work than traditional formats, not less.	By Lian Passmore, Masters of Technological Futures, AcademyEx
91	THE CALM AI Generated Short	John Lycette	AI Film	01:48	The Calm	The human world has been inundated by the ocean and its creatures. The storm has passed and the planet is calm once more.	By John & Mark Lycette, Lycette Bros.
92	Virtual production volumes (VPV)	Chen Chen	VP short film	05:03	VP works	VP works by students at AUT
93	Mel 23:55	Max Schleser	AI experiment	01:29	Mel 23:55	City films or city symphonies have been at the forefront for exploring and combing aesthetic, film process and storytelling, thus a great case for AI experimentation. With the emergence of AI digital content production applications (or Generative Artificial Intelligence - G.A.I.) such as image-based creations (Midjourney, Adobe Firefly) new opportunities for experimental filmmaking and screen production surface. Production methods require rethinking as we are now working with artificial or data source material and no longer recorded video.	Max Schleser
94	Scatter	Max Schleser	Experimental Screen Production	02:17	Scatter	Interesting intersections can be observed between the so-called new ecologies and the development of storytelling towards immersive media. The climate crisis is the most significant issue in our times and consequentially we need to explore new forms of re-connecting with nature through digital media. Scatter explores imaginative landscapes as a dynamic environment where these new ideas about ecology and media can take form. Scatter’s workflow is extending into the domain of live AV productions working with Touch Designer in the editing process. Rather than using a non-linear editing system a node based visual development platform is used to manipulate the point clouds. This process is distinctive from video editing as filmmakers are working with data rather video. Immersive Media production methos are now applied into smartphone filmmaking demonstrating a potential future of this film form.	Max Schleser
95	Persian Spiritual Wisdom	Zohreh K.M.Shirazi	AI Film	26:44:00	Myst	Myst is a prototype film developed as part of my practice-led PhD research, exploring Iranian mystical culture through AI-assisted visual creation. The narrative presents the characters of “Eternity”, symbolising the next generation, and “Culture”, embodying the Iranian mystical heritage, to reflect on continuity, transformation, and the enduring presence of spiritual traditions. Rooted in Suhrawardi’s Illuminationist philosophy and the Imaginal World, the work reimagines allegory, magic, and cultural symbolism in a contemporary audiovisual form, accompanied by an original score created in collaboration with a traditional Iranian musician.	PhD Candidate Zohreh Shirazi
96	Plant installation	Agnieszka Kiejziewicz	Video	03:00	Morphology of Kinesis 1.0	Morphology of Kinesis is a biophilic, real-time, AI-driven installation that transforms a living terrarium into a morphing visualization, inviting audiences to reimagine the collaborative creation of natural micro-worlds. Grounded in sustainable social-justice principles, the project reflects on the equitable distribution of nature’s emotional benefits through technology, turning AI-generated imagery into a space where viewers can become co-authors of evolving digital habitats.	Dr Agnieszka Kiejziewicz, Dr Renusha Athugala, Dr Surendheran Kaliyaperumal
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98	Showcase
99	Like mother, like burr - The piano	Iris Zhang	game	5-10minutes	The piano	This game is the first of many “acts” of a bigger autofictional game (Like mother, like burr) that remains in progress as a part of my MFA thesis which explores the cathartic affordances of game-making and game-playing in recording and re-playing personal memory and narrative. I wanted, simply, to procedurally recreate the anxieties of being a child with a sporadically overbearing mother - as “I” play piano seemingly endlessly, as “I” struggle to conjure the words to say back to her. When I stop playing, an argument ensues between my mum and I, signaled by the ominous footsteps leading upstairs and the heavily distorted text on screen. This is an argument with her that I had for the very first time then, but versions of it invariably found themselves into our conversations many times since then. The incisive conclusion from my mum is always the same, that I am unable to keep any promises to myself and to her, that I will always 半途而废 or “fall by the wayside”.
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