My legacy across Education, Research, and Engagement and Leaders could be a Case Study for Lifelong Learning is encapsulated in the Leadership roles I have served in to-date (lab and school leadership roles focused on HDR and industry connections) and hope to continue serving in for the foreseeable future (bridging our bespoke ADA Short Courses and our centralised Lifelong Learning Hub within the Faculty). The completion of these activities on a whole demonstrates Partnerships and Entrepreneurship within my Profession that have influenced professional or disciplinary practice (UNSW AEF, p. 10).

Collegiality, Engagement and Leadership (40% - 2 days – 0.4 FTE):
• Director of Lifelong Learning, Faculty UNSW ADA (May 2024- )
• Director of Education and Work Integrated Learning, UNSW School of Art & Design (2022-24)
• Co-Lead of New EF CoP, UNSW PVCE (2023- )
• EF Champion, UNSW School of Art & Design (2022 - )
• Art Director, National Facility of HRIR, UNSW School of Art & Design (2021- )
• Culture and Community Lead, Creative Robotics Lab, UNSW School of Art & Design (2021- )

I have been appointed to Leadership roles in all my professional settings. These roles have harnessed my ability to connect with industry and key stakeholders. Inspired by the lead up and establishment of UNSW’s Progress for All strategy, I currently deliver this at an Executive Level for the Faculty of ADA as Director of Lifelong Learning. In this role I engage a Short Courses manager and a team of three project officers and two administrative staff. My team and I work to instigate relational change. and build connections and collaborations between ADA and the newly established Faculty of Lifelong Learning. My team liaises with educational providers, applies for government tenders and develops partnerships with UNSW Canberra and UNSW’s Central Lifelong Learning Hub in Sydney. Our current portfolio boasts 19 courses across six schools, all designed with government education institutions and UNSW academics. ADA Short Courses and Lifelong Learning is a strong platform for realising the ADA faculty aim of bridging Short Courses and Lifelong Learning. We regularly sell out socially motivated upskilling courses for special interest groups such as the Gifted Education, Research and Information Centre (GERRIC) and Understanding Poverty, Inequality and Social Disadvantage in Australia. We recently reported financial returns of $1million AUD for 2024. This demonstrates a commitment to UNSW’s Values in Action, particularly by modelling EDI principles across all aspects of my work (UNSW AEF, p. 10).

I came to this leadership role after serving as Director of Work Integrated Learning and Education for the School of Art and Design. There I began serving as EF Champion, the key mandates of which involve supporting and inspiring my fellow Education Focussed (EF) Academics. Being a Champion for EF Academics in a contemporary Art & Design Faculty (x85 EF Academics) requires an engaged network of national and international academic and institutional colleagues and collaborators in art, design and technology. I have a highly interdisciplinary and experimental curatorial practice which informs my teaching and learning and supports my role as an EF Champion, including Co-leading the New EF’s Community of Practice (x449 members across all UNSW faculties) for the PVCE. The culmination of my engagement with the EF Communities was a recent invitation to speak at the SOTL Lecture Series (4 March 2024) chaired by Dr. Anna Rowe of Academic Development. My colleague A/Prof Jen Seevinck (QUT) and I spoke to a recent case study in hosting ISEA’s first Doctoral Colloquium (2024), with Dr. Linda Candy as the guest speaker. The application of practice-based research methodologies in knowledge acquisition from creative practice was the theme. We have since applied to SIGGRAPH 2025 for the Education Presentations stream. This demonstrates a dedication to the organisations I work within by mentoring early career academics and teaching staff (UNSW AEF, p. 10).

As a Lecturer, I have participated in writing, convening and delivering courses, running education forums for both educators and researchers, and participating in the HDR conference as a co-chair. I have supported both aspiring and established educators, 3rd year media and fine arts students; and students in the Master’s level studios for interaction design, media arts, creative computation, and curating and cultural leadership. I have been privileged to teach Media Arts Honours in three iterations since 2017 (under Sam Spurr, under Grant Stevens and within the Fine Arts Studios under Fernando de Campo and Consuelo Cavaniglia) with the end goals of finalising theses and qualifying students with further academic progression to HDR studies or key industry appointments. This demonstrates the successful outcome of undergraduate research projects, such as Honours (UNSW AEF, T3, p. 4). I lead these interlocking cohorts by example, with invitations to curate exhibitions from industry and community galleries (for example Mosman Art Gallery, Tin Sheds Gallery and Bankstown Art Centre). I use these opportunities as reflective practice case studies for teaching in studio settings, project management, creative thinking and criticality top the list of skills our students graduate with, aiding them with practical experience through competitive internships.

I am particularly proud of negotiating an International Education Forum in February 2024 from the TU Delft Library in The Netherlands as part of the public programs for a co-curated exhibition program titled SHErobots. These activities demonstrate Impact on Student Learning through contributions to Lifelong Learning through the development of new courses and materials as a participating Subject Matter Expert (UNSW AEF, p. 4)
The SHErobots research platform which I co-lead has seen three iterations, produced a catalogue, and contributed to a recently edited text through Springer International titled Cultural Robotics: Social Robots and their Emergent Cultural Ecologies (2023). Edited with my Creative Robotics Lab leadership team (Jef TV Koh, Belinda Dunstan and Scott Brown), my SHErobots co-curators Lian Loke and Dagmar Reinhardt submitted a chapter on their artwork code_red, titled ‘Rouge and Robot: The Disruptive Feminine’ (p. 237-56). As articulated below, this book has been downloaded over 12,000 times since its release two years ago and continues to gather citations and Altmetrics. Since my PhD candidature commenced in 2014, I have published in six Springer publications (UK and Switzerland) and one Routledge handbook (UK). My range of content gathered, analysed and articulated within my higher degree research career garnered me an invitation to join the editorial board for the Springer series on Cultural Computing. I am now part of an international team that suggests, assesses and edits at textbook level in my discipline. This demonstrates substantial scholarly impact via successfully establishing a research group as part of larger research groups (UNSW AEF, p. 4). I have developed these relationships to provide a platform for UNSW Art and Design artists, designers, and technologists to publish their works, and aims to inspire our EF academics to formalise their practice into research past the SOTL and HEA platforms. This demonstrates one of the avenues through which I strive to mentor my peers (UNSW AEF, L3, p. 4).