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In this chapter, Jared Thomas, a Nukunu person from the Southern Flinders Ranges and a Research Fellow at the South Australian Museum and University of South Australia, reflects on his efforts to enhance the Fire Exhibit within the Australian Aboriginal Cultures Gallery [AACG], which has not been updated in 20 years. Thomas draws from an international precedent of involving Indigenous communities in museum displays.

The author outlines the limitations of renovations in terms of budget, space, and Indigenous protocols, while considering the potential impact of the proposed Tarrkarri Centre for First Nations Culture. He emphasises the importance of fostering relationships between Aboriginal and non-Aboriginal peoples, allowing Indigenous voices to speak for themselves.

Thomas focusses on the Fire Exhibit, discussing its significance in Aboriginal culture, the lack of contextualisation, and the need for improved representation. He proposes short-term actions such as adding QR-code-based text for context, and long-term ambitions like incorporating audio-visual and augmented reality elements. He highlights the importance of Aboriginal fire land management practices, especially in the aftermath of the 2019 Australian bushfires.

Thomas proposes strengthening the exhibit’s connection to foods, medicines, and fixatives that benefit from cultural burning. He envisions collaboration with the Adelaide Botanic Gardens and acknowledges the resource constraints faced by the museum. He concludes by envisioning a template for extending improvements across the museum and fostering better understanding and representation of Aboriginal culture.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

Engaging with digital heritage requires understanding not only to comprehend what is simulated but also the reasons leading to its creation and curation, and how to ensure both the digital media and the significance of the cultural heritage it portrays are passed on effectively, meaningfully, and appropriately. The United Nations Educational, Scientific, and Cultural Organization defines ‘digital heritage’ to comprise of computer-based materials of enduring value some of which require active preservation strategies to maintain them for years to come.

With the proliferation of digital technologies and digital media, computer games have increasingly been seen as not only depicters of cultural heritage and platforms for virtual heritage scholarship and dissemination but also as digital cultural artefacts worthy of preservation. In this chapter, we examine how games (both digital and non-digital) can communicate cultural heritage in a galleries, libraries, archives, and museums [GLAM] setting. We also consider how they can and have been used to explore, communicate, and preserve heritage and, in particular, Indigenous heritage. Despite their apparently transient and ephemeral nature, especially compared to conventional media such as books, we argue computer games can be incorporated into active preservation approaches to digital heritage. Indeed, they may be of value to cultural heritage that needs to be not only viewed but also viscerally experienced or otherwise performed.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

The work connects classic theories of selfing to the COVID-19 pandemic to make fresh connections between pandemic-induced trauma to the self and digital resources. This research introduces the concept of the “traumatized self” emerging from the COVID-19 pandemic in relation to digital disadvantage and digital hyperconnectivity. From Cooley’s original “looking glass self” to Wellman’s “hyperconnected” individualist self, social theories of identity work, and production of the self have a long and interdisciplinary history. In documenting this history, the discussion outlines key foci in the theorizing of the digital self by mapping how digital selfing and identity work have been treated from the inception of the internet to the epoch of the pandemic. The work charts the evolution of the digital selfing project from key theoretical perspectives, including postmodernism, symbolic interactionism, and dramaturgy. Putting these approaches in dialogue with the traumatized self, this research makes a novel contribution by introducing the concept of digitally differentiated trauma, which scholars can employ to better understand selfing processes in such circumstances and times.

In 2019, the Kaurna Nation and traditional custodians of the Adelaide plains in South Australia, challenged the City of Holdfast Bay to walk alongside them to create an exhibition exploring the true history of South Australia’s colonisation. This collaboration ultimately became the award-winning exhibition ‘Tiati Wangkanthi Kumangka’ (Truth-Telling Together). This project was envisioned, led, and implemented by the Kaurna Nation at the Bay Discovery Centre in South Australia. Ultimately, ‘Tiati’ became more than just another exhibition. It became a pathway to healing and possibility for both the Kaurna Nation and the City of Holdfast Bay. When considering indigenisation of museum spaces, ‘Tiati’ demonstrates how smaller museums and/or local government can play a pivotal role in reshaping the traditional narrative of colonialism in Australia’s museums, with the voice of First Nations people at the forefront.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

This chapter reports on research that explores new and emerging extended reality [XR] technologies and how they might provide opportunities to trial, investigate, and put into practice their potential to reverse processes of atomisation, polarisation, and intercultural discomfort, in our contemporary society. This transdisciplinary practice-led research was underpinned by disciplines of computer science and engineering, social sciences, history, diverse community economics, human ecology, and Indigenous psychology. The collaboration between these various disciplines with the Māori and non-Māori community members allowed researchers to understand current societal stressors, prioritise relationality, and explore our shared values in the creation of XR experiences for exhibition in the galleries, libraries, archives, and museums [GLAM] sector.

A discursive design framework motivated, inspired, provoked, persuaded, and reminded inspiring collaborators, and visitors to the exhibitions, the value of (re)connecting with people and overcoming interracial awkwardness through these curated experiences. The XR technologies provided women a platform to discuss and reimagine first encounters between people from different cultural backgrounds. The technologies included a 180° stereoscopic projection, Common Sense, in which Māori Elder Irene Hancy shared her insight about social engagement and haptic HONGI in which visitors were greeted by a Māori woman Tania Remana via augmented reality. This research has been motivated by a desire to promote and support intercultural understanding in Aotearoa New Zealand, and it extends research by other non-Māori and Māori scholars.

This study aims to contribute novel insights into understanding and mitigating the harmful consequences of abusive supervision (AS) by examining the association between AS experiences, revenge, forgiveness, and the moderating role of emotional intelligence (EI). The key argument is that employees' EI can influence the AS experience through affective processes, countering supervisors' abusive behaviors.

A between-person scenario-based experiment was conducted with 366 participants divided into AS and control groups. The study explored the association between AS experience and revenge/forgiveness, mediated by core affect (valence and activation). EI abilities were measured as a moderator. Data analysis examined the relationships and interactions among AS, revenge/forgiveness, EI, and affective experiences.

The study reveals significant findings indicating that AS experiences were positively associated with revenge and negatively associated with forgiveness. The mediation analysis confirmed the role of core affect in these relationships. EI emerged as a moderator, shaping the association between AS experiences and revenge/forgiveness. Importantly, participants with higher EI exhibited lower revenge intentions, demonstrating the potential of EI to mitigate the adverse effects of AS. Unexpectedly, individuals with high EI also expressed fewer forgiveness intentions.

This study provides a comprehensive understanding of how employees can effectively counterbalance the impact of AS through higher levels of strategic EI. Examining core affect as a mediator offers novel insights into coping mechanisms in response to AS experiences and their consequences.

The study acknowledges several limitations, as the scenarios may only partially capture the complexities of real-life AS situations. The focus on a specific context and the sample characteristics limit the generalizability of the findings. Future research should explore diverse organizational contexts and employ longitudinal designs.

The findings have practical implications for organizations as enhancing employees' EI skills through training programs interventions and integrating EI into organizational culture and leadership conduct.