Notwithstanding a materializing Singapore cinema, research attention has not been paid to how animated cultural products can make an impact on the construction of a local identity. This can be considered detrimental to the cultural promotion of a local but heterogeneous mediascape. This practice-based research attempts to outline a practical framework of cultural specifics capable of producing an animated film that is identifiably ‘Singaporean’ to a global audience.

The Australian, New Zealand and Asian Creative Arts Therapies Association (ANZACATA) is uniquely positioned, geographically and philosophically, in terms of art therapy practice, training, and the ongoing development of this discipline in the Asia Pacific region. Acknowledgement of, respective for, and an embracing of culture, cultural traditions, and practices that are culturally relevant are some of the fundamentals at the core of this art therapy membership organization.

Interdisciplinarity has allowed design education to expand beyond its traditional practises to integrate methodologies for understanding and addressing complexities, structuring and organising critical perspectives, externalising through visual representations, and reflecting on propositions and intended outcomes. Design establishes itself as a social process when situated within real-world contexts, thereby repositioning collectivity as an inevitable condition of design research and practice.

Motivating students in creative media courses can be a challenge due to the demand for creativity which is hard to be taught. Hence, motivation needs to be re-identified and re-addressed for the creative disciplines. Conventionally, creative media courses adopt the studio-based learning, and with this unique dynamic teaching approach, students are required to have face-to-face tutorial sessions with their tutors on a regular basis, as well as participate in group projects and produce creative artefacts of industry standard quality.

As digital technology has profoundly changed the way people communicate and interact with each other, there is a need to also change the way in which advertising communicates with its audience. Thus, a good advertising campaign should be one that lever­ ages on digital communication and co­creation to enable active engagement, participation and reaction from the Audience. It is about creating a participatory environment for the target audience to co­create successful advertising with the Creative in order to increase its effectiveness.

Uncanny' works by a number of contemporary artists are analysed in relation to the themes and insights of both cybernetics and existentialist philosophy. This reveals that central ideas from these largely neglected fields remain current and potent within innovative art practices. Artists employ cybernetic systems to provoke aesthetic sensations of the uncanny, while simultaneously encapsulating existentialist concerns. Pierre Huyghe's mysterious installation responds to the life-breath of visitors to mutate human cancer cells.

This paper addresses the current challenges of using KPIs to measure the impacts of the arts, against a framework of what it means to do ‘performance measurement’ for arts organisations.

The Report of the Advisory Council on Culture and the Arts (ACCA) released in 1989, is widely seen as the signature document which laid the path for Singapore’s arts development in the late 20th century. It can also be seen as a logical offshoot of the Singapore government’s economic strategy which had undergone a serious review in the wake of the recession of 1985. Consequently, the “services sector” (which included the arts) was identified as a potential future growth engine for Singapore.

"Fashion content has in recent years become an open access for all to comment and contribute, becoming a language of ambiguity, fixed in rigid social and cultural roles. For many years now, it has been described by many theorists, sociologists as a complex language.

Social innovation involves the convergence of human involvement and contemporary society, positioning design practice as a co­creative trajectory towards implementing significant and meaningful change. The social innovation concept has expanded the scope of design’s role in society by means of fostering transparency and community involvement to produce contributions extending beyond the individual designer to impact culture and society.