Staff, Volunteers and Artists

This program will be delivered by members of The Edge and LYPS teams. All of SLQ will be invited to participate in the shenanigans at their discretion and in negotiation with their managers. Ideally ever SLQ staff member would have a hand in engaging with the involved communities in some fashion. How this is to be achieved is a matter for negotiation and marketing.

A program of this volume will engage with volunteers. These volunteers are broken down into several categories

• Students
• Industry
• General Public

Students will be involved on all levels of the project. From the outset there is an evident need for them in the design and fabrication of the project. Ideally they would be managed through a studio style approach, working with industry members supervising their work. Beyond design students, there is potential for involvement in the delivery of programs to community depending on how the program unfolds. This could include pre-service teachers, artists practitioners and such.

Beyond university students there is the possibility - and not sure how feasible this is at the moment - to engage with secondary schools in the process. That is a thought that's parked here for later consideration.

A strong focus will be placed on what the students get out of this process as much as SLQ gets out of them.

We will look to engage with industry and their corporate social responsibility. This would see them acting in a mix of supervision and active engagement in process depending on what they want to do. We're thinking people like UAP, Clandestine Design and the like. It is a great opportunity to connect them with students and potential future employees. It would also provide students with an insight into what working with these professionals is actually like.

The project will engage with an assortment of artists in different capacities.

Ideally the program would have a writer in residence that would work across the program on both documentation of process/outcome and engaging with community to capture and shape the stories/narratives that emerge. This would include didactic information about discrete objects that are created, the program process and model to ensure it can be delivered by others and the development of the coffee table outcome book that collects the imaginary worlds into once place. Marianna Shek would be awesome for this.

Ideally we would engage with artists from Third Rail Projects in partnership. They specialise in creating immersive spaces and have done some amazing work in community. This is no about bringing in the talent to tell us what to do but building connective tissues between organisations to create great things.

Ideally we would be working with a diverse range of artists from different disciplines to create different aspects of the final outcome. These will be identified as the project planning gets underway in earnest.