Digital Chamber Researchers

Tom Keep is a PhD candidate in Archaeology, under the supervision of Dr Gijs Tol and Associate Professor Andrew Jamieson of the University of Melbourne, and external supervisor Dr Rhodora Vennarucci at the University of Arkansas. He is interested in how the value of archaeological research can be most widely, equitably, and engagingly distributed in the digital era. He has previously worked as a research assistant at LithodomosVR under University of Melbourne alumnus Dr Simon Young.

Sam Holleran’s PhD examines public participation in the reimagination of urban burial sites and he is a member of the DeathTech Research Team at the University of Melbourne. He is also an interdisciplinary artist and writer whose work examines the power and politics imbued in urban design, and in particular, the use of everyday objects in cities, like street furniture, parks, and signage. He has worked as an art director, researcher, and educator in the field of civically-engaged design with the Center for Urban Pedagogy (CUP) in New York City and the Chair for Architecture and Urban Design at ETH-Zürich. He tweets @sam_holler.

Andrew Fuhrmann is a PhD candidate in the School of Culture and Communications at the University of Melbourne. He is currently researching the work of Melbourne-based contemporary dance choreographer Lucy Guerin AO. He also has a research interest in performing arts archives and curates the Theatre and Dance Platform with Rachel Fensham, an archival project initiated by the Digital Studio at the University of Melbourne.

Rodrigo Gonzalo Encinar is a researcher, visual artist, and designer. His research revolves around analytical explorations of representation, focusing on the latent possibilities of the photographic and moving image archives in the digital age for the study of movement.

Rodrigo's PhD studies the Beryl De Zoete collection of moving images made in Bali during the 1930s. The project discusses data-as-artifact in an era of disembodiment, where the roles of the ones involved in the production and preservation of knowledge are being challenged. By examining the affordances of motion capture and motion analysis technologies for the study of movement and their application to the documentation of dance, the research redefines the concepts of the authentic and the valuable within the fields of performance, dance, media, and archive studies.