I am thankful for the stellar supervision, care and focus shown by Distinguished Professor Dr. Larissa Hjorth and her trust and commitment in taking me on in her role as primary supervisor from very preliminary discussions in 2017. Dr. Ian Haig supervised my first year and I thank him for his corporeal provocations. Associate Dean of Research at the School of Art Daniel Palmer commenced as secondary supervisor in the following year and provided valuable guidance and an ever-critical eye. I would like to thank Philip Brophy who while having had a smaller role in supervision never hesitated to throw the right bombs at the right time.

ACMI X has been a vital place to complete this research work with Amber Gibson being accommodating to the end. During intensive production phases of this project working from the City of Melbourne Boyd School Studios has been integral, thank you Angelique Hopkins, Meg Stoios and Michael Carr. Senior Producer Bernadette Fitzgerald at Footscray Community Arts provided important access to a production location at a very difficult stage of the pandemic and continues to be an ever generous supporter of artists.

A classic three act structure with a global medical emergency as mid-narrative cliffhanger, my first year was experienced as a musical montage of libraries and coffees, new people and learning university paradigms. Second year was chilled by Melbourne's prolonged and deadening series of COVID-19 lockdowns, hermetically sealed away in a Melbourne city rooftop loft - a spaceship in orbit over depopulated streets frequented by bored police, international students and the homeless. The third and final act revealed itself with a tentative renegotiation of risk, emerging from the Work From Home cave and into the sunlight. Throughout it all Amelia Borg has lived inside this project with me, and I will always be grateful for her patience, support and love.