Corum Deo��(In the Presence��of God)

Painting

This triptych work discusses medicinal and spiritual healing, through the lens of my personal journey with Chronic Urticaria or Hives, a skin condition agitated by heat. In the past two years I’ve gone through dozens of types of antihistamines and injections, which encouraged me to reconnect with faith and religion. From left to right, the panels embody biblical imagery from instances of meeting God within the books Ezekial and Exodus, where he spoke to them through the wrath of the angel and ocean, then gently in the burning bush. The landscapes used reflect national identity: Asian waves upon an Australian coast scattered with coastal Gazania Rigens flowers, and the sandstone caves, eucalyptus, and gums of the Australian bush.

The middle panel appropriates the famous Ukiyo-e woodblock print ‘Great Wave off Kanagawa’ by Hokusai and was inspired by European allegorical landscape painter Casper David Friedrich with his painting ‘Monk by the Sea’. The painting incorporates Surrealist, Impressionist and Baroque stylings to reflect a multifaced influence of styles on contemporary artistry, as well as that of Australian culture in general as a mix of Asia pacific and European. The medications in each frame and their placement indicate this journey to finding balance.

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An allegory of visionary theology

Drawing

My large-scale, monochromatic pencil drawing explores concepts involving the ignorance of human persistence when seeking for more, and the ambiguity of looking to religion for assistance process.

It further scrutinises the subsequent futilities and ineptitude of the process, exhibiting a negative perspective of the concept, contextualised with theological/mythological symbolism and psychedelic stylistic features in the absurdist genre.

I would like for my audience to approach my ambiguous artwork with their own ambiguity, and hopefully adopt a more conceptual approach to religion, opposed to their religion’s fundamentals.

Psychedelic artist Alex Grey influenced many aspects of my work, particularly its physicality’s, and Belgian surrealist artists Rene Magritte has inspired my works overarching themes.

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Dynamics of Daily Commute

Painting

My artwork is about capturing the fractiousness of urban life. Through COVID we were exposed to the emptiness in the absence of human interaction, my work uses deep, contrasting colours to capture the chaotic energy which we can once again see in everyday life. My artwork draws inspiration from Marcel Duchamp’s cubist works, through his ability to capture movement using colour, line, and tone on a stationary canvas. My artworks are comprised of oil paint and acrylic paint on canvas, as well as pastel on paper. My works are made to show an audience how the presence of life and movement can drastically change the composition of our environment.

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Famiglia (Family)

Graphic Design

My artwork Famiglia explores the idea of close friendships and how they can be like family, with reference to my Italian heritage in the title of my work as family plays a major role in Italian culture. Using the medium of collage and water colour, I filled drawings of my friends with collage and water colour to represent diversity and difference. I chose various patterns to demonstrate diversity within my artwork and to keep the audience engaged. My work has been influenced by Pablo Picasso’s cubist work.

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Redacted

Photography

Censorship is an ongoing issue which has affected artists throughout the years, censoring artworks which are deemed as insensitive or problematic. The reason I believe censorship is a problem, is that findings showed that censoring, regardless of how appealing the censor was, changed the potential audience’s opinions towards

the stance that the message would espouse and increased their willingness to hear it. The Artist which influenced me was Ai Weiwei as he has been actively censored but still managed to create art from the negative situation. I used Photoshop to craft these artworks from portrait photos I took of my mates.

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The Eclipse

Painting

My interest in anime can give me an insight into how it feeds over into popular culture, many of my works are dominated by text which is a post-modern construct. I have been inspired by Basquiat, Eiichiro Oda and Kentaro Miura. Through their works I have been able to create a mix of the two styles of drawing/animation and words being used in art.

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Okay Calm Down

��Printmaking

My concept revolves around my personal experiences with obsessive-compulsive disorder (O.C.D). The work is an in depth is an exploration into the complex anatomy of the human mind. The work is a direct visit into a part of my own conscience and memories that the audience will witness in the eight-piece work. Each separate print is a step into cyclical nightmarish nature of the seemingly endless repetitiveness journey. However, in this melancholy atmosphere realisation is found granting acceptance and sanctity.

Daria Golab is a post-modern illustrator and graphic designer who portrays her personal experiences through her classic black and red style. Golab’s composition, imagery and colour is expressed in my works as I use bodily imagery and similar use of colours. Jean-Michel Basquiat provoking approach to his works I have manifested in my intense��imagery such as eyes, which capture the audience attention and cause uncomfortable sensation.

Marco��Locascio

Boys Will Be Buds

Drawing

The multidimensional construct of masculinity has often been reduced to its turbulent nature within the social development of young men, subsequently cultivating the social phenomenon of toxic masculinity. My artwork aims to comment on the diverse range of emotional control and maturity seen within boys, and how this binds us together in a very niche way. Employing lead and charcoal as a means for my portrait, the subtly in tone work elevates the gentleness not often emphasized within the faces of young men. However, the contrast of acrylic splashed amongst the flowers accentuates the noise shrouding the identity of these boys in often aggressive or counterproductive manifestations. Vernon Ah Kee’s tone work within his own portraits have been a great inspiration for my own work, utilizing his emphasis on identity as an appropriated focus within my own work.

Nicholas��Lough

Rolling Stone

Monochromatic Disposition

Photography

Loneliness, at times, can be comforting if chosen. My photographs follow a character choosing to be alone as he explores different places, incorporating my love for music with a Spotify QR code linked to a different song on each work. These songs are all by the artist The Weekend and I believe they reflect the mood of each work. My artmaking was influenced by artist Barbara Kruger, edited in a similar fashion with a word or two across each work. The words across each work are the titles of the song that is linked to the QR code. My artmaking was also influenced by the photography associated with the album Trilogy by The Weekend.

Peter��Nastys

Invader/Neighbour

Collection of Work

Major Wars are unheard of in the western world today. We read about conflicts from the safety of our homes. When war does come around, how will you respond? My artworks’ concept is one of humanity, peace, and our perception towards conflict today. It incorporates themes of war, the human condition, and the psychology of war. When the first images of captured Russian soldiers reached the news feed, my first reaction was too how young the soldiers were, barely older than some students here in Australia.

I wanted to take a more human stance towards the soldiers of this conflict. People don’t want to fight their neighbour and my artwork represents those feelings of fighting for something you don’t believe in. To reflect this human aspect I wanted to appropriate the works of Michealangelo’s sculptures.

Jamie��Todd

Untitled

Painting

My work is heavily influenced by Stanley Donwood and Rosalie Gascoigne through their ability to connect with the audience through symbolism within their works. The work reflects modern day society and the disorderly nature of society through key words that are highlighted through individual experiences. The disorderly nature of society is reflected in the arbitrary words highlighting the bright coloured boxes.

Tristan��Williams

My Champion (you’ve gotta keep fightin’)

Painting

All my works involve the concept of randomisation and exploration of materials. The general theme of the drip let me explore what materials I can explore and drip onto the canvas of my works. Heavily inspired

by Jackson Pollock and his ‘drip painting’ technique, I learnt to be able to let the paint drip and do what it does and not concern myself with ‘perfection’. I then linked the work back to Ancient Greek’s with the ‘encaustic painting technique’ or ‘hot wax painting’. This idea was��inspired by Japser Johns as he painted with the encaustic technique as a modernist artist. I also explored mixing paint with different materials. I mixed paint with just water and with hand sanitizer as they provided different textures, dripped differently and the paint staining on the canvas changed. I also mixed sand with water and paint in one of my works to explore a completely different texture. Living on the Northern Beaches, the soles of your shoes are usually filled with sand but, putting it in an artwork is something I never considered until my exploration of materials. It really helped me appreciate the world as art and how with a little bit of exploration, ideas can evolve.

Aram��Zarigian

It’s All in the Detail

Photography

My work … is a series of macro level explorations showing the evolution of technology. These images were created with the intention of being reproduced on a very large scale giving the viewer an opportunity to see these objects from an unfamiliar perspective and style. The images can point to a sense of nostalgia for those who used these objects when they were popular. My work was influenced by Peter An- drew Lusztyk and his series called “Collectable”. His works gave me the idea to use old objects and print them on a large scale. He also taught me the Photoshop technique of focus stacking which allowed me to get the ultra-detailed images. I have also been able to engage the audience’s imagination by making modifications to the images.

Charlie��Zwart

Pillars of Creation

Drawing

The concept for my BOW is to draw attention to the integral part that cranes play in the industrialisation and development of modern civilisation. Often overlooked, they are essential in industrial construction and prove to greatly impact development throughout the world. The use of charcoal on paper largely allows me to create dramatic tones and draw attention to the forms of the cranes, communicating their significance often unnoticed by communities, earning them the status of pillars of modern-day creation. My works were highly inspired by Yang Yongli- ang, using monochromatic tones, creating shadows and layered forms to convey depth and perspective.

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James Regan

Experimenting with Photoshop has been a constant in these works which are taken from projects the artist has worked on since 2020. His first series of landscapes with figures play with perspective and reshuffle as if from memory. James photographs and thinks about things he sees in his daily experiences of suburbia. His series of Street signs explores thoughts about rules and the acceptance of social conventions. He has also used the world of virtual images to develop ideas for works and his multi layered views pose questions about images and collective memory.

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It was Brecht who said that “Art is not a mirror to reflect reality, but a hammer with which to shape it” and in my production of Moliere’s “Tartuffe”, Brecht will not be let down. I will be challenging the audience’s perception of the world around them through examining power dynamics in relationships as expressed through powerful and emotive performances of the actors inspired but forms such as Lecoq and Commedia. This will be combined with abstract sets and costumes with vibrant colours giving insight on different characters to the audience.
Whilst I have been inspired by Moliere’s writing of “Tartuffe” it is important to note that our society is dramatically different from that of Moliere’s 1660s France. Society today is highly secularised (unlike Moliere’s) and therefore I have chosen to down play the religious undertones and reinterpret the persona of Tartuffe in a political light to ensure that the play remains relevant to a modern audience. Ultimately, Tartuffe metaphorically represents much more than purely a religious impostor, rather the character of Tartuffe acts as a representation of how people of influence – whether it be friends or political leaders- have the ability to manipulate those seeking direction. This is particularly seen through the character of Orgon who is a sycophant of Tartuffe and who adored him so much that he was taught to “kill my (Orgon’s) feelings of love” and changed himself for the imposter. Therefore, through emphasising this dynamic to the audience, they will be made accountable to examine their relationships with friends and perhaps most importantly leaders, to ensure that they do not lose their sense of identity like Orgon.
In my production, the character of Tartuffe will be based off the health and wellness influences who are prevalent on social media today. They fuel unreasonable expectations about health, whilst living lives that contradicts what they preach, like Tartuffe. Importantly, Tartuffe is also portrayed as being spiritual, rather than religious in this production.
I intend to have the entire cast on the stage for the entirety of the play. This is to ensure that they are able to interact with what is happening on stage and can react (via Gestus) as well. Therefore, I have chosen to set the play at the Sydney Theatre Company’s Wharf Theatre, as the space is large enough to allow the cast to be on stage the entire time, yet it is not too big ensuring that the actors are not engulfed by a cavernous stage. The physicality of Lecoq has inspired me greatly and has impacted the way that I have worked with my actors, ensuring that they do not rely on the spoken word but rather use their bodies to tell a story. The use of Lecoq has required me to change my costumes to allow for the actors to be unrestricted, hence whilst it is inspired by regency fashion it remains contemporary, allowing for maximum movment.

Overall, through appealing to sense of the audience, after having watched the play I want to ensure that they have the tools to examine their own lives and change it to get rid of “their Tartuffe”.

Vision Board

Background

The Playwright.
Moliere, (born Jean-Baptiste Poquelin) is arguably one of the most eminent of the 17th century and of French literature in general. As he was born in France in 1622 into a wealthy family. He was well educated having studied law before deciding to go into theatre. His context is extremely important to truly understand the play, and his time was dominated by religion, particularly Roman Catholicism as it was the state religion. Since the Reformation in 1516 there had been a series of conflicts known as the French Wars of Religion, in which the Catholics attempted to eradicate the Huguenots (this was what the French protestants were referred to as). Moliere would have witnessed this throughout his life as it was his patron, Louis XIV who increased the restrictive laws that ensured the Huguenots were disenfranchised. Whilst he was a Catholic (at least technically), this did not stop Moliere from using his artform to criticise the Catholic Church and how it functioned as Political institution. Arguably, the Church that Moliere is critiquing in “Tartuffe” is far more of a political and financial institution than it is a spiritual one. This is exemplified by Cardinal Mazarin and Cardinal Richelieu, both whom served as prime ministers of France during Moliere’s lifetime and lived more like princes than prelates.
Moliere used a variety of techniques to highlight societal issues in all of his plays, particularly satire to highlight the hypocrisy of the bourgeoisie and the elite. This is not exclusive to “Tartuffe” but is also seen in his other plays such as “The Miser”. Like most theatre in 17th Century France, Moliere was strongly influenced by Italian theatre, particularly Commedia dell’arte. Moliere also had elements of the ancient Greek tragedies in his plays. Also he did not always stick to the strict class structure that were generally expected at the time, with the comedic characters from the lower classes or as seen in “Tartuffe” for the servants to be without wisdom, as it is Dorine who is extremely wise despite being a servant. Overall, Moliere was not bound by the theatrical paradigm of the time and he was more than willing to challenge it as exemplified by his character in Tartuffe.

Set design

Whilst in my production of “Tartuffe” I have been inspired by theatrical practitioners such as Brecht and Lecoq, it is not a purist representation, rather than the minimalist set, I have presented mine as more abstract and eclectic. I chose the Sydney Theatre Company’s Wharf Theatre due to the fact that whilst the stage is not small it is nevertheless intimate, a feature that was important to me. Elements of Brecht have influenced me in design of the set and props, particularly the idea of how I can use the v-effect/alienation and how I can make this obvious to the audience. I chose to do this through lighting, costumes and props such as placards. As the production of the play is set in the present day the set looks similar to a lounge room in a house to highlight the middle-class nature of the family and how very similar, they are to the audience. This sense of familiarity with set also allows for the audience to see how “Tartuffe” and themes such as hypocrisy and manipulation relate to them personally.
Below: Wharf theatre 2

Set
When creating the set, I choose to use elements of design that would remind the audience of their own homes. Therefore, I choose to use a small number of pieces of furniture – an armchair, lounge and dining table – to present to the audience some veneer of comfort, allowing them to expect something conventional only to be left surprised. I purposely avoided the option of making the set too entrenched in realism as I want the focus of the audience’s attention to be on the physicality of the actors as well as what they are saying. The furniture itself is Scandinavian/ minimalist, whilst this appears trivial it feeds into the whole idea of Tartuffe being a new age spiritual guru who has corrupted Orgon and perhaps most importantly the idea of how the middle class feel through acquiring more material possessions that they shall find more meaning in their lives.
A tone constant of the set is white. White is featured in the set, furniture and props. White of course, symbolises purity and innocence everything that Tartuffe claims to be but in reality, is not. Additionally, the white also symbolises perfection, the perfection that Orgon is attempting to gain through his interaction with Tartuffe despite it being against his better judgement.
A central feature of the set is the backdrop of green, lush garden. This to contrast with the whites and man-made furniture, as Orgon derives his meaning in life from his possessions or from looking to Tartuffe rather than exploring the world right outside his loungeroom. This also links to a key conceptual focus of how society attempts to find value through material possessions and trends rather than construct their meaning from self-discovery.

Above: Belvoir’s “Cherry Orchard” served as inspiration in terms of set
Below: the Sydney Theatre Company’s production of “The Resistible Rise of Arturo Ui” influenced me in its use of props and Brechtian techniques.

Lighting
Lighting plays a significant role in creating tone for both the play and the audience. I chose to use bright,

white lights. This primarily drawn from Brecht and his use of the v-effect. By using bright white lights, the audience is not lulled into a stuper but rather forced to pay attention to what is happening on stage. The use of bright lights also symbolises Orgon’s belief that Tartuffe is angelic and will be light who leads him out of the darkness. The lights will also ensure that the whole stage is bathed in light, serving a practical purpose as it allows the actors to be seen very clearly.

right: an example of lighting

Costumes
Overall, I chose to use contemporary clothing in my costumes but to have different characters dress in entirely different ways depending on their characters. In doing this I did rely on stereotypes of people, for example what to fitness fanatics wear or what would teenagers wear for certain characters. Overall, I desired the costumes to be minimal, ensuring that character was formed through their physicality and acting rather than their costumes.
As I have reinterpreted the persona Tartuffe to be a “new age spiritual health guide” to Orgon it was important that he at least appear to fulfill that description even is manners and actions do not. Therefore, to give him this veneer I decided to dress him as though he was a personal trainer/ yoga instructor. Tartuffe wears a white as he is of course meant to be pure, and in this production, he has found “inner peace”. Yet, his white cloths are stained and frayed to symbolise his lack of morality but also how he does not follow the rules that he presents Orgon with.
Below: (going from left to right) examples of Elmire’s, Orgon’s and Tartuffe’s costumes.

Other characters such as Orgon and Madame Pernelle attempt to copy the way that Tartuffe dresses as they attempt to replicate him in every aspect of their lives. These two characters wear black, symbolising their submission to Tartuffe. Elmire (Orgon’s wife) dress more individually, with her wearing a flowy, floral print dress that allows her to move but also makes it obvious that she is a woman of means.
The Characters of Marianne and Valere who as young, star-crossed lovers pine for each other despite the attempts of Tartuffe to pursue Marianne. The two lovers wear costumes that contain bright colours mainly pinks and red as they symbolise passion and desire. The use of pink and reds acts as an important visual tool as it symbolises how they have not followed Tartuffe’s desires or become entrapped in his lies like Orgon has. It also acts as an expression of the freedom and lack of responsibility they have due to their youth, meaning they have no. deep desire for spiritual fulfilment outside of the now. Never the less they will still dress like “normal” teenagers.

above: an example of the costume that Marianne would wear.

Working with the actors

I want my production (and therefore the actors) to pay homage to three theatre practitioners: Brecht, Lecoq and of course Moliere. I decided in terms of the acting, the tools provided by the theatre practitioners of Brecht and Lecoq would be invaluable in modernising “Tartuffe” whilst staying true to the conceptual focuses such as hypocrisy in society as highlighted by Moliere. Both practitioners revolutionised physicality and theatre, this what I wanted to inspire the actors with.
One of the primary focuses that I worked on with the actors was physicality. Physicality is crucial to every play; however, I wanted the actors to not just rely on the spoken words but to also use their bodies to tell a story and show emotion. The use of physicality as inspired by Lecoq also acts as a vital way to express tension between the characters as well as emphasis elements of comedy as seen in the interaction of Tartuffe and Elmire.
A scene I worked on with the actors to implement elements of Lecoq was Scene 5, Act IV, in which Tartuffe is attempting to woo Elmire whilst Orgon is hiding under a table. With the actors I emphasised the importance of dramatic tension and status. To create tension, we did an exercise that revolved around the actors playing Tartuffe and Elmire doing a push and pull activity using a large elastic band around their waists which was inspired by Lecoq. Before we spoke lines, I wanted the actors to experiment with the tension. What would happen if Elmire attempted to move away? Ultimately, Tartuffe would be pulled towards her. This idea of push and pull was important as it showed the repugnance of Tartuffe. For example, once we stopped using the rubber band and started using lines there was an obvious amount tension as seen the physicality of the two actors. So when Tartuffe said “My soul needs something to get a hold of” as he lunged for Elmire’s breast, you could see the tension purely through the way that as Tartuffe moved forward, Elmire quickly moved back creating tension as we had practised.
I then worked on highlighting the hypocrisy of Tartuffe. For example, he promotes health and spiritual wellness to Orgon, yet in private I portray him as indulging in alcohol and fast foods despite his warning Orgon not to consume it. In this scene with Elmire where he is attempting to be sexual with her, I got the actor to be smoking a cigarette in one hand as he was attempting to grope Elmire. And obviously smoking is very bad for your health and therefore displays to the audience how much of a hypocrite Tartuffe truly is.
We worked on the emotional manipulation of Orgon by Tartuffe, particularly in act 3, scene 6 where Orgon said “How dare you besmirch this pure man’s name?” this (as the audience knows) is extremely ironic as he is only one who still believes it other than his mother. In working with the actor playing Orgon it was important that he play this line with truth. This is to heighten the emphasis on the conceptual focus of manipulation (and the dramatic irony), as everyone, including the audience, knows that Tartuffe is a conman other than Orgon, but as people keep on telling this he just retreats more and more into his relationship with Tartuffe.
Overall, it is important for the actors to work on these areas of physicality and emotion/ truth to present a powerful performance.

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The Coffee Station is a modern and unique designed coffee table, which provides three main functions. These functions include a Dual USB Charging port, storage box for item management and extra storage space located underneath the table. The table is built from brown finished acacia timber with black metal to accompany it.

Sam Ashman

I have design and constructed an esky box that can both cool and warm food depending on your needs. This product is ideal for tradesmen who at lunchtime may need there food warmed up or just to keep a cold drink.

Jack Crawley

This invention is for any musician who wants to easily store their guitar and any of its accessories.�� When you want to use the instrument take it out of its holder and flip the hinge to allow a seat to appear that you can use while playing.

Matthew Felice

The Handi-Cabinet provides wheelchair access to any overhead cabinetry. The inner carriage of the cabinet lowers using a linear actuator and a remote control. This product is ideal for households used by both disabled and able-bodied individuals.

Frank Fitzsimons

Using onboard sensors (lightning, infrared and temperature) the Autonomous Fire Sensor can detect indicators of a fire, sending this data to the internet via a radio connection. From here the data can be monitored real time and notify relevant authorities.

Charlie Jackson

My affordable prosthesis, Niche- Wear, provides amputees in third world countries with the opportunity and access to technology previously thought to be unavailable. Its pin lock design allows different attachments to be swapped out for different activities, meaning it can be customised to the user’s lifestyle. The fibre glass and aluminium deign is extremely durable, creating a well rounded prosthesis fit for use in tough environments.

David Jelovic

When thinking about what I should make for a major project I knew the
best idea would come naturally, so during one lesson I noticed I didn’t have much space on my table and then it hit me, Desk Extender. The purpose of this project is to allow more space on your table when studying or working.

Thomas Kennedy

The Smart Mirror display useful information that assist people with their daily life. The Mirror uses a monitor place behind two-way reflective film to show, this allows the mirror to work as a normal mirror while displaying information such as the time, date & weather.

Luke Petitto

The ANGLR is an angle guide for cutting, sanding,

measuring etc, it uses magnets to easily detach and attach itself back together. Previously measuring angle was limited to the user’s ability, but now anyone can use the ANGLR and eliminate the chance of making a mistake when working with angles. the ANGLR is ideal for labourers, the average DIY job and anyone having to work with angles, its fluorescent orange colour helps it stand out when on the job and in case of losing the pieces.

Brad Power

I have created and developed a ‘Smart Bike Safety Device,’ that consists of 3 components: A safety vest with indicators, a live feed camera glasses attachment and handlebar attachment. The device aims to provide the cyclist with a live feed view of their rear, reflected in their eyesight to increase the user’s safety on Australian roads.

James Power

I designed and created a device and app that will help users to locate and identify parking that is appropriate for the needs of the user. The Device with the app gives real time parking availability along with other useful features that also may be required when locating parking spaces. The device has been developed to work in both parking structures and street parking.

Oliver Robson

There are many unused cabins located around urban and rural areas. This kit bathroom can be retrofitted onto any cabin to provide water storage, plumbing and waste recycling. This prefabricated bathroom that significantly reduces the continuing expenditures associated with water costs. The bathroom features an isolated water system innovation to alter the concurrent monthly costs. The modern design should decrease expenses in the expensive Sydney��neighbourhoods.

Reece Williams

For my Major Design��Project��I created a��product��that solves the��need for increased security of items stored inside soft shell shelters such as tents. My product ‘TentGuard’ incorporates motion sensing and magnetic zipper monitoring to detect the presence of an intruder, in doing so it activates an audible alarm and wirelessly notifies the user��at a range up to��10Km.��TentGuard��protects belongings whilst giving the user piece of mind, enabling them to enjoy activities away from the campsite.

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The post Complaints procedures appeared first on ������Ƶ18 X College.

What cost is involved?

The ������Ƶ18 X PLD Fee. Details are outlined in the Personal Learning Device Program Brochure.

Is the PLD Fee going to be the same every year?

The fee will remain unchanged across the life of the PLD Agreement. Beyond that a new device and a new charge will be determined.

At the end of the life cycle of the PLD, can I buy it outright?

������Ƶ18 X College leases/or owns the device throughout the life of the PLD Agreement. At the end the PLD Agreement, and once all payments have been made the student has an option to acquire the device.

What if my son leaves ������Ƶ18 X College before payments are complete?

The PLD is to be returned immediately and in good condition. Other arrangements are outlined in the Termination section of the PLD Agreement.

What if my son decides he just does not like working with the PLD? Can he opt out?

No. For the PLD program to be successful, every student will participate. Every effort will be made to support students in their learning, and in using the PLDs. As with any situation, if the student is experiencing difficulty we should communicate and work together to create solutions.

We have a family computer at home. Will my son require continued access to it?

Generally, your son will be able to produce all required tasks on the PLD. Your home computer may be required to supply your WiFi network at home.

Depending on the subjects your son undertakes, software requiring a highly specified computer may be required and access to the College’s computer labs will be arranged.

We do not have wireless access at home. Do we need it?

Your son will be required to access the College’s Learning Management Systems and other digital content via the Internet. Wireless access would facilitate the use of the PLD at home. However, most tasks can be completed on a broadband enabled computer, at the College Library or at a local library where home wireless access is not available.

Will my son have to take his PLD to the College every day?

Yes. The PLD Program has been designed to integrate into almost every aspect of the curriculum. There may be rare occasions when the computer should not be brought to school (for example, the Swimming Carnival).

Will my son still use pen and paper?

Yes. Computers are a tool for learning. PLDs will not replace all methods of teaching and learning, and there will continue to be a place for writing on paper. The development of good penmanship will remain a focus of teaching and learning at ������Ƶ18 X College.

Will PLDs replace books altogether?

No. Some required textbooks come in an electronic format and others will be purchased by students.

Will the PLD make the school bag too heavy?

The PLD is light. The PLD will be loaded with digital copies of some textbooks offsetting some weight.

My son has an iPad/Android device at home. Can we use this instead?

No. It is important that all students have the same PLD. The ������Ƶ18 X College PLD is an integrated package of learning integration, support, hardware, data, spares, apps, software, warranty and service agreement. During repairs students are provided with an equivalent PLD to ensure no interruption to their workflow.

The College provides the device to ensure that all machines are loaded with essential apps and software, internet security can be maintained and that maintenance is streamlined.

My son has a learning difficulty. Will this make school harder?

������Ƶ18 X College offers individualised support for students with individual learning needs. For the past number of years, technology has been found to assist many students with their individual needs.

What are the procedures for students when they attend PDHPE classes and/or their bags are stored outside classrooms? Will the PLD survive the rough handling of boys?

Students will be encouraged to use lockers wherever possible to store their PLDs. However, there will be times when PLDs need to be carried to class and stored. All teachers will store PLDs in secure and appropriate locations. Students must keep the PLD in its sleeve.

What if the PLD breaks, stops working or is stolen?

Report any problems to the College’s ICT Help Desk. The problem will be managed at school. Please check the PLD Agreement for specific details. Students will be provided with an equivalent PLD until a repair, warranty or insurance claim is made.

What happens if my son loses his stylus pen?

The PLD can still be operated without the stylus pen. Replacement pens will be available from the College at a charge.

Our family is not so good with computers. How can we support our son at home if he has a technical problem?

Report any problems to the College’s ICT Help Desk as soon as possible.

What if my son uses the computer to access inappropriate websites or chat rooms? Or just surfs the net to waste time?

Most students use their PLDs responsibly and teachers will educate them in appropriate use. ������Ƶ18 X College has security and filters in place, but these are not infallible. A helpful teacher or when at home, a parent nearby is the best filter.

Will my son be able to load his own apps onto the PLD?

Students will be able to add legally acquired apps but with this facility comes responsibility. Apps must be appropriate for school use. Parents should check their son’s PLD regularly.

How will my son purchase apps?

Where paid apps are required, the College will source and load apps on your son’s PLD. Parents should not provide their credit card details to their son for the purpose of purchasing apps .

Will my son be able to access games on the PLD?

Yes. Students will be able to access games. However, our teachers are preparing our students for a workplace of learning and inappropriate content and use of games in class will be a discipline issue.

What if my son forgets to charge the battery and it runs out at school?

Students are required to have the necessary equipment, such as texts, pens and paper. An uncharged battery is treated in the same manner as forgotten learning equipment. A replacement is not available for use in the day.

Won’t it take a long time to log on and off at the start and end of each lesson?

Students should only need to perform one full login at the start of the day, which will typically take less than 1 minute. Resumption from standby is an instant on.

How will my son manage files etc. across multiple machines?

The Year 7 Technology ICT Teachers will deliver a program about core computer operations and they will assist students to understand the importance of file management, use of the Cloud and network drives available via the College, USB devices and the importance of backing up!

How will my son print?

At home or through the College Library (charges apply). Assignments from time to time will need to be printed, but the College is moving towards more electronic submissions. Examinations will still be handwritten.

Printing will not be facilitated in general purpose classrooms.

Will the PLD work on our home wireless network and home printer?

Yes. If you are familiar with networking, the PLD can be added to a home network, as long as the College’s network and security settings are not interfered with. Please contact the ICT Help Desk for further information.

Will my son use an electronic diary?

Currently, students will continue to use the College Student Diary but there is additional homework and assignment work as well as timetable and calendar scheduling available on the Portal.

Will my son require headphones?

Yes, any standard set of ear phones (ear plug type) can be used.

Does a PLD get viruses? How secure is it? Can my son access inappropriate content?

While using the College Wi-Fi network, all online content will be filtered to prevent students accessing inappropriate content. Provision of internet security and appropriate use at home will be the responsibility of families. The College encourages parents to discuss expectations with their son regarding appropriate use of the device. It should be noted that no device can be guaranteed to be 100% secure.

What level of IT support will ������Ƶ18 X College provide?

Our ICT Helpdesk personnel will be available to support PLD users. We will provide assistance with technical issues, such as ensuring that the student’s PLD connects to the Wi-Fi network and all available services such as email. The College will not undertake mechanical repairs. All PLDs will be under warranty, so any technical faults will be addressed under the terms of the warranty. Please see the PLD Agreement for details.

What professional development will teachers receive?

All teachers will participate in a series of ongoing professional development workshops. They will be given time to learn how to use the device and then explore curriculum integration strategies to effectively plan and implement learning programs on the PLD.

Will my son still require a calculator?

Yes. School examinations and external testing will require a compliant calculator. The PLD is not suitable for examinations.

What if my question is not answered here?

Please ask! We understand that there may be some early confusion and questions not included in this FAQ. We welcome input from parents, students and staff and would be grateful for any feedback.

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Wet weather Details for Junior and Senior Schools can be accessed via the following channels.

1. College Website – as above
2. College Mobile APP – downloadable from the Apple or Google stores – see links here

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For all other years please complete the form and we will keep you updated with key dates and information relevant to your year of interest.

There is no fee to lodge the Expression of Interest form and completion of the Expression of Interest form does not constitute an enrolment nor a place on a waiting list.

Applications for Years 5 and 7 2026 are NOW OPEN.

Application Fee

The application for enrolment fee is $220.00 and is non-refundable.

Parents are asked to supply the following:

• a brief personal summary of church and school involvement
• copies of birth and sacramental certificates
• Immunisation record
• last two school reports and NAPLAN test results (where applicable)
• A small passport size photo of the applicant is also necessary

Enrolment Interviews and Confirmation of Enrolment Fee

Every applicant for which a position is established is invited to attend an interview.�� Following interviews, successful applicants are asked to confirm their position with a $2,000 confirmation fee.�� The confirmation fee is non-refundable and non-transferable should you wish to cancel or defer the enrolment. It cannot be deducted from Tuition fees.�� All successful applicants and their parents are asked to sign a commitment form

Waiting List Information

Applicants who do not make the first round of offers are placed on a waiting list.�� Further offers are made as soon as places become available.�� Waiting lists are fluid.�� Offers can come as late as the beginning of the new school year

Please note:�� For the general intake Years of 5 and 7, unsuccessful applicants who are on a waiting list from the previous year who wish to be considered for the following year need to make a fresh application. ��The enrolment application fee will apply and standard selection criteria will stand.

Waiting List for Year 5, 2025 and Year 7, 2025

If you are interested in going onto the Waiting list for either Year 5, 2025 OR Year 7, 2025 please complete the following application form.

Application for Enrolment for Years 8-11

Please contact the College Registrar on 9411-4733 or email��enrolments@stpiusx.nsw.edu.au

Additional Information

Open Day

The College Open Day is held annually in March on a Saturday. All prospective parents are urged to take advantage of this opportunity to meet the Principal, members of the Leadership Team, teachers and students and to inspect the facilities and resources of the College in Chatswood and Oxford Falls.

Register your interest below and we will keep you updated on Open Days, tours and key enrolment timings.

Scholarships

See Scholarships and Grants

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ADDITIONAL INFORMATION

Application for��Enrolment��Years�� 5��

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