Dr Kelly Greenop is a Senior Lecturer at the University of Queensland's School of Architecture, Design and Planning. Her research is in Digital Cultural Heritage, utilises 3D laser scanning of heritage environments to document and archive fragile, remote and at-risk heritage sites, and research the use of digital heritage. She works with heritage governance, practitioners and peak bodies to promote sustainable use of digital heritage methods. Greenop’s work has been archived by CyArk, and won heritage awards with National Trust of Australia. She is a member of the Australia ICOMOS Executive Committee.https://kellygreenop.com/

Brett Leavy descends from the Kooma people whose traditional country is bordered by St George in the east, Cunnamulla to the west, north by the town of Mitchell and south to the Queensland/NSW border.   As a multimedia producer and Indigenous advocate, Brett heads up Australia's leading First Nations social impact cultural design company– Bilbie Virtual Labs(link is external), designing an innovative and connective program known as Virtual Songlines (link is external)– a suite of immersive, interconnected multi-user virtual heritage simulations that showcase the history and heritage of fifty cities and regional towns across Australia. Brett brings together a dedicated team of historians, designers, developers and programmers to work collaboratively on the delivery of these virtual heritage landscapes; cost-effectively, authentically and comprehensively. He believes gaming and virtual reality (VR) can be an effective tool for the recreation of the heritage and culture of First Nations people everywhere. Virtual Songlines is being used by Cross River Rail(link is external) , seeking to acknowledge and honour the cultural heritage of the project’s alignment in inner Brisbane, allowing viewers to walk through the native bushlands that covered the areas that are now the Brisbane CBD. https://www.virtualsonglines.org/

Keith Armstrong is an experimental artist profoundly motivated by issues of social and ecological justice. His engaged, participative practices provoke audiences to comprehend, envisage and imagine collective pathways towards sustainable futures. He has specialised for thirty years in collaborative, experimental practices with emphasis upon innovative performance forms, site-specific electronic arts, networked interactive installations, alternative interfaces, art-science collaborations and socially and ecologically engaged practices.Keith’s research asks how insights drawn from scientific and philosophical ecologies can help us to better invent and direct experimental art forms, in the understanding that art practitioners are powerful change agents, provocateurs and social catalysts. Through inventing radical research methodologies and processes he has led and created over sixty major art works and process-based projects, which have been shown extensively in Australia and overseas, supported by numerous grants from the public and private sectors. He was the installation artist for the large-scale collaborative artwork Uramat Mugas (link is external)showcased for the Asia Pacific Triennial (APT10), Gallery of Modern Art (GOMA), Brisbane. In 2022 he showed his video artwork Common Thread(link is external) in the exhibition Possibles' at ISEA 2022 (27th International Symposium of Electronic Art), Barcelona, Spain, and also at the V2 Lab (Rotterdam, Netherlands) and Novtec Festival (Lima, Peru). In 2023-5 he is presenting a touring exhibition of a large scale social engaged artwork Carbon_Dating(link is external) that fosters a 'community of care' around the sustenance of native gasses and grasslands, and in 2024 he will begin a new project called Forest Art Intelligence (FAI) that seeks to integrate a range of plant-supporting artworks within a rejuvenating forest, with the capacity to support the many intelligences of the re-emergent forest ecology.