School of Culture and Communication - Research Publications

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    Capturing ambient participation: Indian Independence Day at Federation Square
    Wyatt, D ; Papastergiadis, N ; Weber, M ; McQuire, S ; WEI, S (Routledge, 2020)
    This chapter uses the concept of ambience as an analytical tool to explore the qualities of cultural participation in the outdoor public spaces of contemporary cultural precincts, and as a metaphor that speaks to a wider process of cultural transformation in communicative cities. Media-rich cultural precincts are now a common feature of urban developments and inform the major policy shifts in creativity-led urban regeneration. The ambient experiences afforded by outdoor cultural precincts resonate with significant shifts in artistic practice. Ambient participation is particularly difficult to account for in the instrumental frameworks and methods routinely used by cultural funders and stakeholders to evaluate the impact of cultural infrastructure. Frameworks designed to measure visitation numbers at a museum, the satisfaction surveys of audiences, or the segmentation and brand recognition indicators tested by market research frame cultural participation as an aggregation of individual experiences. Media-saturated environments make qualitative changes to the experience of being-together-in-public.
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    Liquid Polis and Ambient Aesthetics of Communicative Cities: An Afterword
    Papastergiadis, N ; Andrews, J ; La Ware, M (Peter Lang, 2022)
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    Going Out: Rights to the City and the Cosmos
    Papastergiadis, N ; Andrews, J ; La Ware, M (Peter Lang, 2022)
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    Ambient culture: Making sense of everyday participation in open, public space
    Papastergiadis, N ; Hannon, S ; McQuire, S ; Wyatt, D ; Carter, P ; de Dios, A ; Kong, L (Edward Elgar Publishing, 2020-09-25)
    Unlike art and performance within interior spaces like the museum or gallery, the experience of culture in an urban and networked public space presents new challenges for cultural interpretation and evaluation. In this chapter, we draw on research conducted at Melbourne’s Federation Square to discuss how the concept of ambience helps make sense of both the production and experience of public culture. The first section introduces the changing settings for culture: from an almost exclusively interior presentation to an increasingly mediated, networked and outdoor experience. The second section situates this exteriorization of culture in terms of a shifting urban environment that is increasingly interwoven with media networks. The third section describes different forms of engagement and problematizes traditional expectations of cultural experience. Finally, we conclude with a reflection on these findings and draw out implications for the theorization, cultural programming and evaluation of cultural participation in public space.
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    Worlding Art
    Papastergiadis, N ; Di Leo, J ; Moraru, C (Bloomsbury Publishing USA, 2021)
    Whether we are looking up, across, or down, we are, as Blaise Pascal, the seventeenth-century philosopher and scientist, noted, “suspended between two infinities. The further out we look, the bigger the horizon. The closer in we reflect, the more complex the detail. In both directions, there is the experience of the boundless. The horizon is awesome; it holds both the dread of the void and the delight in other possibilities. Inside the translucence of a tiny seashell twirls another kind of wonder.
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    The Fold in Diasporic Intimacy and Cultural Hybridity
    PAPASTERGIADIS, N ; Trimboli, D ; Ahn, S ; Khouri, K ; Supriyanto, E ; Yung, A (Sharjah Art Foundation, 2016)
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    The Journeys and on Kawara: In Motion there is the encounter with time and space
    PAPASTERGIADIS, N ; Makhoul, B ; Mitha, A (HOME Manchester, 2016)
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    Arts and Cultural Precincts in the Age of Participation
    PAPASTERGIADIS, N ; Carter, P ; McQuire, S ; Yue, A ; Wee, K ; Chia, J (Asian Urban Lab, 2016)
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    Hiding in the Cosmos
    PAPASTERGIADIS, N ; Elias, A ; Harley, R ; Tsoutas, N (Sydney University Press, 2015)
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    Ambient Aesthetics: Altered Subjectivities in the New Museum
    Radywyl, N ; Barikin, A ; Papastergiadis, N ; McQuire, S ; Message, K ; Witcomb, A (John Wiley & Sons, 2015-07-20)
    This chapter focuses on the Australian Centre for the Moving Image (ACMI) as a case study for the emergence of hybrid subjectivities within the new museum. Fueled by an optimistic idealism about how technology might transform everyday life, ACMI was conceived as a catalyst for new forms of cultural consciousness. The chapter casts ACMI's initial willingness to experiment with innovative representational technology as a strategic attempt to position itself as a pioneering new media institution, and to engage in alternative forms of cultural citizenship. Its early public exhibitions, for example, often eschewed chronological histories of the moving image in favor of phenomenological displays of visual knowledge and embodied new media “experiences.” In tracking ACMI's changing curatorial, architectural, and experiential directives, this chapter foregrounds the significance of the museum as a producer rather than distributor of stories, experiences, and objects. The argument proceeds with close reference to empirical audience experience research data collected from ACMI visitors, and is situated in relation to historical transformations of pedagogy as a driver for museological display. The concept of “ambient aesthetics” is, finally, proposed as a key conceptual framework for evaluating how contemporary museums might articulate a new kind of “flexible” citizenship in a transnational public sphere.