School of Culture and Communication - Research Publications
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ItemArtists’ interviews and their use in conservation: reflections on issues and practices(Routledge - Taylor & Francis, 2016-12-21)Artists’ interviews are widely used in the conservation of contemporary art. Best practice is detailed in recent publications, conferences and workshops, however, there is little information on how to analyse the data collected, and the issues related to the dissemination and future access to the content. This article examines various techniques of analysis appropriated from qualitative research in the social sciences, and relates them to the intended uses of interviews in conservation. Drawing on a case study that involved interaction with an artist over several years, including interviews and informal conversations, this article argues that a conservators’ specific skills set has the capacity to interpret the findings and to understand the creative processes. It also highlights the importance of reflexivity and the public circulation of this interpretation, which is essential for the development of a sustainable practice of artists’ interviews in conservation.
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ItemThe Butterfly Effect(Griffith University and Text Publishing Company, 2019-02-05)Sometime in 1906, butterfly hunter Albert Stewart Meek disembarks from an old pearler named Hekla on the north-east coast of New Guinea. He unloads his provisions and tools of trade: killing bottles with cyanide of potassium for small insects, syringes with acetic acid for larger ones, non-rusting pins for setting his trophies, cork-lined collecting cases. He waves off the boat with instructions to the skipper to return for him in three months.
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ItemPoetic Encounters(The Centre for Creative & Cultural Research, University of Canberra, 2019)Sound is essential to poetry and poetry is an essential element of human language. As a simultaneous trilingual engaged in the study of multilingual poetic expression, I will use the development of my own plurilingual poetic ‘instinct’ to map the location of poetry within and between languages. I argue that poetry does not grow out of language so much as inhabits the basic aural building blocks of language, the potential for it existing always just beneath the surface of speech. This is tested by examining multilingual poetry as well as translations of poetry across languages to see what is lost and what emerges.
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ItemIs This How Participation Goes?(The Department of Visual Arts, University of California, 2019)If the neoliberal regime is a constitutive force in a decentered and globalizing world, then what is the starting point for determining its flows, and what is its impact on art and culture? Conversely, have we not also seen art swell and expand through new kinds of transnational collaborations that are giving aesthetic form to cosmopolitan ideals? Are artists at the vanguard of the resistance against the gaping inequalities threatening to rip apart the social fabric or are they, despite their democratising intentions, an extension of an invidious system? These contradictory forces are played out on many fronts and with divergent inflections. In this brief essay we sketch out the hydraulic tensions between the corporate global culture and mass cultural participation by focusing on recent events in Melbourne. As a second-tier global city, celebrated for its livability and cultural vitality, the development of Melbourne’s cultural scene over the last fifteen years exemplifies the various spatial formations around which aesthetic experience is being organized and redistributed.
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ItemDead Europe and the Coming of Age in Australian Literature: Globalisation, Cosmopolitanism and Perversity(Australian National University, 2013)This essay uses Christos Tsiolkas’ 2005 novel, Dead Europe, to re-examine the traditional binary established between old Europe and new Australia. The definition of cosmopolitanism put forward by Tsiolkas takes into account charges of Eurocentricity laid against the concept itself, as well as reflecting on the ways in which cosmopolitanism changes given the accelerated processes of twenty-first century globalisation. In Dead Europe, Tsiolkas links Australia to a pan-European history, bringing national borders into question and broadening notions of Australian identity. I argue that Tsiolkas’ novel is a key example of a recent coming of age in Australian literature - the shift away from Australian national identity as inward-facing, naïve and rural-based, towards a more mature, urban, outward-facing understanding of Australians as culpable participants in global culture.
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ItemPlagued: TB and Me(Digital Global Mail, 2013-06-12)The greatest infectious killer in human history is making a comeback, morphing into new drug-resistant forms. While it is largely forgotten in wealthy nations, millions of people a year get sick from tuberculosis. Jo Chandler, to her surprise, is one of them.
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ItemNo Preview AvailableMosiacally Speaking: Pieces of Lionel Fogarty's Poetics(Cordite Publishing Inc., 2019)
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ItemEnsamble Animal: Los cuerpos del Sensory Ethnography Lab y Deleuze(Revista Cinematográfica, 2016)
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ItemThe Colliding Worlds of Anthropology and Film-Ethnography(OpenEdition, 2018)
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ItemEn conversación con el colectivo Mafi.tv(LaFuga Film Journal, 2017)El colectivo cinematográfico MAFI (Mapa Fílmico de un País) se ha dedicado en los últimos seis años a la construcción animada de una memoria territorial. Sus fragmentos audiovisuales, todos derivados de la singularidad creativa y la mirada fija de sus colaboradores, han ido interrogando la geografía social, cultural, económica y política de Chile para mostrarnos sus rostros y lugares con nueva luz. En esta conversación colectiva, Christopher Murray, Josefina Bushmann, Ismael Pimentel, Juan Francisco González y Tamara Uribe nos hablan de un mapa fílmico que busca operar al margen de la institucionalidad oficial, es decir, como una suerte de panóptico invertido. Con proyectos que recorren el área digital y cinematográfica, con visionados y escuelas emplazadas a lo largo del país, MAFI nos invita a “desconfiar de las imágenes”, para recordarnos que, tal como sucede en el cine, quizá sea la misma imagen de la realidad la que siempre deviene montada.