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Arts Collected Works - Research Publications
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ItemNo Preview AvailableBeginning anew: Exceptional institutions and the politics of ritualMuldoon, P ; Chainoglou, K ; Collins, B ; Phillips, M ; Strawson, J (Routledge, 2017)This chapter makes a case for treating exceptional institutions as sui generis. It takes a critical look at exceptional institutions as 'transformative rituals' and reflects on how far the analogy between transition and revolution can to be pressed. Though the codification of the Nuremberg principles into international law has done a great deal to legitimate it retrospectively, the mist of arbitrariness surrounding the international criminal tribunal as an institution has never quite lifted and continues to plague subsequent iterations in Yugoslavia and Rwanda. Looked at from a political perspective, this appropriation of the revolutionary notion of the 'new beginning' for transitional settings has an inherently ambiguous quality. The chapter argues that the injustices of the past live on after the 'transformative event' and require political communities to sustain a 'work of memory' – a work, that is, of continually sifting through the past and digesting its significance with respect to keeping faith with the promise of 'never again'.
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ItemNo Preview AvailableNegotiating religious orthodoxy, state neutrality and religious freedom The case of the Ahmadiyah controversy in post-Suharto IndonesiaAbdi, S ; Topidi, K ; Fielder, L (ROUTLEDGE, 2016)
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ItemNo Preview AvailableNegotiating religious orthodoxy, state neutrality and religious freedomAbdi, S (Routledge, 2016-06-10)
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ItemIslam, religious minorities, and the challenge of the blasphemy laws: A close look at the current liberal muslim discourseAbdi, S ; Platzdasch, B ; Saravanamuttu, J (Cambridge University Press, 2014-01-01)
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ItemResistance: disrupt the information flowGoodwin, M ; Nash, E ; Goodwin, M (Gallery Services, Townsville City Council, 2015-12-18)If art is a political act, then media art is a technologically enabled one. How can screen based media embody the notion of resistance? What is it that we see when we peer out of the virtual panopticon of our contemporary cities, shopping malls, office blocks and vessels of transportation with our networked devices of communication? Indeed by making art we are conducting an act of resistance. We are subverting accepted norms, we are stepping outside of the media stream – or directly in front of it – and making a calculated statement. Through media interventions we can point toward alternative pathways, expose bias and stand apart from the common binary politics of our times. As Graham Harman notes, “As philosophers, we're not supposed to be swept along with the Zeitgeist, we’re supposed to be resisting it.” We resist political rhetoric by asking questions of language, of history and of context. We resist surveillance by pointing the camera back at the watchers. We resist the recurring bile of racism, sexism and bigotry by subverting stereotypes by creating new forms of beauty and a more interconnected sense of identity. We resist the predatory nature of capital and the upward linearity of growth and accumulation by challenging notions of value and currency with alternative definitions of wealth and new expressions of personal freedom. For Screenrab7 all forms of resistance will be considered: the politics of resistance, the physics of resistance, the messiness of resistance, and the urgency of resistance. In this age of contradiction – and as Bruce Sterling has observed, of “favela chic and gothic high-tech” – it is the duality of our relationship to the forces of order and control that is under examination here. We resist, not as some might have it – to impede or to destroy the status quo – indeed, that would be too obvious, too easy, and too predictable. Resistance through art making, through creative expression, is subtler and more nuanced than that. The act of resistance in art, as in life, is to demand a more complex, empathetic and interconnected human experience.
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ItemVelocity: change / at speed / everywhereGoodwin, M ; Nash, E ; Goodwin, M (Gallery Services, Townsville City Council, 2014-09-20)The rushing up of the Earth from below as we leap into the unknown is a strong pervasive force. The comings and goings of objects, the rhizomatic fever of life - of memories and of perception - is the stuff of both nature and the machine but also the stuff of change - of a compelling need to move forward, at pace. Since the millennium we have been moving away in linear time from the trauma of the 20th century, history accumulating behind us as we hurtle towards an undefined future. Yet there also seems to be a reductive velocity at work, the future appears to be expanding only in our mind’s eye - in the stories we tell ourselves, in the frames of the cinematic moment and the pixels of our most fantastic dreaming. If we stand still long enough the hyper-reality becomes apparent. Information is expanding at an exponential rate – images, sound and text – authoring a new present-future space of mobility, of interconnectedness and most of all of rapid accelerating change. Equal parts chaos and perfection – of truth and of fiction - a dark and light exposure. It is the making of us, this velocity of things. It is both our return to Earth and our mastery of its physics. Our identity and our collective history is fast becoming a vast data repository of machine vision - a rapid prototyping of our future selves. Financial transactions, personal communications, intimate moments exist inside this simulation of machine speed. Artificial intelligence observes, correlates, measures and makes split second decisions on our behalf. Notions of surveillance, fears for our privacy, the dilution of our identity and the voyeuristic connotations of relational databases make up the machine’s vision of us and our world. Can we keep apace of these algorithmic patterns? Can we author new vistas, new dreamscapes, new directions? Meanwhile, history keeps up a steady persistent pace: the image loops, the cogs turn, the velocity increases, and the hyper-real maintains its seductive play.
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ItemThe capstone experience: five principles for a connected curriculumGoodwin, M ; Are, K ; Schmitz, MM ; Goodwin-Hawkins, B ; Aayeshah, W ; Lakey, E ; Bridgstock, R (Edward Elgar Publishing, 2019-01-01)This paper’s focus is the redesign and re-imagining of a selection of final-year capstone units in the Bachelor of Arts program at the University of Melbourne. We describe the five principles that were our blueprint for reinterpreting the capstone as a sequence of authentic, reflective, creative, celebratory and networked experiences. We view connectedness as having broader social and industrial implications beyond just purely disciplinary knowledge.
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ItemNo Preview AvailableNothing emerges from nothingBunyan, M ; Evans, J (Australian Scholarly Publishing, 2019-07-01)The gift of friendship between two people is a truly magical thing, a relationship built on the nurturing of respect between them, over time. The alchemical gift of a photograph does not arrive fully formed in a moment, for its magic is grounded in the context of its taking, informed by the wisdom, vision and creativity of the photographer. How Joyce Evans was touched by a connection between photography and friendship is another transformative process, one that leads her to reassess her relationship to the world through the act of taking photographs. Nothing ever emerges from nothing.
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ItemSpectral bodies of thought: a materialist feminist approach to Conceptual WritingROZYNSKI, K ; Strange, S ; Hetherington, P ; Web, J (Cambridge Scholars P, 2014)