School of Historical and Philosophical Studies - Research Publications
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ItemCultural responses to the migration of the barn swallow in Europe(ANU Press, 2019-05-09)This paper investigates the place of barn swallows in European folklore and science from the Bronze Age to the nineteenth century. It takes the swallow’s natural migratory patterns as a starting point, and investigates how different cultural groups across this period have responded to the bird’s departure in autumn and its subsequent return every spring. While my analysis is focused on classical European texts, including scientifc and theological writings, I have also considered the swallow’s representation in art. The aim of this article is to build a longue durée account of how beliefs about the swallow have evolved over time, even as the bird’s migratory patterns have remained the same. As I argue, the influence of classical texts on medieval and Renaissance thought in Europe allows us to consider a temporal progression (and sometimes regression) in the way barn swallow migration was explained and understood.
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ItemThe potential role of citizen conservation in re-shaping approaches to murals in an urban context(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2016)Public visual spaces, populated by a blend of community murals, unauthorised street art, and historic painted mercantile signs, are often the mark of an urban environment that is both progressive and eclectic. Changes in the aesthetic and cultural value of these urban mural forms have led to an increase in the appreciation and, in some instances, promotion of their artistic merit and cultural significance as examples of public art. However, examining the significance of these works, with a view to implementing a conservation approach is problematic. This is due to a number of practical and theoretical considerations that are primarily a result of the ephemeral existence of urban murals outside conventional exhibition spaces, and issues associated with their often fragmented ownership and uncertain authorship. Consequently, larger thinking on the interpretation, conservation assessment, and advocacy for the conservation of urban murals are required. Key to defining and implementing such strategies is contextualising the public visual spaces that these murals occupy and, as part of this, the local and wider communities’ perception of these murals as culturally significant objects as well as fostering awareness and understanding of appropriate measures aimed at their conservation. This paper examines the role of citizen science, or crowd-sourcing, of local community members in establishing a conservation dialogue and generating conservation- relevant data on urban murals. It looks specifically at a project involving a collection of in situ historic painted mercantile signs — also known as ghost signs — in the City of Port Phillip, Melbourne, Australia. The project fostered the establishment of an informed and open dialogue between conservation specialists and participants from the local community on the significance of local ghost signs whilst transferring knowledge on conservation processes and assessment methods. Working directly with community members, a programme was designed in which conservation and community knowledge of these urban art forms, could be collected and exchanged across digital platforms. This enabled researchers to examine how citizen science can be utilised as a research tool as well as a means to advocate for the conservation of collections of urban murals. It created the opportunity to consider the role of non-specialists and shared authorities in the collection and collation of conservation- relevant data and how information generated from what we call citizen conservation projects, can inform the way in which conservators evaluate and prioritize the conservation of urban cultural heritage. The data gathered and interpreted proved to be the most effective means of ‘conserving’ these often ephemeral forms of cultural material.
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ItemInterviewing artists exhibited in The Field (1968): The use of acrylic paints in a seminal exhibition of Australian colour field painting(ROUTLEDGE JOURNALS, TAYLOR & FRANCIS LTD, 2016-01-01)Artist's interviews are a timely and important historical record of the technical significance of Australian colour field painting. The findings correlate and corroborate ongoing conservation research into the works featured in The Field, providing evidence to support the take-up and distribution of early acrylic paints in Australia. Overall, the artists' responses demonstrate a range of working methods and choice of materials. Col Jordan and Alun Leach-Jones were found to be fairly consistent with their choice of acrylic brands and technique, while other artists, like Ron Robertson-Swann, were more flexible and experimental in their approach. PVAC (polyvinyl acetate) paints were used along with, or in place of, acrylic emulsion paints for practical and economic reasons, revealing the challenges involved with investigating acrylic paints which emerged alongside a variety of other synthetic paints. These interviews reinforce the value of conservation enquiry to the field of art history and exhibition development.
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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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ItemEditorial: AICCM Bulletin 2018 Vol 39 Issue 1(Taylor & Francis Ltd, 2018-01-02)
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ItemEditorial: AICCM Bulletin 2019 Vol 40 Issue 2(Taylor & Francis Ltd, 2019-07-03)
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ItemOur chemical cultural heritage: Hartung (1893-1979)(Royal Australian Chemical Institute, 2010)The history and evolution of the chemical cultural heritage of Australia is discussed. The dream of Ernst Johannes Hartung for the establishment of a new purpose-built building for chemistry at the University of Melbourne was finally realized.
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ItemNo Preview AvailableOur Chemical cultural heritage: Masson and Rivett (1885-1961)(Royal Australian Chemical Institute, 2010)A new phase for chemistry at the University of Melbourne began in 1886, featuring David Masson and Albert Rivett, who also had instrumental roles in the birth of CSIRO.
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ItemOur chemical cultural heritage: Macadam and Kirkland (1862-85)(Royal Australian Chemical Institute, 2009)In the November edition (p. 20), I provided an overview of the Chemistry Collection at the University of Melbourne, its significance and various projects I have been involved with that aim to make the collection available to the public. I hinted at how many of the items in the collection are associated with key figures in the history of chemistry and science not only at the University of Melbourne but also on national and international levels. These early teachers of chemistry are featured in an inaugural exhibition in the foyer of the Chemistry Building. Here I will focus on the early days, when chemistry was taught through the Medical School and the two main chemistry lecturers of this time: Macadam and Kirkland.
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ItemOur chemical cultural heritage: The University of Melbourne Chemistry Collection(Royal Australian Chemical Institute, 2009)The key issues covered and a description of The University of Melbourne Chemistry Collection is discussed. The collection is being temporarily housed at the university, until it is returned to its original home, The School of Chemistry.