Making a living as an artist, whatever the discipline, is challenging. In addition to skills and talents, artists need resilience, adaptability, creativity, and the ability to withstand endless setbacks and rejections. Most critically, they need an on-going, stable income. Several studies have demonstrated that the income of most artists is usually very low. To survive, artists often find other sources of income aside from their creative work. Ideally, they also need a place to work, the capacity to do their work and a sense of validation from others of their work. When your livelihood disappears over night because of a pandemic, how do you then sustain that creative work? Using multiple sources of data and a qualitative methodology, including case studies and interviews, this paper addresses the ways that artists and producers from different art forms have addressed these challenges in Australia. It is concluded that while the impact of the pandemic on artists’ lives has been considerable, some artists have been able to survive, adapt, and move forward.

This study examines how three different motivations for using an SNS (i.e., self-expression, belonging, and memory archiving) influence multi-facets of privacy boundary management on the platform mediated by self-extension to it. In recognition of the fact that information management on SNSs often goes beyond the "disclosure-withdrawal" dichotomy, the study investigates the relationships between the three SNS motives and privacy boundary management strategies (i.e., collective boundary and boundary turbulence management). An online survey with Facebook users (N = 305) finds that the three Facebook motivations are positively correlated to users' self-extension to Facebook. The motivations for using Facebook are positively associated with the management of different layers of privacy boundaries (i.e., basic, sensitive, and highly sensitive), when Facebook self-extension is mediated. In addition, the three motives have indirect associations with potential boundary turbulence management mediated by Facebook self-extension. Extending the classic idea that privacy is deeply rooted in the self, the study demonstrates that perceiving an SNS as part of the self-system constitutes a significant underlying psychological factor that explains the linkage between motives for using SNSs and privacy management.

Gathering together is an essay which approaches the nature of collections and their diversity. In this instance, artist Melinda Harper has worked with the Castlemaine art and history collections and juxtaposed her own paintings and embroideries to reassess both the collection and her own work.

This article looks into celebrity politicians’ social media campaigns during Indonesia’s 2019 elections. It examines the visual political communication strategies of celebrity politicians, particularly how they use their fame and celebrity status to make claims as political candidates and how they transform their fame into political legitimacy through social media. In the process of establishing their political legitimacy, celebrity politicians deploy “affective power.” While conventional politicians may use similar strategies on social media, the celebrity politicians’ online performance styles are foundational in how the celebrities construct and maintain their often-precarious political legitimacy to the public. Three patterns emerged. First, celebrity politicians used images of them surrounded by people to indicate their celebrity status and political legitimacy. Second, they highlighted their work ethic and commitment to the public cause. Third, they used visual markers of allegiance to the presidential candidates to claim their political legitimacy. This article contributes to the study of celebrity politicians by extending our understanding of the performance and construction of political legitimacy by celebrity politicians on social media.

In this article I address the tensions between normative political philosophy and aesthetic cosmopolitanism. Jurgen Habermas and Jacques Derrida have been two of the most influential philosophers to engage with the political and ethical questions of cosmopolitanism. Habermas has drawn on the foundations established by Immanuel Kant and set out to define an institutional framework that could secure the rights of people in an age of mobility. Derrida’s emphasis is more heavily slanted to ethical relations rather than geo-political structures. He reversed Kant’s starting point, by placing the exposure to the other and the necessity of hospitality as the basis of freedom and truth. While both Habermas and Derrida have developed their political philosophy by working in close touch with Kant, the transcendental aspects of his thinking is now totally absent in the contemporary debates. As a general rule political philosophy has averted its gaze from the cosmos, and more generally it has to be noted that it has bracketed the founding philosophical concepts of aesthetics and physis. The focus is mostly on the terrain of anthropos, polis and the nomos. In short, the discussion begins and ends within the normative parameters of cosmopolitanism. By contrast, artists from the pioneering modernists like Malevich to contemporary figures such as Saraceno have never abandoned the quest for cosmogony. The ethical orientation of aesthetic cosmopolitanism appears to co-exist with a wider claim of belonging to the cosmos. In this article I contrast the orientation and scope of thinking between normative and aesthetic cosmopolitanism in order to reframe the spheres of connections in contemporary thought.