School of Culture and Communication - Research Publications

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Now showing 1 - 10 of 2080
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    Artists Look at Art: Activating the Peter Townsend Collection of Chinese prints at the National Gallery of Australia
    Roberts, C ; Cains, C ; Xu Bing, ; Liu Ding, ; Liu Qingyuan, ; See, P ; Shen Jiawei, ; Wang Zhiyuan, ; Lu Yinghua, C ; Cai Tao, ; Li Kang, ; Townsend, C ; Huang Yuan, ; Wang Renyin, ; Huang Yuhan, T ; Thompson, B (National Gallery of Australia, 2023)
    In 1985 the National Gallery of Australian acquired 278 woodblock prints collected by British-born Peter Townsend during his period of residence in China between 1942 and 1951. The acquisition of this group of works, known as the Peter Townsend Collection, was made possible by the vision and generosity of the Australia-China Council. The collection consists of woodcuts and wood-engravings created during a period of great political, social and economic upheaval. The prints represent the modernisation of an ancient Chinese art form. Artists drew inspiration from European and American expressionism and Soviet-style Socialist Realism as well as traditional Chinese folk styles, resulting in striking innovations, as many formally trained artists revitalised familiar modes of visual expression for revolutionary ends. The project Artists Look at Art was a two-day workshop initiated by the University of Melbourne and the National Gallery of Australia which generated artists’ and academics’ responses to the collection, to create an information resource that will make the Peter Townsend Collection more accessible to members of the public and enrich the information about the collection currently available via the Gallery’s website. The workshop brought together participants in Australia and China and was simultaneously hosted onsite and online. Artists and art historians were selected for their connections to the Townsend collection, through their practice, training or the insights they were likely to bring to the workshop viewing and discussions. Several of the artists are represented in the National Collection. High resolution images of the Townsend collection were sent to all participants and each participant selected five works to discuss. The selected works were displayed at the workshop.The two-day workshop was video-recorded in the Learning Studio at the National Gallery. The outcome of the workshop is this edited video.
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    ‘Cadar Garis Lucu’ and the mediated political subjectivity of Muslim women in Indonesia
    Dwifatma, A ; Beta, A (Taylor and Francis Group, 2024)
    The growing use of the internet, especially in urban centres, has made social media the contemporary discursive battleground for Muslims to dispute their cultural and political subjectivities. Muslim womanhood, particularly, has always been a concept under constant scrutiny. Previously, narratives about the ideal Muslim women were dominated by male preachers in mosques and public seminars. Nonetheless, social media has given Muslim women a platform to express what their cultural identity entails, the problems they experience, and their aspirations. This paper analyses the cyberspace activism strategy used by so-called controversial Muslim women group to express their political subjectivity within the Muslims community. This paper focuses on the Instagram account of Cadar Garis Lucu, a self-proclaimed feminist niqabi (face-veiled) community. Content analysis of Cadar Garis Lucu’s Instagram posts and in-depth interviews with its members revealed their three discursive strategies: emphasising authenticity – that their choice of face veiling is their own choice; appealing to moderate Indonesian Muslims’ interpretations of religion as an expression of love and plurality; and utilising collaborations with other similarly moderate religious social media accounts, to further justify face-veiled as a part of moderate Islam in Indonesia.
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    The Point is the Circle and the Circle is the Point
    Roberts, C ; Aitken, A (Buxton Contemporary, The University of Melbourne, 2023-04-14)
    Artist monograph
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    Exporting the Baroque
    Martin, M ; Beaven, L ; Marshall, D (Hamilton Gallery, 2023)
    By the late seventeenth century, it is not unreasonable to speak of the baroque as a global visual idiom. European dynastic ambition, trade and missionary fervour saw baroque art carried across Asia and the Americas, where not only new markets for such art were created, but also important production centres, with non-European artists adapting European designs to indigenous materials and techniques, creating new and dynamic expressions of the baroque.
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    A Deep Wound: Interview with Felipe Gálvez on his debut film The Settlers (2023)
    Escobar Duenas, C (The Morning Star, 2024-02-15)
    Cristóbal Escobar speaks to filmmaker Felipe Gálvez about his debut film The Settlers and the massacre of the Selk’nam people in early 20th-century Chile.
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    Climate Justice in the Pacific
    Chandler, J (Morry Schwartz, 2023)
    The lack of global action on the climate crisis has left grassroots groups leading the fight against catastrophe in PNG. WITH THE OUTBOARD CRANKED UP, it takes about three hours to navigate from Kikori town downriver to the village of Veraibari on the Gulf of Papua. Skipper and spotter must pick a careful route through the meanderings of the delta, its murky avenues cutting through tangled green – a glimpse of the greatest expanse of mangroves in Papua New Guinea. Dodging driftwood, skirting sandbanks, they every so often throttle back to a crawl so as not to swamp the canoes of fishers and slow-lane commuters. https://www.themonthly.com.au/issue/2023/april/jo-chandler/climate-justice-pacific
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    Representing alkaline hydrolysis: a material-semiotic analysis of an alternative to burial and cremation
    Arnold, M ; Kohn, T ; Nansen, B ; Allison, F (Taylor and Francis Group, 2024)
    Alkaline hydrolysis can lay claim to being a resource-efficient, effective, economical and environmentally sound method of final body disposition, relative to burial and cremation. On technical grounds it may have much to recommend it, however, like many other technical innovations, its take-up is hindered by the fact that it lacks a clear position in the public imagination. For this position to take shape, an understanding of just what it is and what it offers is required by proponents in the funeral industry who advise the bereaved, as well as by the material representations of the alkaline hydrolysis technologies themselves. In this article, we describe and analyse four extant alternative material and discursive forms of alkaline hydrolysis and how they variously occupy the fraught space where morality, death and marketing converge. Currently, each of the four forms of alkaline hydrolysis struggle to represent themselves in a public narrative that conveys their different ontologies and their competitive advantage, relative to burial and cremation, and this paper describes some key rhetorical and technical aspects of these struggles.
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    Can ChatGPT Edit Fiction? 4 professional editors asked AI to do their job – and it ruined their short story
    Day, K (The Conversation Media Group, 2024-02-13)
    Writers have been using AI tools for years – from Microsoft Word’s spellcheck (which often makes unwanted corrections) to the passive-aggressive Grammarly. But ChatGPT is different. ChatGPT’s natural language processing enables a dialogue, much like a conversation – albeit with a slightly odd acquaintance. And it can generate vast amounts of copy, quickly, in response to queries posed in ordinary, everyday language. This suggests, at least superficially, it can do some of the work a book editor does. We are professional editors, with extensive experience in the Australian book publishing industry, who wanted to know how ChatGPT would perform when compared to a human editor. To find out, we decided to ask it to edit a short story that had already been worked on by human editors – and we compared the results.
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    Dramaturgies of Climate Crisis
    Wyatt, D ; Pfefferkorn, J (IATC, 2023)
    How is contemporary Australian performance responding to the climate crisis and what does this work teach us about inhabiting an emergent reality that is, as Timothy Morton has observed, “much larger, and more intractable, than we had supposed”? Drawing upon Marianne Van Kerkhoven’s “dramaturgy of the spectator” and the “oceanic dramaturgy” of Pacific Island performance (Hannah et al.), this article examines the Refuge art program, a six-year experiment in participatory performance and emergency preparedness that took place in Naarm/Melbourne between 2016–21. The dramaturgy of Refuge was based upon forging connections between communities, knowledges and practices not normally brought together. These interconnections made the reality of climate crisis apparent in new ways, as well as opening navigational pathways where others have seen only dead ends.