Confronted by contemporary neoliberal crisis, apparently rooted in economistic, or even nihilistic worldviews, the task for the [sociologist] is not simply to impose … critique from without, but to...

_Forest Family_ highlights the importance of old-growth forests to Australian art, community, culture, history, and politics. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.

The history of Australian art has been punctuated with survey exhibitions in London from the late 19th century to the present, just as our artists were drawn to Europe both to study and for the possibilities of wider recognition. This review article focuses on the post-war years from 1950 to 1965, a high point of Australian cultural expatriatism focused on London – now viewed as a significant episode in the history of Australian art. The two most influential (...) figures supporting key Australian artists were Kenneth Clark (promoting the work of Sidney Nolan and Russell Drysdale) and Bryan Robertson, director of the avant-gardist Whitechapel Gallery. Robertson was responsible for organizing the most significant of these exhibitions of Australian art: Australian Painting Today in 1961, focusing on the work of a younger generation of artists that included Charles Blackman, John Olsen, Fred Williams and Brett Whiteley. Australian’s most significant art historian, Bernard Smith, who had also sought to bring about comparable exhibitions, but without success, challenged the orientation and the cultural framing by Robertson and the young Australian art critic Robert Hughes in the catalogue of this key exhibition. (shrink)

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a key role: (...) the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution. (shrink)

Presently, Australian art histories do not adequately account for the existence of Aboriginal art. They tend to re-present and accentuate European constructions of difference, otherness and isolation, rather than explore sites of intersection or look for similarities. A radical readjustment of perspective is needed in order to address this imbalance. This article suggests that although Smith’s writing on Aboriginal art does not provide a suitable basis for this revision, his evaluation of European visual culture during the early exploration of (...) the Pacific might form a useful starting point for an art historical reassessment of the relationship between Aboriginal and Australian art. (shrink)

In light of the growing need to pay attention to general public opinions and sentiments toward AI, this paper examines the levels of understandings amongst the Australian public toward the increased societal use of AI technologies. Drawing on a nationally representative survey of 2019 adults across Australia, the paper examines how aware people consider themselves to be of recent developments in AI; variations in popular conceptions of what AI is; and the extent to which levels of support for AI (...) are liable to alter with additional exposure to information about AI. While a majority of respondents consider themselves to have little knowledge and familiarity with the topic of AI, the survey nevertheless finds considerable range of relatively ‘plausible’ basic understandings of what AI is. Significantly, repeated questioning highlights a willingness among many people to reassess their opinions once having received further information about AI, and being asked to think through issues relating to AI and society. These patterns remain relatively consistent, regardless of respondents’ political orientation, income, social class and other demographic characteristics. As such, the paper concludes by considering how these findings provide support for the development of public education efforts to further enhance what might be termed ‘public understanding of AI’. (shrink)

Alfred Gell puts forward a new anthropological theory of visual art, seen as a form of instrumental action: the making of things as a means of influencing the thoughts and actions of others. He shows how art objects embody complex intentionalities and mediate social agency, and he explores the psychology of patterns and perceptions, art and personhood, the control of knowledge, and the interpretation of meaning, drawing upon a diversity of artistic traditions--European, Indian, Polynesian, Melanesian, and Australian. Art and (...) Agency was completed just before Alfred Gell's death at the age of 51 in January 1997. It embodies the intellectual bravura, lively wit, vigour, and erudition for which he was admired, and will stand as an enduring testament to one of the most gifted anthropologists of his generation. (shrink)

Feminist care ethicshas for some time guided contemporary artists and curators in their search for sustaining and sustainable practices in the current neoliberal backwash and climate crisis. With a focus on current Australian art in the context of recent care ethics scholarship, this article considers what contemporary art – in its processes as well as aesthetic outcomes – can offer in imagining and practising care for the human and more-than-human world. The article focuses on a series of exhibitions that (...) comprised a key exploratory methodology of The Care Project: Feminism and art in neoliberal times (La Trobe University, 2019–2022). The exhibitions featured the work of regionally based artists. This accent on creative practices emerging from the experience of living in regional communities that are often on the frontline of climate change and social inequality offers unique perspectives on care ethics in practice. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months (July to September 2011) between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and (...) TV presenter. He compiled and produced four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom (1995) and ABC TV’s hit documentary series/CD/DVD Long Way to the Top (2001). In 2006, a new US edition of his first book Inner City Sound (with soundtrack CD) was published. His Golden Miles: Sex, Speed and the Australian Muscle Car (2005) has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

Refuting the assumption that art is a representational practice, Bolt's striking argument engages with the work of Heidegger, Deleuze and Guattari, C.S.Peirce and Judith Butler to argue for a performative relationship between art and artist. Drawing on themes as diverse as the work of Cezanne and of Francis Bacon, the transubstantiation of the Catholic sacrament and Wilde's novel The Picture of Dorian Gray , she challenges the metaphor of light as enlightenment, reconceiving this revealing light as the blinding glare of (...) the Australian sun, and suggests that too much light may in fact reveal nothing. Finally she asks: how does an embodied practice fare within the culture of conceptual art? (shrink)

Postcolonial discourse is incredibly diverse and postcolonial art in Australia has numerous critical modes. This paper describes an approach in Contemporary Indigenous art that attempts a critique of the law from within the law rather than outside of it. It takes a radical form of over-proximity, rather than avant-garde distance, and finds the gap and failure in law’s attempt at creating legal subjects of us all. In the work of Gordon Bennett, Danie Mellor and the duo Adam Geczy and Adam (...) Hill, there is a working through the political and legal ramifications of the Indigenous subject in contemporary Australia. The focus on processes of initiation and subjectivization, or what Althusser called “interpellation” and show the effects of this interpellation in the Indigenous subject and offer modes of resistance. The artists are informed by Lacanian notions of subjectivization and utilise this approach to semiotics and power as the starting point for their critique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 57-60 [Access article in PDF] The Art of Impurity Patsy Hallen I was taken aback when I received a request from the West Australian government to write a response to the question, "What Is The Ethical Foundation For Planning A More Sustainable Future?" My first reaction was: Does not every one want a future? And doesn't this necessarily mean a commitment to (...) sustainability? Would not everyone earnestly want a more sustainable future?To have to ask the question at all shows just how far out of balance our crazy, greed-driven culture is. To ask the question is to imply that many people do not want to live on, or, at least, do not want the next generation to live on. It was like being asked: How can one morally justify a flourishing, joyful life for every being on earth?In a profound sense, there cannot and need not be any moral justification for sustainability because sustainability is the foundation for morality, not the other way around. As the ancient Greek philosopher Aristotle cautioned, it shows a lack of education to try and prove everything. You can't prove logic, for example, because logic presupposes proof. Likewise, our ultimate norms such as "Love is better than hate" must be gained by intuition; they can't be proved.No sooner had I received this request than I became ill (no causal connection, I assure you!) and in my fever-induced reveries I penned imaginary responses. I wrote:"The Ethical Foundation of Sustainability is 'Joy' or 'Life' or 'An Ethic of Flourishing'." [End Page 57]'Survival' seemed the most appropriate candidate (especially as the fever escalated), until I settled on Love.Of course, Love.* * *He was huge. He was unbelievably huge. He just kept coming and coming. He was so close.His blue-grey body turned the intensely deep blue depths into a translucent green, like an enormous halo hovering just below the surface.I was drawn into his presence like ink into blotting paper.He blew, rhythmically expelling air. I, too, exhaled and this made me 'come to', returning me to my body. I realized I was wet-by his breath. I had been baptized, the most magnificent baptism one could imagine.In my baptism, luckily, I was spared being hit by a dollop of phlegm.It does happen.His breath smelt... not sweet but not sour-primordial, like the origin of life. I became aware of someone softly counting the breaths: "17... 18... 19..." it seemed everlasting.Then after 19 breaths, he dove, not with a rush, just leisurely, almost seamlessly, like the pulse of life itself, hardly a splash.I hadn't even remembered to be seasick.He is one of the largest animals ever to have lived on earth. His tongue weighs more than an elephant. He measures a length of 26 meters, a weight of around 160 tons.This is the Pygmy Blue Whale, Balaenoptera Brevicanda, hunted close to extinction by the whaling industry, and now slowly returning from the brink. Whoever named him "Pygmy" must have had delusions of grandeur.We were 30 nautical miles off the west end of Rottenest Island (near Perth), on board "Whalesong," a 13-meter catamaran built and sailed by Curt and Mich Jenner, who have been researching whales on the West Australian coast for over 10 years.We were at "the trench," where Pygmies feed. Mich and Curt had spent the summer trying to learn about this Rorqual Whale, before sailing north for the winter to follow Humpbacks on their annual migratory path from their feeding grounds in the southern ocean to their breeding enclaves in the Kimberley.Very little is known about Pygmy Blues. They are a tropical subspecies of the Blue Whale, but might possibly be a new species altogether. No one [End Page 58] knows where they go to mate or to give birth. Very few people have even seen them. Like the Whale Sharks, they are one of the last unfathomable mysteries of the planet.We stayed with this foundational animal for 2 hours, until the last... (shrink)

Discussion by a leading Australian philosopher of the fundamental issues in the arts in its broadest sense, exploring such themes as art and morality, aesthetics, and art as the source of truth. The author is Emeritus Professor of the History of Ideas at ANU, Canberra, and wrote '100 Years of Philosophy'. Includes an index of names and key terms.

I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can (...) this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of Indigenous meanings, what is the politics of the impact of that painting? (shrink)

This paper, based on a talk given at the Art Gallery of New South Wales, is presented as an example of philosophy done in an art gallery. Its subject is Tom Roberts’ painting Holiday Sketch at Coogee (1888), and as well as responding directly to the painting in the environment of the gallery, it draws on the author's memories of seeing that painting in other times and places. It draws on these personal experiences to relate Roberts’ painting to a controversial (...) idea laid out by art historian Heinrich Wölfflin, and to more recent conventionalist and resemblance theories of pictorial representation. It finishes by affirming one of Roberts’ important achievements: his discarding of inherited European ways of picture‐making, and his place among the first generation of non‐indigenous artists to represent the real colours of the Australian landscape. (shrink)

Artificial Intelligence (AI) is taking centre stage in economic growth and business operations alike. Public discourse about the practical and ethical implications of AI has mainly focussed on the societal level. There is an emerging knowledge base on AI risks to human rights around data security and privacy concerns. A separate strand of work has highlighted the stresses of working in the gig economy. This prevailing focus on human rights and gig impacts has been at the expense of a closer (...) look at how AI may be reshaping traditional workplace relations and, more specifically, workplace health and safety. To address this gap, we outline a conceptual model for developing an AI Work Health and Safety (WHS) Scorecard as a tool to assess and manage the potential risks and hazards to workers resulting from AI use in a workplace. A qualitative, practice-led research study of AI adopters was used to generate and test a novel list of potential AI risks to worker health and safety. Risks were identified after cross-referencing Australian AI Ethics Principles and Principles of Good Work Design with AI ideation, design and implementation stages captured by the AI Canvas, a framework otherwise used for assessing the commercial potential of AI to a business. The unique contribution of this research is the development of a novel matrix itemising currently known or anticipated risks to the WHS and ethical aspects at each AI adoption stage. (shrink)

The last 20 years have seen the development of a new form of therapy, compassion focused therapy. Although CFT has a growing evidence base, there have been few studies of CFT outside of an Anglo-European cultural context. In this paper, we ask: Might a CFT-based approach be of value for Indigenous Australians? If so, what kind of cultural adaptations might be needed? We report the findings from a pilot study of an arts-based compassion skills training group, in which usual CFT (...) group processes were significantly adapted to meet the needs of Indigenous Australians. At face value, CFT appeared to be a promising approach to enhancing the social and emotional wellbeing of Australia’s Indigenous peoples. However, despite initial consultations with Indigenous health professionals, the first attempts to offer a more conventional group-based CFT to Indigenous clients were largely unsuccessful. Following a review and advice from two Indigenous clients, we combined elements of CFT with visual arts to develop a new approach, “arts-based compassion skills training”. This paper reports an evaluation of this pilot ABCST group. The group had 6 × 4 h sessions of ABCST, facilitated by two psychologists and two artists. There were 10 participants, who attended between 2 and 6 sessions: five were clients, five were health professionals. Between 1 and 3 months later, six of the participants were interviewed. Qualitative analysis of interview data identified that two key processes—creating a positive group atmosphere and channeling compassion skills training through the medium of visual arts—led to four positive outcomes for participants: planting the seeds of new understandings, embodying the skills of compassion, strengthening relationships with others, and evolving a more self-compassionate relationship. We suggest that the preliminary results are sufficiently encouraging to warrant further development of ABCST in Indigenous communities. (shrink)

Since all theories of knowing deal with the being of subjects, objects, instruments and environments, they can be viewed as onto-epistemological. This chapter examines key ideas that emerge from the work of Julia Kristeva – 'the speaking subject', 'materiality of language' and 'heterogeneity' – to demonstrate how ontology and epistemology are inextricably entwined in knowledge production. Kristeva also affirms both the agency of matter and the dimension of human/subjective agency implicated in cultural production. This is contrasted with Gilles Deleuze and (...) Felix Guattari’s account creative practice. The article also draws on the artistic work of researcher-practitioner Brian Martin, and his account of the relationship between Indigenous Australian art and culture to demonstrate that in an Indigenous world view, the real, the immaterial, the imaginary and the representational occur concurrently. (shrink)

The seventies period in Australia is often referred to as the “anything goes” decade. It is a label that gives a sense of the profusion of antiestablishment modes that emerged in response to calls for social and political change that reverberated around the globe around that time. As a time of immense change in the Australian art scene, the seventies would influence the development of art into the contemporary era. The period‟s diversity, though, has presented difficulty for Australian (...) art historiography. Despite the flowering of arts activity during the seventies era—and probably also because of it—the period remains largely unaccounted for by the Australian canon. In retrospect, the seventies can be seen as a period of crucial importance for Australia‟s embrace of contemporary art. Many of the tendencies currently identified with the contemporary era—its preoccupation with the present moment, awareness of the plurality of existence, rejection of hierarchies, resistance to hegemonic domination, and a sense of a global community—were inaugurated during the seventies period. Art-historically, however, it appears as a “gap” in the narration of Australian art‟s development which can be explained neither by the modernism which preceded it, nor by postmodernism. In Australia, the seventies saw a rash of new art “movements” emerge almost simultaneously. Feminist, Pop, Conceptual art, Performance, Protest, Craft, and Aboriginal art as fine art are some of the forms that emerged as part of the concerted questioning and revolt that were characteristic of the period. Art practice changed radically at this time—with challenges both to the art object mounted by conceptualism, and to its hierarchical traditions prompted by feminism and other historically marginalised groups. While no style dominated the period, most of the art-making shared tendencies and concerns, and was driven by a common vision that had its roots in the era‟s politically charged milieu. The focus of this paper is the importance for many artists of working collectively and collaboratively in their pursuit of a new cultural paradigm. Often it was only through joint endeavour that recognition of the multiple valid alternatives, through which many began to define themselves, was possible. However, the embrace of the idea of collective enterprise in itself also facilitated new ways to think about art and the manner and meaning of its production. The purpose here, therefore, is to draw attention to the important ways in which organisational collectivism and collaboration contributed to the seventies as a period of revolutionary transformation in art practice that would propel Australian art into the contemporary era. (shrink)

In a systematic investigation of national art histories, Bernard Smith’s Place, Taste and Tradition: A Study of Australian Art since 1788, first published in 1945, would likely emerge as an Ur-text of the genre. The book’s rewriting of Australian art history within a Marxist tradition of ‘culturalist’ criticism was a major advance on the available models. Its success stems in no small part from its judicious and balanced account of how social forces intersect. The book privileges economic production (...) as a primary force, as does any Marxian text deserving of the name, but no more than it privileges cultural production and reception as primary forces. (shrink)

Crónica del congreso internacional ¿Art and Time¿, celebrado en la School of Humanities de la ANU (Australian Nacional University), en Canberra, durante los días 3 y 4 de noviembre de 2005.

In 2008, renowned Australian composer Peter Sculthorpe remarked that almost everything he has written since the early 1960s has been influenced by Indigenous music “because that was a music … shaped by the landscape over 50,000 years.” 3 His preference for accumulating “an effect of relentless prolongation” through the use of long drones has seen his music fail, until recently, to appeal to an Australian ear attuned to Bach and Mozart. 4 His aim, however, has not been to (...) satisfy the European-trained ear, but to “mirror the Australian outback”; to capture a sense of time and space that many Australians have repeatedly failed to access. 5 Sculthorpe‟s efforts to form connections with the landscape are by no means singular; representations of the bush have dominated the arts from early settlement, albeit in a largely negative fashion. The contradiction between an accepted Australian vision of the landscape as empty, unwelcoming bush or desert, and the social reality of a nation living mainly in coastal communities has not gone unnoticed. 6 Nevertheless, contemplating this “accepted vision” alongside the lukewarm reception of Sculthorpe‟s work gives rise to the following question: what conclusions, if any, may be drawn from insistently negative representations of the landscape? In consideration of this question, I propose an analysis of two texts in which the representations of landscape have been overlooked in favour of feminist or classical readings: Barbara Baynton‟s Bush Studies and Joan Lindsay‟s Picnic at Hanging Rock. If “landscape is personal and tribal history made visible,” what is one to make of Bush Studies? 7 The parallels between Baynton‟s narratives of isolation and her own experiences cannot fully account for her portrayals of the bush as “a lonely, hostile place, antagonistic to its inhabitants,” where time recedes into the vast distances of the plains, and the past and future are uncertain. 8 Baynton‟s settlers, cut adrift from cultural and religious traditions, fail to form communities and conform to the notion that “where si gnificant tradition counts for little, places may be virtually without time,” leading to “no awareness of history.” 9 In short, Baynton‟s settlers are plagued with a sense of timelessness that appears to originate from perception, rather than the environment. (shrink)

Artificial intelligence is not only disrupting industries and businesses, particularly the ones have fallen behind the adoption, but also significantly impacting public life as well. This calls for government authorities pay attention to public opinions and sentiments towards AI. Nonetheless, there is limited knowledge on what the drivers behind the public perception of AI are. Bridging this gap is the rationale of this paper. As the methodological approach, the study conducts an online public perception survey with the residents of Sydney, (...) Melbourne, and Brisbane, and explores the collected survey data through statistical analysis. The analysis reveals that: the public is concerned of AI invading their privacy, but not much concerned of AI becoming more intelligent than humans; the public trusts AI in their lifestyle, but the trust is lower for companies and government deploying AI; the public appreciates the benefits of AI in urban services and disaster management; depending on the local context, public perceptions vary; and the drivers behind the public perception include gender, age, AI knowledge, and AI experience. The findings inform authorities in developing policies to minimise public concerns and maximise AI awareness. (shrink)

As assisted reproductive technologies become increasingly popular, debate has intensified over the ethical justification for restricting access to ART based on various medical and non-medical factors. In 2010, the Australian state of Victoria enacted world-first legislation that denies access to ART for all patients with certain criminal or child protection histories. Patients and their partners are identified via a compulsory police and child protection check prior to commencing ART and, if found to have a previous relevant conviction or child (...) protection order, are given a “presumption against treatment.” This article reviews the legislation and identifies arguments that may be used to justify restricting access to ART for various reasons. The arguments reviewed include limitations of reproductive rights, inheriting undesirable genetic traits, distributive justice, and the welfare of the future child. We show that none of these arguments justifies restricting access to ART in the context of past criminal history. We show that a “presumption against treatment” is an unjustified infringement on reproductive freedom and that it creates various inconsistencies in current social, medical, and legal policy. We argue that a state-enforced policy of restricting access to ART based on the non-medical factor of past criminal history is an example of unjust discrimination and cannot be ethically justified, with one important exception: in cases where ART treatment may be considered futile on the basis that the parents are not expected to raise the resulting child. (shrink)

In the contemporary context of environmental crises and the degradation of resources, certain habitats become unliveable, leading to the death of individuals and species extinction. Whilst bioscience emphasises interdependency and relationality as crucial characteristics of life shared by all organisms, Western cultural imaginaries tend to draw a thick dividing line between humans and nonhumans, particularly evident in the context of death. On the one hand, death appears as a process common to all forms of life; on the other, as an (...) event that distinguishes human from other organisms. Against this background, this article explores how contemporary art—in particular, the series of works The Absence of Alice by Australian new-media and bioartist Svenja Kratz—challenges the normative and human-exceptionalist concept of death. By employing queerfeminist biophilosophy as a strategy that focuses on relations, processes and transformations instead of ‘essences’, the article examines the ways Kratz’s works deterritorialise the conventional concept of death. In this way, it hopes to attend to the intimacies between materialities of a human and nonhuman kind that form part of the processes of death and dying, and what follows, to reframe ethico-ontology of death as material and processual ecologies of the non/living. (shrink)

Elliott-Kleerkoper, Marietta It was Charles Darwin who first proposed an evolutionary theory of beauty. He surmised that art fulfilled two evolutionary functions. In respect of general selection, beauty is related to fitness. It also plays a part in sexual selection: the female selects the male on the basis of aesthetic criteria: think, for example, of the peacock's tail, the bowerbird's nest.

The belief held by Aboriginal people that their art is ultimately related to their identity, and to the continued existence of their culture, has made the protection of indigenous peoples' art a pressing matter in many postcolonial countries. The issue has prompted calls for stronger copyright legislation to protect Aboriginal art. Although this claim is not particular to Australian Aboriginal people, the Australian experience clearly illustrates this debate. In this work, Elizabeth Burns Coleman analyses art from an (...) class='Hi'>Australian Aboriginal community to interpret Aboriginal claims about the relationship between their art, identity and culture, and how the art should be protected in law. Through her study of Yolngu art, Coleman finds Aboriginal claims to be substantially true. This is an issue equally relevant to North American debates about the appropriation of indigenous art, and the book additionally engages with this literature. (shrink)

"The Traffic in Culture takes us along exciting new avenues in the investigation of art and society, global encounter, and the marketing of culture. These essays will become required reading to scholars in fields as diverse as art history, anthropology, sociology, and cultural studies."--Suzanne Preston Blier, Harvard University "These essays break new ground in charting out a critical ethnography of art. They address the complexities of cultural difference while ceasing to respect the boundary between 'Western' and 'non-Western' art which has (...) defined the scope of the anthropology of art for too long. This is contemporary critical anthropology at its best."--Nicholas Thomas, Australian National University. (shrink)

This brief article, appearing in Issue #2 of The Cambridge Journal of Law, Politics and Art, published online on 22 November 2022), explores Nietzsche's perspective on the perils of mass psychosis in modern society and the threat it entails in accommodating increasingly repressive systems of social control against the background of the COVID pandemic, and drawing on the example of Novak Djokovic's deportation from Australia in January 2022.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Art, Artists and Pedagogy. Philosophy and the Arts in Education ed. by Christopher Naughton, Gert Biesta, David R. ColeAnnette ZiegenmeyerChristopher Naughton, Gert Biesta, and David R. Cole, eds., Art, Artists and Pedagogy. Philosophy and the Arts in Education (New York: Routledge, 2018)The question about the role and purpose of the arts in education in the twenty-first century is an important issue being currently discussed in various publications.1 Despite (...) many valuable approaches about how to reflect on the challenges arts and education face today, no adequate and sustainable solution seems to have been worked out yet.In their book Art, Artists and Pedagogy, Christopher Naughton, Gert Biesta and David R. Cole (editors) and other co-authors explore new ways to rethink arts education in the twenty-first century via two main philosophies in education. The first one is based on Gert Biesta’s work, The Rediscovery of Teaching, that focuses on the relation of the arts to the world and on what kind of society we may wish to envisage by using concepts such as “grown-up-ness” and “middle ground.”2 The second one is based on Gilles Deleuze and Félix Guattari, who provide a theoretical framework to look more deeply into the influence of state and global capital when taking decisions on how art education should develop in the future. Within their different positions, both philosophies also complement each other by sharing some relevant aspects concerning, for example, the value of arts in society. [End Page 104]Besides the editors who are leading academics in the arts, philosophy, and education, most of the co-authors are established professors and senior lecturers from Australia, New Zealand, Canada, and the USA. Considering the fact that the book is intended for educators who teach the arts at different age-levels in schools and universities or for artists working in the community, it is surprising that there are not more voices of contemporary artists and teachers integrated in the publication to capture the philosophical discourse being perceived from their viewpoints. This could add an interesting counterpoint to the philosophical approaches and thus widen the perspective on the subject.The book comprises fifteen chapters which can be read either individually or sequentially. In the introductory chapter, Biesta reflects on the potential of the arts in an era of growing economization of education. Representing the exploration and transformation of our desires, the arts can thus become a positive force for the ways in which we seek to exist in the world in grown-up modes. As a consequence, Biesta suggests an “approach of resistance in how we engage with others and how we come to terms with our own desires and those of the others.”3 He sees the work of the teacher as “interruptive” in that it raises the question about which desires appear to be helpful towards existing in a grown-up way in the world.4Many articles in the book use aspects of Biesta’s philosophy as a (methodological) starting point and lens to further develop their approach. To begin with, Mary Ann Hunter reflects on Biesta’s concept of “interruption” by examining how school partnerships with artists can be valued as a necessary interruption.5 According to Hunter, the way artists act “unteacherly” presents a chance to interrupt the regulatory practices of schooling and to thus ameliorate some of the negative impacts of assessment-focused teaching. Julianne Moss and Anne-Marie Morrissey also refer to Biesta, but concentrate on issues of identity and subjectivity by showing how the teacher comes to terms with herself, her desires, and those of the students (by mitigating her own knowledge and skills with those of her class). Robyn Ewing and John Saunders focus on the concept of grown- up-ness. With reference to a drama project with children from a primary school in the context of an Australian teacher professional learning program, Ewing and Saunders show that the process of co-creating drama work with children provides an open space within teaching where “transformative learning” can be experienced. Nico de Vos focuses on another interesting aspect by bringing in the philosophical idea of bodily connectedness in... (shrink)

Dal "disegno su sabbia" delle donne australiane alle terrecotte delle donne del Camerun, dai retablos peruviani agli altari vodou degli immigrati haitiani a New York, dalla "Casa del popolo" del regno di Bandjoun alle "vetrinette" italiane degli anni Sessanta, dai malanggan e dai manufatti annodati dell'Oceania alla topologia dei nodi, dai bologan del Mali alla "Potlatch Collection" rimpatriata nei nuovi musei indigeni del Canada, dalle maschere gelede degli Yoruba alla figura ubiqua e mediatica di Mami Wata, i saggi di questo (...) volume evidenziano le valenze operative dell'arte: sia nell'arena sociale e politica contemporanea, cui appartengono anche le "tradizioni", sia nel campo cognitivo e religioso. A lungo confinata ai soli territori esotici delle culture "primitive" e limitata da un'eccessiva dipendenza dalle categorie interpretative occidentali, la riflessione antropologica sull'arte e sull'estetica trova oggi un nuovo respiro teorico, e un nuovo fascino. (shrink)

This collection of essays on anthropological approaches to art and aesthetics is the first in its field to be published for some time. In recent years a number of new galleries of non-Western art have been opened, many exhibitions of non-Western art held, and new courses in the anthropology of art established. This collection is part of and complements these developments, contributing to the general resurgence of interest in what has been until recently a comparatively neglected field of academic study (...) and intellectual debate. Unlike many previous collections, the focus of this volume is resolutely anthropological. The contributors draw on contemporary anthropological theory and exchange, to deepen our understanding of particular aesthetic traditions in their socio-cultural and historical contexts. In addition, the cross-cultural applicability of the very concepts 'art' and 'aesthetics' is assessed. Each essay illustrates a specific approach and develops a particular argument. Many present new ethnography based on recent field research among Australian Aborigines, in New Guinea, Indonesia, Mexico, and elsewhere. Others draw on classic anthropological accounts of, for example, the Trobriand Islanders of Melanesia and the Nuer of the Southern Sudan, putting this material to new uses. Sir Raymond Firth's introductory overview of the history of the anthropological study of art makes this volume particularly useful for the non-specialist interested in learning what anthropology has to contribute to our understanding of art and aesthetics in general. With its wide geographical and cultural coverage and plentiful illustrations, many of which are in colour, Anthropology, Art, and Aesthetics will be a valuable resource for all serious students of the subject. (shrink)

A 37,641-word exegesis for thesis "sur travaux". Includes: Research methodology; "Expositions des textes"; Paralogisms for scholars; Conference, exhibition, and research tour details and itineraries. -/- PhD (Doctor of Philosophy) – Deakin University – 2011-2014 – Thesis by Publication (“sur travaux”): “Visual Agency in Art and Architecture” – Two monographs: Dossier Chris Marker: The Suffering Image (2012); and Not-I/Thou: The Other Subject of Art and Architecture (2014) – Two curated, multimedia group exhibitions: “‘Shadow-lands’: The Suffering Image” (2012), Dennys Lascelles Gallery, Alfred (...) Deakin Prime Ministerial Library, Deakin University; and “‘Shadow-lands’ II: Not-I/Thou” (2014), Dennys Lascelles Gallery, Alfred Deakin Prime Ministerial Library, Deakin University – Two archival submissions: “DCM Bequest” (2012), research dossier, Australian Film Institute/RMIT; “Shadow-lands”: The Suffering Image (2012), limited-edition, hand-made folio (exhibition dossier), Alfred Deakin Prime Ministerial Library, Deakin University, and St. Paschal Library, Yarra Theological Union – Supervision: David Jones, John Rollo, and Flavia Marcello – External examination: Tom Conley, Harvard University, Cambridge, MA, USA; Suzana Milevska, Academy of Fine Arts, Vienna, Austria; and Anonymous, Australia – Research conducted in Australia, England, France, Croatia, and Slovenia – Seven conferences attended in Australia (3), England (2), Italy (1), and Greece (1). (shrink)

Drawn from the photography journal Photofile, this volume collects work by prominent critics, theorists, and cultural commentators about many of Australia's most significant photoartists. It illustrates how, located between the realms of fine art and visual culture, photography has underpinned many key developments in our understanding of both during the last decades of the twentieth century. The essays investigate a wide range of subjects including documentary photography, race and representation, and photography and national identity.

The Australian Football League (AFL) is the premier sporting competition in Australia in terms of capital outlay, breadth of industry associations, public consumption, and arguably cultural significance. The AFL competition is now a domain of specialisations and interests, which provides vast opportunity for both sporting and non-sporting institutions seeking to utilise the game to capitalise on a society of consumption, entertainment and risk. AFL officials expect high standards of their players both on and off the field. These standards are (...) expressed in various forms of Codes and Policies. Off field player misconduct is an ongoing concern not escaping media attention, which is a resounding indication more needs to be done by the AFL to improve responsible player character development. Whether the current education programmes are sufficient to meet the AFL’s own expectations is the central issue addressed in this chapter. As it stands AFL governance is deficient on several counts. In this chapter I will focus on three governance deficiencies: firstly, the AFL Illicit Drug Policy (IDP) contains unnecessary inconsistencies relative to its primary purpose; secondly, the present measures undertaken to ensure players have appropriate education to achieve the expected character development are far from efficacious and so arguably can be vastly improved; and thirdly, the promotion of live-odds gambling during televised games is culturally problematic and inconsistent with its own demands. The ethical grounds central to this investigation are ‘fairness’ and ‘cultural influence’. In order to resolve some of its governance concerns I will explain why the AFL should be characterised as a practice-community and as such should adopt a comprehensive virtue and value-based compliance ethical education programme consistent with its own vision and conduct expectation of its players and officials. I will argue that the AFL as a practice community is much more than simply a game, given its cultural influence, commercial associations and community programmes. (shrink)

This is an examination of the criteria for identifying, evaluating, and appreciating art forms that require performance for their full realization. Unlike his contemporaries, Paul Thom concentrates on an analytical approach to evaluating music, drama, and dance. Separating performance art into its various elements enables Thom to study its nature and determine essential features and their relationships. Throughout the book, he debates traditional thought in numerous areas of the performing arts. He argues, for example, against the invisibility of the performer (...) - "the vehicle of representation in performance" - then critiques Diderot's Paradox of Performance, calling it "the most extreme formulation of the traditional valorization," and declaring that such thinking must be abandoned. Developing several lines of reasoning regarding music, Thom considers questions of incompleteness and authenticity in relation to the score, the score's function, and the sense in which musical performances are interpreted, or are open to interpretation. It is this audience interpretation that is the final ingredient in the blending and interrelating of the performers, the performance, and the audience. Thom discusses the impact of music, drama, and dance performances on audiences, and evaluates their expectations, reception, and interpretations. He contends that audiences play an active role as interpreters, without becoming performers themselves. Author note: Paul Thom is head of the Philosophy Department, The Faculties, Australian National University. (shrink)

Within the Australian university context, research has uncovered increasing levels of psychological distress, in the form of stress, anxiety and depression. Higher rates of psychological distress have been reported in undergraduate students specifically enrolled in creative arts programs. Despite these increasing levels of psychological distress, university students are reluctant to engage with mental health and wellbeing supports. To explore ways to meet the mental health and wellbeing needs of creative arts university students, the Creative Arts and Music Therapy Research (...) Unit at The University of Melbourne commenced a project exploring the benefits and pitfalls of a brief creative arts therapies approach for students attending a campus based wellbeing clinic. This exploratory research study formed the art therapy component of this much broader research endeavor. Creative arts students in this research study were invited to participate in a single session art therapy encounter that involved the visual exploration of the miracle question, asking students to visually depict “what the problem looks like and how it will look when the problem is resolved or you feel like you can cope with it better?” The descriptive findings of this exploratory research study revealed how the combination of art therapy used within a single session framework was able to afford students a novel means to externalize problems, leading students to forming a less internalized view of the self. (shrink)

“Hijack” has etymological connotations of force. It is intended here as a purposeful turn away from expert authority and from singular authorship, towards a more expanded sphere of multiple experience in art aesthetics. If there is a hijacking force in art, it is the dynamic desire to reclaim the impossible and the unexpected. These qualities are evident in telepathy as a system of transmitted aesthetic information. Isabelle Stengers, who has investigated the role of the charlatan, might urge us to follow (...) such a turn away from regulated forms of sensory information and repurpose telepathy as a propagated extra-sensory activity. Like the charlatan or other maligned characters of ill repute, the art writer who responds to the essence of the artwork through participation rather than judgment becomes the outsider and, in this case, the telepath. This paper addresses the work of Australian artist Jacquelene Drinkall as an aggregate of telepathic transmissions, ripe for hijacking. I argue that a telepathic hijack, as an unexpected reclamation and as a method of aesthetic experimentation, can be enacted as a speculative form of art writing. Telepathy in art and of art allows a writing with the artwork. By this I mean that a super-sensory and speculative mode of writing can exist beside the artwork, rather than in judgment of it. This is a divergence from an overt critique of art through established constructs of history, origin or relations alone. In this paper I will explore the concept of telepathy as a quality of speculative aesthetics, which is distinguished by contingent change, variable outcomes and meandering. I will focus on: telepathic art transmissions as a hijack of conventional aesthetics; Jacquelene Drinkall’s telepathic artwork as an interrupted experience; and Isabelle Stengers’ figure of the charlatan. (shrink)