Slow horizon

“Slow Horizon” is comprised of six lenticular panels hung in an even, horizontal sequence. As the viewer moves in front of the work, each panel alternates subtly between two vertical colour gradients. From left to right, the panels move through yellow, orange, magenta and violet to ‘midnight blue’. Together, the coloured panels comprise an abstract horizon line that references the changing nature of light at sunset. The scale, movement and chromatic qualities of the panels also allude to the formal characteristics of the screen technologies that pervade contemporary visual culture. “Slow Horizon” contributes to studies in the field of contemporary art. It is particularly concerned with the relationships between abstraction, colour, signification and perception. Since early Modernity, debates concerning representation and the formal qualities of the picture plane have been fundamental to art practice and theory. These debates have often dovetailed with questions of art’s capacity to generate shifts in thought and perception. Practitioners such as Ellsworth Kelly, James Turrell and Ed Ruscha have variously used block and blended colour to engage in these formal, symbolic and perceptual potentials of colour. Using a practice-led research methodology, “Slow Horizon” furthers this creative inquiry. By conflating the reductive visual logics of abstraction and minimalism with the iconic, romantic evocations of sunset imagery, it questions not only the contemporary relationship between abstraction and image-making, but also art’s ability to create moments of stillness and contemplation in a context significantly shaped by screen technologies. “Slow Horizon” has been exhibited internationally as part of “Supermassive” at LA Louver Gallery, Venice, California in 2013. The exhibition was reviewed in The Los Angeles Times.

Emptiness and fullness : Pinter, anti-architecture and politics

Classical architecture has a long history of representing the idealized proportions of the human body, derived from the Vitruvian man. This association with the idealized human form has also associated architecture as symbiotic with prevailing power structures. Meaning that architecture is always loaded with some signification, it creates a highly inscribed space. In the absence of architecture space is not necessarily without inscription, for within the void there can exist an anti-architecture. Like the black box theatre, it is both empty and full at the same time, in the absence of the architecture, the void of space and how it is occupied becomes much more profound. As Dorita Hannah writes, ‘In denying a purely visual apprehension of built space, and suggesting a profound interiority, the black-box posits a new way of regarding the body in space.’ This paper analyses the work of Harold Pinter and his use of the body to create an anti-architecture to subvert oppressors and power structures. Pinter’s works are an important case study in this research due to their political nature. His works are also heavily tied to territory, which bound the works in a dependent relationship with a simulated ‘place’. In the citation accompanying the playwright’s Nobel Laureate it states, '...in his plays [he] uncovers the precipice under everyday prattle and forces entry into oppression's closed rooms.' In Pinter’s work oppression manifests itself in the representation of a room, the architecture, which is the cause of a power struggle when objectified and defeated when subjectified. The following work examines how Pinter uses the body to subjectify and represent architecture as authority in his earlier works, which relied on detailed mimetic sets of domestic rooms, and then in his later political works, that were freed of representational scenography. This paper will also look at the adaption of Pinter’s work by the Belarus Free Theatre in their 2008 production of ‘Being Harold Pinter.’ The work of Pinter and the Belarus Free Theatre are concerned with authoritarian political structures. That is, political structures that works against ideas of individualism, ascribing to a mass-produced body as an artifact of dictatorship and conservatism. The focus on the body in space on an empty stage draws attention to the individual – the body amongst scenography can become merely another prop, lost in the borders and boundaries the scenery dictates. Through an analysis of selected works by Harold Pinter and their interpretations, this paper examines this paradox of emptiness and fullness through the body as anti-architecture in performance.

Multimodality, media, and access to multiliteracies

In many English-speaking countries bilingual and multilingual speakers of English are integrated into mainstream classrooms, where the teacher is expected to help them “catch up” with speakers of the dominant language. In this presentation, I argue that we teach in culturally and linguistically diverse societies that are increasingly interconnected through a broadened range of multimodal and digital textual practices. Intuitively, one might expect that multimodal approaches are more equitable than exclusively print-based approaches because learners can draw from a broader range of semiotic resources. Yet the potentials of using multiple modes and new digital media to provide greater access to multiliteracies cannot be assumed. I draw on a case study of a multilingual language learner, Paweni, a Thai immigrant, describing how she and her peers negotiated cultural and linguistic difference. These encounters occur during multiliteracies lessons involving both print and digital texts. I theorise a “dialectic of access” to explain the reciprocal interaction between the agency of learners, modes, and media. I apply Giddens’ structuration theory to take into account the social structures – domination, signification, and legitimation – that played an important role in this dialectic of access.

Estranged bodies and Vietnamese identities

In this paper I will explore both the regulation of migrant bodies as well as the lived experience of migrant embodiment in order to develop an analysis of the body as a vortex of meaning in the displacement process. By examining the way in which the bodies of Vietnamese immigrants are simultaneously object and agent, I will indicate how the relations between migrants and the wider society are felt and sensed through the bodily experiences of Vietnamese people. The dynamic between how Vietnamese bodies are represented and how they are experienced reveals the body to be a predominant marker of difference from both within and without, the mediator between experience and signification. I will indicate how the dominant media construction of Vietnamese bodies as defiled has sustained forms of exclusion and distancing which have influenced the way that Vietnamese bodies are lived. I thus explore the means through which the body has particular salience when attempting to understand the nature of migrant identities in Australia.

Flathead (Origin of the Specious)

A three channel video work that was produced under the psuedonym Eve Roleston that explored the arbitrary nature of signification as it played across a range of images, texts and sounds. The work aimed to provide a considered engagement with the contingent, polymorphous and unstable qualities of the material on each of the three screens. This work forms part of my practice-led research undertaken for my PhD. It deals with reconsidering the relationship between politics and aesthetics by employing strategies of humour, play theory and the fictocritical

Claire Renzetti (2013) Feminist Criminology. London, UK:Routledge

Feminist Criminology, a recent addition to the suite of slimline Key Ideas in Criminology Series (Routledge), captures and retrospectively unpacks the complexity, diversity and essence of feminist criminology. Claire Renzetti provides a rich, engaging and thought‐provoking account, taking the reader on a journey encompassing the historical, legal, sociological and psychological dimensions that examine the context, synergies and disjunctions among past, present and future feminist criminologies. Her unique approach considers the micro and macro dimensions of, and impact within, the discipline, academy, criminal justice system and society more broadly. Emphasising the fluidity underpinning feminist perspectives, Renzetti contends that ‘there is no single unitary perspective in criminology’, with feminist criminology offering ‘a diverse collection of theoretical perspectives and methods’ (p. 99). Opting for the path less travelled and rejecting the marginalising of feminist criminology with the notional ‘add and stir’ approach, Renzetti advocates moving beyond a tolerance approach to one that embeds analyses of gender, ‘race’ and class within mainstream criminological research paradigms. Charting the development of feminist criminology from the 1970s to the present, Renzetti offers ‘an assessment of criminology’s potential for shaping the future of our discipline’ and the practice of criminal justice (p. 1). Feminist Criminology is organised into five chapters, each progressing concise summaries of feminist approaches, contributions to criminological practice, and shifting academic landscapes; the text concludes with an appraisal of future directions for feminist criminology.