Ethnic diversity and its impact on community social cohesion and neighborly exchange

Putnam's “constrict theory” suggests that ethnic diversity creates challenges for developing and sustaining social capital in urban settings. He argues that diversity decreases social cohesion and reduces social interactions among community residents. While Putnam's thesis is the subject of much debate in North America, the United Kingdom, and Europe, there is a limited focus on how ethnic diversity impacts upon social cohesion and neighborly exchange behaviors in Australia. Employing multilevel modeling and utilizing administrative and survey data from 4,000 residents living in 148 Brisbane suburbs, we assess whether ethnic diversity lowers social cohesion and increases “hunkering.” Our findings indicate that social cohesion and neighborly exchange are attenuated in ethnically diverse suburbs. However, diversity is less consequential for neighborly exchange among immigrants when compared to the general population. Our results provide at least partial support for Putnam's thesis.

John Andrews : Architecture a Performing Art

The distinguished Australian architect surveys his career and examines how his architectural theories are expressed in his designs.

Untitled (after Steven and John)

'Untitled (after Steven and John)' takes inspiration from Spielbergian tracking shots and Baldessarian collages to create ghostly apparitions that explore the affective power of the cinematic close up. By appropriating and obfuscating this common filmic convention, the work investigates the intersubjective potential of the moving image.

Book Review: "The Interface: IBM and the Transformation of Corporate Design, 1945-1975", John Harwood, Minneapolis: University of Minnesota Press, 2011

Within the history of twentieth-century design, there are a number of well-known objects and stories that are invoked time and time again to capture a pivotal moment or summarize a much broader historical transition. For example, Marcel Breuer’s Model B3 chair is frequently used as a stand-in for the radical investigations of form and new industrial materials occurring at the Bauhaus in the mid-1920s. Similarly, Raymond Loewy’s streamlined pencil sharpener has become historical shorthand for the emergence of modern industrial design in the 1930s. And any discussion of the development of American postwar “organic design” seems incomplete without reference to Charles and Ray Eames’s molded plywood leg splint of 1942. Such objects and narratives are dear to historians of modern design. They are tangible, photogenic subjects that slot nicely into exhibitions, historical surveys, and coffee-table best sellers...