Old Tom, new Tom

This presentation will Involve a discussion of Canadian fringe artist Mike Hoolboom's experimental narrative Tom (2002 75 minutes, Digital Video) The presentation will Include a short excerpt and stills from the film Tom is a biography of experimental filmmaker Tom Chomont who tells of his struggle with HIV and Parkinson's disease and disarmingly recounts confronting memories of infanticide, incest, fetishism and death It is how these revelations are innovatively processed through excerpts of Chomont's films, home movies, photos, Images lifted straight form Video Busters, archival and found footage that is so telling it is as If the surface of cinema itself is the body that is being marked and reconstituted and "the personal" forever changed by the Infection of this material Into our psyche.

This work is offered as exemplary evidence of the strong link between an experimental non-narrative cinema that flourishes In North America and new media art

The presentation will touch on the following areas:

> The Innovative marking out of the self In terms relevant to a new media practice.
> The correspondence between this film and media theorist Arthur Kroker's Ideas about panic bodies and excremental culture.
> An examination of erasure and loss In non-narrative forms.
> The historical context of Hoolboom's work as part of a North American experimental tradition and as a shared non-narrative tradition With New Media.

The presentation Will conclude With some comments about the relationship between experimental film and new media In this country and how the failure to Identify this relationship constructively here may have contributed to the current "death of the new" The concept of new media and New Australian Will be contrasted to attain some Insight Into the Ideological underpinnings of "Creative Nation".

La dolce vita: creative re-imaginings of Italianicity

Contemporary exploration of identity and identity politics as it intersects with media, nation and society.

The contribution of creativity to human development in a new nation: a case study of Afalyca community art centre, Timor-Leste

This article describes the contribution of creativity to human development in the new nation of Timor-Leste, exemplified in a case study of community art centre Afalyca. By taking a creative approach to the challenges of life in his developing country, the young leader of this enterprise, Marqy da Costa, is realising his own potential more fully and offering enriching experiences to others. The impact of his centre on a range of stakeholders, including staff, participants and the wider community is discussed. For participants, the outcomes of their involvement include enjoyable opportunities for creative expression; valued recognition from national and international audiences; the broadening of life experience to encompass new possibilities for self-actualisation; skill development and income from employment and sales.

The factors that have contributed to Afalcya's creative achievements are examined. These include inspiration and assistance received from organisations and individuals in and outside of Timor, family support, and the age and gender of leaders. Also significant are founder Marqy's personal characteristics of artistic talent, social and language skills, love of learning, persistence and conciliatory approach to conflict. Barriers to the realisation of Afalcya's potential include lack of systemic recognition of the value of creativity for sustainable development, unsupportive bureaucracy and gender related restrictions of participation for women. The potential for similar initiatives to contribute to a positive future for Timorese people is explored.

Pauline Kael and the Western genre as critical displacement of self & nation: metaphorics and affects of 'taste' in American film criticism

Pauline Kael (1919–2001) is one of the most influential American film critics of the second half of the twentieth century. Many people are writing on her presently, with at least half an eye to her future cultural, political and historical importance. Certainly the full impact of Kael’s work, both within and beyond the borders of cinema (however defined), has not yet been established. This article unpacks the mechanisms and operations of ‘taste’ in Kael’s writings by using two notions drawn from Roland Barthes’ observations about another key figure of current cultural critique: Julia Kristeva. The comparison of Kael with Kristeva is not dwelt upon; instead, the article focuses on how Kael used the concepts of ‘taste’ and ‘dis-taste’ to draw her readership into a field of what might be termed ‘permanent dissent’. This article concludes by sketching out why Jewish-American Kael’s taste might endure, through the dual transition she occupies from a Cold War to a post-Cold War period, and from an era when cinema was the supreme, undisputed, screen artform, to the rise of the myriad screen technologies of the networked, Internet age.

Is it art or knowledge? Deconstructing Australian Aboriginal creative making

Abstract Australian Aboriginal symbols are visual forms of knowledge that express cultural intellect. Being classified by a Western interpretation of “art” devalues thousands of years of generational knowledge systems, where visual information has been respected, appreciated and valued. This article highlights how Aboriginal creativity has little concept of aesthetical value, but is a cultural display of meaning relating to Creational periods, often labelled as The Dreamings. With over 350 different Aboriginal Nations in Australia, this article focuses of the Dharug Nation, located around the northern Sydney area of New South Wales. The Dharug term for the Creational period is Gunyalungalung—traditional ritualized customary lores (laws). These symbols are permanently located within the environment on open rock surfaces, caves and markings on trees. Whilst some symbols are manmade, others are made by Creational ancestral beings and contain deep story lines of information in sacredness. Therefore, creative imagery engraved or painted on rock surfaces are forms of conscious narratives that emphasise deep insight.Keywords: Aboriginal Art; Australia; visual knowledge; culture; traditional; symbols

A warrior nation

Under Prime Minister John Howard, Australia today appears to have turned away from Asia, returning to a Western oriantation. Has racial invasion fear, once expressed in the 'White Australia' policy, been the determinant of relations with Asia? I argue, in contrast, first, that invasion fear preceded race fear and, second, that Australia was unlucky, in coming to nationhood during the eras of Social Darwinism and New Imperialism, scaling ideas of race citizenship into its national formation. It was unlucky to associate national 'manhood' with Gallipoli and war, making the national tradition expeditionary nationalism, or ANZAC. War is central in national memory and public patriotism, primarily because war has been carried out overseas rather than through fighting on Australian soil, and the devastation of Australian cities. Even after the retreat of Western empires in Asia, and of racial ideology, why has this romantic and foolish view of war as an expression of the nation persisted? Paradoxically, Australians romanticise war even though, after 1788, there has been no other invasion of a continent which is harder to invade than it is to defend.

What does it meme? The exegesis as valorisation and validation of creative arts research

This paper will draw on Richard Dawkin's idea of the 'meme' to discuss how the creative arts exegesis can operate as valorisation and validation of creative arts research. According to Dawkins, the rate and fecundity of replication permits an artefact to achieve recognition and stability as a meme within a culture. The value and application of traditional forms of research is underpinned by a secondary order of production, publication, that establishes visibility of the work and articulates its empirical processes and findings as sources of social benefit and cultural enhancement.

In the arts, conventional modes of valorisation such as the gallery system, reviews and criticism focus on the artistic product and hence, lack sustained engagement with the creative processes as models of research. Such engagement is necessary to articulate and validate studio practices as modes of enquiry.

A crucial question to initiate this engagement is: 'What did the studio process reveal that could not have been revealed by any other mode of enquiry?'

Re-versioning of the studio process and its significant moments through the exegesis locates the work within the broader field of practice and theory. It is also part of the replication process that establishes the creative arts as a stable research discipline, able to withstand peer and wider assessment. The exegesis is a primary means of realising creative arts research as 'meme'.

Contesting binarisms in Harry Potter : creative rejigging, or gender tokenism?

This paper arises out of curiosity inspired by four Japanese women students' consumption in English of the entire Harry Potter series (five increasingly lengthy books) in 2003, and it asks whether the six novels are regressive or creative on gender grounds. In a series which pivots around binaries and rarely complicates them, does gender come in for the same treatment? In updating the schoolboy/schoolgirl and action/magic genres and locating them in a co-ed setting, does the author of Harry Potter write as a woman or does she cling to regressive gender scripts?