Murder and art : the causal links

The central focus of the thesis is to make clear certain links the author perceives between the criminal temperament and the artistic temperament. Concentrates on a small selection of these artists and attempts to come to terms with their preoccupation with dark subject matter.

Self in architecture

Presents the hypothesis that within the making of architecture a buried, perhaps unconscious, aspect of self finds its way into the architectural project. Field study interviews were conducted with architects working in practice.

The staging of identity in other/s' spaces

Exploring the framing of identity within different modes of representation, particularly Australian art, the thesis built on poststructural discussions of inside/outside power relations, conceptualising art as a political tool for the staging of identity, not only for the subjects inside the artwork, but also the viewer, and marginalised artist/author.

Fusionscape: Corangamarah Art Prize

Pre-selected finalist in Art Award

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

Changing community perceptions of 'place'

In May 2002 the Australian Department of Defence announced its intention to divest the Defence land at Portsea on the Mornington Peninsula, Victoria. At the same time nominations were invited for membership of the Community Reference Group (CRG) established as part of the Portsea Defence Land Master Planning Project. The author actively participated in this voluntary advisory group which provided input on matters of interest to the community relating to the project, provided a medium for information sharing and addressed the sometimes competing needs of different stakeholder groups (such as government, business and residents). A major role of the CRG was to provide a focus for community input on aspects of technical issues, particularly in relation to the planning for the future use of the site, flora and fauna issues, infrastructure provision, traffic and access management, heritage and archaeology, and the integration of the site with both the natural environment and existing community facilities, including the township of Portsea. The author's professional background in art and architectural history, in teaching and in research specifically in heritage related areas; her record of community work both in hands on work and in leadership positions, in Melbourne and on the Nepean Peninsula, enabled her to make a significant and useful contribution to the CRG in contributing to the understanding of the rich, diverse, multilayered cultural and natural heritage of the entire site.

Using this specific example, this paper examines the process of participating in Australian society through engaging communities - engaging women. It examines the invitation to participate, the nomination and selection process, the brief given to the community reference group, the development of the consultative process over the six months of deliberations, and the important role that women played in the project. It looks at what can be learned from the experience: how women in particular led the way in changing perceptions of place within the local community, and consequently in the broader framework of the project. It examines the success of the outcomes both in terms of the specific task of writing the Master Plan for the Portsea Defence site and of the process of community participation: the dynamic inter-relationships in the group; between the group and the consultants; between the group and the Department of Defence and between the group and the Federal Government. It comments reflectively and critically on the effectiveness of the whole process.

Image featuring for retrieval of multimedia documents

The utilization of massive multimedia documents collections, such as multimedia documents in the global Internet, needs search engines which can rank using both text and image evidence. Massive size and (dynamic) nature of collection can make manual indexing prohibitively expensive in such situations. Traditional search engines utilize only text components of multimedia documents. But there are information needs, which require the utilization of image evidence. In this paper, we investigate image-feature for large and heterogeneous collections. Both the nature and complexities of information needs are key elements for an effective retrieval. Retrieval needs that depend on perceptual similarities (as found in art galleries, building architecture) require the utilization of visual cues. In such situations, the retrieval of multimedia document based on image ranking can provide higher effectiveness. Experimental results show that effectiveness of ranking based on image feature can be higher where perceptual similarities are key elements for retrieval than the retrieval effectiveness of algorithms based on text ranking algorithms

Visions of Utopia

Since 1949, propaganda posters have been produced in China as a visual language to unite the masses. Posters and billboards portraying images of youth in minority costumes, traditional paper cuts and China’s abundant workforce engaged in modernisation were meant to unite the masses through ‘revolutionary realism with revolutionary romanticism’. These images offer interesting insight into Mao’s version ‘socialist utopia’. With the opening of China to foreign investment and trade in 1979, the vision of a ‘socialist utopia’ has changed once again. Propaganda posters are replaced with large-scale billboards featuring luxury cars, clothing and products from the West. In order to illustrate this change, artists from Deakin University in Melbourne, Australia, Lisa Scharoun (Lecturer of Graphic Design) and Frances Tatarovic (Lecturer of Photography), have created a series of ‘advertisements’ that utilize similar themes of Maoist era propaganda posters with the infusion of the glossy characteristics of luxury fashion advertising. The images reference techniques and the visual language of contemporary western commercial fashion photography. Within the artworks, the past and present visual culture of China is juxtaposed to create a dialogue between the icons of the Maoist vision of a socialist utopia and the contemporary visual icons of fashion and luxury advertising.

Giorgio de Chirico and the idea of enigmatic imagery : the innocence of becoming

My paintings emerge from within a context best explained by reference to Nietzsche's perspectivism. That is an intellectual attitude that deprivileges rationalism and accommodates scepticism or unknowing as an acceptable starting point From this standpoint art/language can be seen as being in a state of becoming rather than as representing a state of being. This thesis aims to demonstrate, not only by a philosophical encounter with Giorgio de Chirico's work: ie. his use of myth, his Nietzschean perspectivism and his enigmatic interpretation of figuration, that the most helpful context and understanding of my work can be realied. De Chirico's art, like Nietzsche's philosophy seeks in its processes to explore the possible unity of Dionysian aesthetic force with the Apollonian. Neither Nietzsche nor de Chirico considered within a post-Socratic world that this unity was realizable. Nevertheless they both share in their respective art forms a need to represent the relentless struggle to enact the disjunction of the two aesthetic forces in a secular world. The artist’s enigmatic imagery is characterized by a consideration of appearance and reality and it is for this reason that the work was selected as a model for investigating the nature of enigma. His use of seemingly straightforward, ordinary images suggests a sense of accessibility, yet at the same time they are irreducible to knowing and my own image-making was greatly expanded by investigating these concerns. I am not arguing that de Chirico was influenced by Nietzsche but instead that Nietzsche's philosophical point of view and his use of poetic language to express these views lay in discovering the qualities and substance of the Dionysian spirit As well as working within a Nietzschean world-view set out in The Birth of Tragedy, de Chirico has also drawn on the Italian unification, specifically the Risorgimento and the lineage of these political and mythical figures were endemic to his art and they interface the with his use of the Apollonian-Dionysian disunity first explored by Nietzsche. The focus of the exegesis will be to present the poetic and philosophical use made of the latter in de Chirico’s art It is anticipated that this philosophical encounter with the aesthetic, social and political world of de Chirico will, not only assist in interpreting his life's work anew, but will also provide a context in which my paintings of enigma might be interpreted.

Exploratory surgery of the female psyche

The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is ‘feminine authority’, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society. Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following; • Explore their own psychology beyond the existing socially constructed gender roles. • Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes. • Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science. Archetypal myths of the ‘feminine’ have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, ‘Individuation’ is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The ‘true feminine’ is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority. This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her. Western epistemology, with its emphasis on ‘objective’ investigation and empiricism contributes to the support for and promotion of ‘inferior’ female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view. Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for ‘truth’ and ‘absolute’ can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure. Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment. Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to ‘eve’ and the ‘siren’. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the ‘feminine’ aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess. The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings. Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian. The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices and technique while making reference to imagery from previous works, ‘The Three Graces Victorious’, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated. Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed. To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his ‘Four Seasons’ series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys. Although ‘The Three Graces Victorious’; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.

Using site as the medium of image-making at Tower Hill

[No Abstract]

New worlds for old: visions of utopia

Provides an introduction to and explanation of the art works/photographs of Lisa Scharoun and Frances Tatarovic in their Visions of utopia series. 

Painting that moves : digital realism and the single moving image

Explores space and object relations in a digital 3-D animation production, "Moving-Image". The exegesis examines these relations through an analysis of pictorial realism in painting. The illusion of three dimensional forms in the space of the computer screen is contextualised by investigation of the work's underlying digital conditions.