Switching on the chronometer of history : communism, postcommunism and heritage

The destruction of monuments accompanying the fall of Communism ignited debates about preservation of manifestations of a hated regime. While heritage professionals called for their preservation as ‘historical documents’, many monuments were destroyed or removed. Yampolsky sees anti-Communist iconoclasm as a rejection of the totalitarianism of time embodied in Communist monuments. These ‘intentional monuments’ were intended to ‘negate the march of time and oppose to it the permanence of human action’. They demonstrated the alleged end of history in a classless utopia.

Iconoclastic acts against these monuments involved the crossing of ‘the invisible boundaries of the sacral zone surrounding monuments, switching on the chronometer of history’. In doing so, iconoclasts provide the conditions for reassertion of heritage practices: heritage requires a sense of the flow of time, a difference between past, present and future.

Having restarted the chronometer of history, a society is forced to assess where it stands in relation to its past. Will it continue on a path of ‘wilful forgetting’, or seek to confront the past? The danger of wilful forgetting is the creation of nostalgia. Alternatively, preservation of places of memory helps processing of the past required for movement into the future. ‘One need only consider the way in which Berliners tore down the hated Berlin Wall in the aftermath of 1989’, Fulbrook writes, ‘to understand the desire to rid the landscape of a hated excrescence, a symbol of a rejected political past. But…for those who come after, the effort of historical imagination is all the greater for lack of a topography of experience’.

Heritage preservation can produce a ‘topography of experience’, through which the experience of Communism is examined. Reassertion of a humanistic historical time through heritage practices reveals the arrogant futility of utopian projects seeking to bring history to an end.

Dancing the thesis : potential and pitfalls in practice-led research

Practice-led or multi modal these (describing examinable outcomes of postgraduate study which comprise the practice of dancing/choreography with an accompanying exegesis) are an emerging strength of dance scholarship; a form of enquiry that has been gaining momentum over a decade, particularly in Australia and the United Kingdom. It has been strongly argued that, in this form of research, legitimate claims to new knowledge are embodied predominantly within the practice itself (Pakes 2003) and that these findings are emergent, contingent and often interstitial contained within both the material form of the practice and in the symbolic languages surrounding the form.

This paper draws on Dancing between diversity and consistency: Refining assessment in postgraduate studies in dance, a study conducted with funding by the Australian Learning and Teaching Council 2006-2008, to critically examine some of the issues raised by such degrees. The study's structure formed around extensive literature reviews into higher degree dance studies; general examination/assessment discussions at research masters and doctoral levels; and issues arising from the relatively new artistic degrees involving practice components. Focus group discussions and semi-structured interviews with 74 supervisors/examiners, research deans and administrators, and candidates/graduates elicited the views on assessing practice-led dance research of two principal participant groups; the professional dance community represented by Ausdance (The Australian Dance Council) and the staff and student cohort of Australian universities who offered dance or related postgraduate degrees.

Tensions arose through the project specifically in terms of deciding what kinds of articulations of practice-led dance research might be acceptable at the PhD level. Here, we address underlying issues of interdisciplinarity that arise from the current common practice of requiring a written requirement for PhD theses. This leads to a consideration of how differing cultural inflections and practices might be incorporated into our reading and evaluation of theses, how creative approaches to layered documentation can function as durable artifacts of creative research while contributing to the overall 'knowledge generation' of the thesis, and what kinds of language structures, such as metaphor, allusion and symbol, can be co opted to function generative in dialogue with other kinds of texts and discourses.

Econstruction : the nature/culture opposition in texts about whales and whaling

A perceived opposition between 'culture' and 'nature', presented as a dominant, biased and antagonistic relationship, is engrained in the language of Western culture. This opposition is reflected in, and adversely influences, our treatment of the ecosphere. I argue that through the study of literature, we can deconstruct this opposition and that such an ‘ecocritical’ operation is imperative if we are to avoid environmental catastrophe. I examine the way language influences our relationship with the world and trace the historical conception of ‘nature’ and its influence on the English language. The whale is, for many people, an important symbol of the natural world, and human interaction with these animals is an indication of our attitudes to the natural world in general. By focusing on whale texts (including older narratives, whaling books, novels and other whale-related texts), I explore the portrayal of whales and the natural world. Lastly, I suggest that Schopenhaurean thought, which has affinities in Moby-Dick, offers a cogent approach to ecocritically reading literature.

Ethnomusicological study of music makers in an Australian military band

This dissertation reports on a study of music making in a band of the Australian Army Band Corps. The thesis of the dissertation is how the world views of the soldier-musicians of the Australian Army Band, Kapooka, are constructed in the context of their work in military music performance. In arguing this thesis, the author provides a brief history of military music in Australia, and - demonstrates how rank and military discipline intersect with music making in the lived experience of the soldier-musicians; - explores how the dichotomy between music making as a craft and music making as art is resolved in a setting where the employer regards music making as a trade, while the soldier-musicians strive to meet artistic goals; - demonstrates how successful music making and successful soldiering are both forms of work which depend upon effective collective action; - demonstrates that while military bands play the widest repertoire of musical styles of any Western music ensemble, the styles converge toward a homogenous, eclectic, military band performance style: and - explores how military music, which may have limited intrinsic interest, in certain ceremonial settings may link with other visual and auditory symbol systems to generate profound meaning both for the soldier-musicians themselves and for their audiences. The study examines the processes by which the world views of soldier-musicians are shaped by the institutional context in which they work, as they participate in a music tradition which has been a powerful agent in the shaping of Australian patriotic traditions. The study uses a naturalistic participant observation methodology. The author worked as an honorary guest civilian member of the band’s trombone section to collect data in the form of fieldnotes and interviews. Data analysis and interpretation was made according to the tenets of grounded theory. Evidence in the form of first hand accounts from the perspective of the researcher and from the soldier-musicians themselves is employed to generate both emic and etic understandings. An understanding of a music culture from the participant's point of view is a central concern of the study.

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.

Australian and commonwealth republicanism

When republics, beginning with India in 1949, were first admitted to the Commonwealth of Nations, Australia remained strongly attached to the Crown and the King’s (later the Queen’s) role as Head of the Commonwealth. Indeed, many Australians had seen a shared Crown as axiomatic, and a symbol of Commonwealth unity. Despite bursts of republicanism in Australia during the 19th and 20th centuries, it was not until the 1990s that a republic appeared likely. One historic driver of anti-British Australian republicanism has been the Irish heritage of many Australians. As republicanism grew, it was important that Australia could remain in the Commonwealth as a republic. The past decade has seen a stronger sentiment in Australia than in the other ‘old Dominions’—New Zealand and Canada—that national independence and identity require the symbol of a home-grown head of state, rather than one seen as British. The growth of republicanism in such countries, and in Britain itself, would be likely to encourage republicanism in Australia. Australia’s republican majority has been frustrated by its inability to agree on a model for parliamentary selection or direct election of the president. No Commonwealth country provides a model which Australians find compelling.

Politics of educational crisis

The Chinese symbol for 'crisis' is a combination of the symbols for danger and opportunity. Constructing a sense of crisis is dangerous because crisis discourse mobilises powerful emotions such as concern, fear and desire - particularly when it surrounds something as important to us as our children's education. Using the example of recent crisis discourses surrounding physical education, this thesis examines dangers and opportunities that arise when we declare that our education institutions are in crisis.

Student-generated submicro diagrams : a useful tool for teaching and learning chemical equations and stoichiometry

This paper reports on a pedagogical approach to the teaching of chemical equations introduced to first year university students with little previous chemical knowledge. During the instruction period students had to interpret and construct diagrams of reactions at the submicro level, and relate them to chemical equations at the symbolic level with the aim of improving their conceptual understanding of chemical equations and stoichiometry. Students received instruction in symbol conventions, practice through graded tutorial tasks, and feedback on their efforts over the semester. Analysis of the student responses to formative test and summative exam items over consecutive years indicates that there was a consistent improvement in the abilities of the various cohorts to answer stoichiometry questions correctly. The responses provide evidence for diagrams of the submicro level being used as tools for reasoning in solving chemical problems, to recognise misconceptions of chemical formulae and to recognise the value of using various multiple representations of chemical reactions connecting the submicro and symbolic levels of representation. The student-generated submicro diagrams serve as a visualisation tool for teaching and learning abstract concepts in solving stoichiometric problems. We argue that the use of diagrams of the submicro level provides a more complete picture of the reaction, rather than a net summary of a chemical equation, leading to a deeper conceptual understanding.

Shilpa’s filthy hands

The celebrity Big Brother race row centers, in part, on the preparation, handling and consumption of food. While the ritual of formal and informal dining is a key trope of the series, in this instance it is used to construct notions of difference and Otherness. Eating/not eating Indian becomes a symbol of purity and danger: of Shilpa's filthy natural self that somehow lurked beneath her glamorous exterior. If one eats Indian one is consuming the Other, with the potential to be taken over or spoiled by it. Shilpa, then, comes to stand for a complex and contradictory mix of Eastern/Oriental gender stereotypes. However, at the same time, the racialised grammar of representation used to mark her out as Other draws attention to the white bodies attempting to deny her wholeness. In choosing to eat/not eat Indian one opens up a dynamic space for an interrogation of whiteness to emerge. In fact, Jade, Jo, and Danielle become inferior signifiers of national identity in an age of global consumption. By contrast, Shilpa becomes 'surplus value', a supericonic sign that resists the name calling, fetishisation, marginalisation demanded by those on the show. The Big Brother race row may well be a text that directly speaks to the new post-colonial communication flows in place in the contemporary age.

Constructing the identity of a nation : the tourist gaze at the Museum of Scotland

In an era of global instability and crises of national identity, the role of heritage tourism in creating images of national identity has become an important area for research. This article considers the role of heritage tourism in constructing national identity in the nation of Scotland through the lens of the Museum of Scotland. It describes the findings of qualitative research undertaken with potential and actual target consumers to the Museum of Scotland. Three research questions were addressed: Does the Museum of Scotland construct (1) a vision of a `new' Scotland? (2) a symbol of a `real' Scotland? (3) a collective identity of Scotland? The findings suggest that heritage visitors actively identify through their gaze, constructing multifarious meanings of national identity that are dynamic rather than static.

Ship in foggy, stormy weather SFX

A sound effect of a foggy and stormy ambiance at sea with a distant fog horn.

Reconstruction over ruins : rebuilding Dresden's Frauenkirche

The debate over the reconstruction of Dresden’s Frauenkirche, the city’s landmark Protestant cathedral destroyed by aerial bombing in 1945, exemplifies the conflicts inherent in the treatment of war-related cultural heritage. Although initially preserved only by virtue of some local citizens’ determination to rebuild the church, in time the Frauenkirche ruins emerged in their own right as an arresting antiwar symbol and one of the foremost sites of war memory and commemoration in the divided Germany. This development created a certain conundrum, for if the church ever were to be rebuilt such a project could only materialise by disturbing the ruins, which supporters claimed were deserving of preservation in their unaltered state. With the advent of reunification, the kind of heritage to be preserved at the site—and the way in which it was to be conserved—came under renewed and reintensified scrutiny and debate. By tracing the shifting dynamics during a half-century of debate over how the Frauenkirche site should be conserved, this chapter examines the impact that struggles over war memory and commemoration can have on cultural heritage. It surveys the arguments for and against rebuilding the Frauenkirche before, during, and after reunification, and considers what aspirations conflicting sides had for expressing personal, national, and international memories of war, loss, and the German national past. Finally, it explores how anastylosis rebuilding principles were used to find a compromise by incorporating, somewhat controversially, parts of the existing ruins into the new church after a local citizens’ initiative successfully appealed for worldwide support to reconstruct the Frauenkirche in the wake of Germany’s reunification.

Sustainable development in the border region plan case study : Pengragoan village, Jembrana regency, Bali-Indonesia

Commonly, the border area is a countryside located far from city centre, so that such area gets less attention from government. This condition is seen from the condition of social and economic aspects that is left behind than other locations (Bappenas 2004). In Balinese Traditional perspective, countryside as border area is a non built environment as a symbol of an authority but it does not mean without activities. Asa regency area, border area is a gate of the regency that gives a first impression and attraction as well as represent of the regency characteristic. One of border areasbetween 2 regencies in Bali is Pengragoanareatraversed bythe main routeconnecting thecentreof the Bali Provinceand Gilimanuk Port. Not only is it as a border area betweenJembrana and Tabanan regencies, but also a coastal area that began to gain influence tourism development. The objective of this study is to find the strategies planning for border development that gives benefit to people, protect the local wisdom and meet with sustainable development issues. In order to achieve this objective, this research uses field study, focus groups discussion strategy and direct interview to collect data and descriptive analysis to analyse data. As an agriculture area, this area can be developed as agro-tourism area that focuses on agticultural activities and some support activities, " in limited number", such as home industries, outdoor recreation, agro tourism, restaurant, villa as well as stop over.

Embedded vision-based autonomous move-to-grasp approach for a mobile manipulator

This paper proposes a vision‐based autonomous move‐to‐grasp approach for a compact mobile manipulator under some low and small environments. The visual information of specified object with a radial symbol and an overhead colour block is extracted from two CMOS cameras in an embedded way. Furthermore, the mobile platform and the postures of the manipulator are adjusted continuously by vision‐based control, which drives the mobile manipulator approaching the object. When the mobile manipulator is sufficiently close to the object, only the manipulator moves to grasp the object based on the incremental movement with its head end centre of the end‐effector conforming to a Bezier curve. The effectiveness of the proposed approach is verified by experiments.

Material writing: Towards hybrid-making

Writing operates in an expanding field of intersections between symbol, inflection and further meaning. The materiality of writing, its embodied action, situated context and myriad substantive expressions, requires an interdisciplinary approach best advanced by collaborative teams and fuelled by collective concerns. At a recent design conference, Doha 2013: Hybrid Making, our team of creative arts researchers (Jondi Keane, Patrick West and Valerie Jeremijenko) conducted a workshop based on the idea of reverse engineering the notion of a souvenir, by starting with the sensation rather than the iconic image. The approaches explored by the group focused on the ways in which a sensation, emotion and/or idea attach to an object and how an object offers itself as an attractor for memory and indicate that when experience, sensation and place are emphasized, the materiality of writing comes to the fore. We assert that material writing allows or even requires a fluid movement between conceptual and perceptual modes of creative practice. In this paper we will unpack different methods of material writing: the materiality of the act of writing with substances, site-specific/site-conditioned writing and 3D printing. Through the particularity of each mode of material writing our discussions will examine the points of attachment that we, as symbolizing creatures, produce in order to orient and reconstruct a world on the fly. Material writing constantly brings us back to earth, anchoring us to the expanded processes integral to hybrid-making.