Understanding Australian ethnic minority artists' careers

This article examines the degree to which Australian ethnic minority artists possess or do not possess the career capitals necessary to develop their artistic journey. We listened to stories of career experiences that show how artists learn to negotiate their way by developing their career paths. The study found that ethnic minority artists possess more cultural capital than economic and social capitals, thus limiting their career to attain hierarchy and power in creative institutions. Ethnic minority artists can use strategies to manage career, boosting economic, social capitals and to a lesser extent cultural capital. This article adds to the current literature on the utility of Bourdieu’s forms of capital, contextualising voices of artists to account for their experiences in managing the process of advancement which both facilitates and limits their career-related opportunities.

Unfolding projects: Afghan and Australian artist’s books collaborations

In August 2009 an email was circulated to a number of Australian women artists with an offer to participate in a project of dialogue with women in Afghanistan. The project grew as a response to the dire situation of many women in Afghanistan, particularly in relation to education; many women are illiterate because they were and often still are, forbidden, restricted, or discouraged from attending school. By April 2010, 53 artists’ books by 14 women artists from various parts of Australia were delivered to Afghanistan, thereby beginning a process of creative collaboration between women situated in different places, cultures, and languages, attempting a productive connection through image and text. Each artist had created a small series of concertinas of imagery consistent with her current studio practice, which were then delivered to Afghanistan and distributed amongst women participating in literacy education. The women were asked to relate to the images by writing their own words directly within. The general intent was for the concertinas to be sent back to Australia, then bound and exhibited to raise public awareness, and possibly sold to raise funds. The artistic intent, however, was not the fundraising aspect as much as to take part in a process of support and dialogue with women in Afghanistan. It was a manoeuvre that said 'you are not alone'. The aim was to mobilise a conversation of sorts through the visuality and materiality of the artist’s book, despite the limitations of cultural, experiential, and physical distance. Just over six months from their delivery to Afghanistan, 36 of the 53 books returned to Australia, each marked with handwritten stories and poems in Dari and Pashto. This paper discusses the processes and considerations involved in the project, and the partnership formed with SAWA-Australia (Support Association for the Women of Afghanistan).

Interview with Dr Fitra Roman Cahaya

Dr Roman Cahaya is an Indonesian university lecturer who studied at Curtin University in Australia on two occasions, one in 2005-2006 when he completed a Masters degree, and one in 2008-2012 when he obtained a PhD. Both periods of study in Australia were on Australian Development Scholarships. The interview was conducted in English by Dr Jemma Purdey of Deakin University and was recorded on 28 May 2014. This set comprises: an interview recording, a timed summary, and a photograph.

Legal systemology and the geopolitics of Roman law: a response to Stuart Elden’s critique of Carl Schmitt’s spatial ontology

This paper explores the production, destruction, and reproduction of the geopolitical spaces of Roman law in order to offer an analysis of Schmitt’s (selective) notion of Jus Publicum Europaeum and its relevance to the current “depoliticization” and “dejuridification” of the world. By adopting a historical and geopolitical approach that reaches the boundaries of legal systemology and political theology, the present contribution investigates the manipulative and instrumentalist use of the material object of Rome’s (universalist) competence, namely the “territory” as dominium of its political intervention, which was ultimately (and idealistically) aimed at avoiding the natural destiny of any living being: birth, maturity, and death. Attention is therefore paid to the Roman strategy of (ontological?) contamination of its mythical identity through the legal and sociopolitical administration and regulation of its geographical spaces in terms of (non-)cultural signification. Through the analysis of such concepts as “nomos,” “Großraum,” “Ortung,” and “Ordnung,” it is claimed that Schmitt voluntarily chose to identify the Jus Publicum Europaeum with the geopolitical order produced during the Age of Discovery and not with the “comprehensive” Roman spatial order. The reason for this choice may be identified in the distortive use of Rome’s social relations and political allegiances that lay at the core of its genealogical expansionism (and subsequent inevitable dissolution) since the conquest of Veius in 396 BC and the historical compromise between patrician nobility and plebeians in 367 BC.

Haptically-enabled dance visualisation framework for deafblind-folded audience and artists

In this paper we propose a framework for communicating performance art to deaf, blind and deafblind audiences and artists haptically through the sense of touch. This research opens doors for novel artistic trends relying mainly on the sense of touch. The paper investigates the design considerations dictated by solo and group dances as well as stage setup. Implementation scenarios for deafblind audiences and performers are also discussed.