David McCooey is Poet of the Month

Interview with David McCooey about poetry.

Theorising geo-identity and David Harvey’s space: school choices of the geographically bound middle-class

This paper draws on David Harvey’s theories of absolute and relational space in order to critique geographically bound school choices of the gentrified middle-class in the City of Melbourne, Australia. The paper relies on interviews with inner-city school choosers as generated by a longitudinal ethnographic school choice study. I argue that the participants construct their class-identity in relation to their geographical (or residential) positioning and this influences their schooling choices. In the light of this argument, I theorise geo-identity in thinking about how geographies inform and instruct identity and choice. This paper contributes by offering a focused analysis of Harvey’s spatial theories and class-identity in processes of choice.

Semantic shock: David Bowie!

David Bowie embodies certain identity positions that are alien, alternative, and transgressive via metaphor and alter-egos that render him essentially strange. This chapter argues that by using metaphor and metonym throughout his visual and sonic creations, David Bowie has been largely freed from the constraints of merely describing the world; his use of metaphor and metonym have afforded possible reevaluations of the world, in new ways, by breaking the association between language and things. His own sonic and visual assemblage have allowed fissures to be created; new and multiple meanings rendered possible and valid, with his work going beyond both the creator and viewing/listening-body. Using Sara Ahmed’s (2004) social philosophies of trauma and scarring, the chapter argues that what David Bowie’s work frequently does is ‘re-open wounds’ and reminds us of the scars; asking us to notice their existence, to become more aware, in the first instance. But then, offers a means to negotiate their healing.

Back then, and now - just who is David Bowie?

Our lives are often shaped and made meaningful by the stars and celebrities who enter them. Our bedrooms can become shrines of longing, identification and desire, and the friends we make and the lovers we take can gravitate around the famous figure we together so admire. For the writers of this piece, David Bowie is one such star-man: his music, lyrics, writings and performances are felt to wrap themselves around their youth, their rebellion, their hurt, and their love.

Enchanting David Bowie space/time/body/memory

This exciting collection is organized according to the key themes of space, time, body, and memory - themes that literally and metaphorically address the key questions and intensities of his output.

The whiteness of David Bowie

During the 1980s, in particular, Bowie embodied particular notions of white masculinity that were on the one hand supportive of its idealized hegemony, and on the other subverted its normative power. I will take 1983 as the year when his whiteness is particularly visible and unstable. Bowie, as either the blonde dandy from Let’s Dance; the enigmatic character, Maj. Jack 'Strafer' Celliers from Merry Christmas Mr. Lawrence (1983); or the simmering vampire, John Blaylock from The Hunger (1983), crystlised the pure qualities of white masculinity while demonstrating its violent, queer and subversive nature. The chapter will suggest that Bowie has constantly operated along a white continuum, self-consciously embodying it, granting it carnal and ideological power, while drawing attention to its death-like instinct, its anti-reproductive progeny, its implicit queerness.I have chosen to read Bowie’s whiteness through this shortened window of temporality to enable me to draw into the analysis the historical and cultural issues of the period in question. 1983 registers as the year in which whiteness is acutely imagined to be under threat from the Asian tiger and transforming geo-political realities, its own languid anti-corporeality, the AIDS ‘epidemic’, and from the rise of racism in Europe and elsewhere - realities which require it to re-position its power relations with the sexual, and ethnic Other. The whiteness in/of David Bowie speaks particularly eloquently to this historical moment.

One minute's silence by David Metzenthen and Michael Camilleri

Deakin University Library hosted the awarding winning author and illustrator event. Author David Metzenthen and illustrator Michael Camilleri spoke about their award-winning picture book One Minute's Silence, published by Allen and Unwin.

David and Michael discussed their creative inspirations, and how this original and contemporary work came about.

David Cross in conversation with Cameron Bishop

We live in denial of the foreigner within due to the (often feigned) dexterous self-regard we bring to our social and spatial encounters. You, as the literal foreign body in your own work, inviting the participant to pump, breath, hold, slide or catch, deny that self-assurance, not only to the viewer but also to yourself. Framed at a psychosocial level the denial of the foreigner within plays out in all kinds of ways in our treatment of those others who are seen to breach our borders, at a personal, political and national level. The work you create, in this context, may be seen as an interrogation of the western subject’s conventional experience of territories, from the body, to the museum and to the nation. As you suggest, the physical and cognitive thresholds you give to the participant invite the unguarded moment, the other side of which prompts the viewer to ponder their physical relations to others, as fragmented, fragile beings. But key to this is you, the artist, who presents as partial and foreign inside these objects. How are these objects extensions of your own body, and your own athleticism?