Zombie processes and undead technologies

Zombies in the Academy taps into the current popular fascination with zombies and brings together scholars from a range of fields, including cultural and communication studies, sociology, film studies, and education, to give a critical account of the political, cultural, and pedagogical state of the university through the metaphor of zombiedom. The contributions to this volume argue that the increasing corporatization of the academy—an environment emphasizing publication, narrow research, and the vulnerability of the tenure system— is creating a crisis in higher education best understood through the language of zombie culture—the undead, contagion, and plague, among others. Zombies in the Academy presents essays from a variety of scholars and creative writers who present an engaging and entertaining appeal for serious recognition of the conditions of contemporary humanities teaching, culture, and labor practices.

It’s timey wimey for a female doctor

A discussion of fandom's resistance to seeing a woman cast as 'the Doctor' in the popular science fiction television show 'Doctor Who'.

Reading, writing, crafting – Innovations in first year tertiary writing pedagogy

This paper will outline some of the rationale behind, and strategies contributing to, curriculum revision in first-year creative writing at Deakin University in 2012 – delivered in that year and currently running in 2013. The process aimed to produce two consecutive offerings, with distinct but strategically scaffolded preoccupations. This paper deals with the first of these. The design process for this offering, named ‘Writing Craft’, involved addressing two central concerns: (a) the need to unhook the initial encounter with tertiary creative writing pedagogy from a preoccupation with ‘genres’ or the ‘forms’ of creative writing (such as prose fiction, creative nonfiction, script, poetry, and so on) and instead to reorient efforts towards establishing an engagement with craft per se; (b) to address a perceived impoverishment in the range of texts to which students had been exposed prior to commencing study – in other words, to emphasise the practice of reading to facilitate the practice of writing. The curriculum design also involved reimagining assessment, noting the ‘messages about making’ sent to students via the framing of tasks and rubrics. Aiming instead to deemphasise the role of inspiration and ‘work arriving fully formed’, it sought to offer assessment that provided clear – and bounded – prompts for incidents of making and the practice of craft, as well as to provoke conversation with a broad range of texts as a way of courting intertextual inspiration and aesthetic formation.

We are in danger

Genre films are constructed out of narrative patterns and plot points that involve or are predicted on crisis, on danger. This is the logic of much if not all mainstream genre cinema: drama has to take place for there to be a story to be told, and for pleasure and identification to be arrested and enthused. Forms of threatening disequilibrium can be personal, domestic, familial, local, external, supernatural and murderous; a way of life can be threatened as well as life itself. There are ideological dimensions at play; the crisis threatens to destabilize patriarchy, heterosexuality, social norms and expectations. Feelings and modes of affect are set in dangerous motion as the crisis unfolds. Trouble may emerge from a wayward or transgressive family member, or it may arrive in town on horses, stagecoaches, trains, cars, spaceships, and on the wind and in the water. The main (and minor) characters in the film are at the center of this storm, and that places viewers at the epicenter of the danger, also. The genre film places us all in danger. The genre film, then, has phenomenal, phenomenological and bio-political potential as a site of cognitive, ideological and carnal endangerment.

Sounding loneliness in under the skin

How one affectively sounds loneliness on screen is dependent on what instruments, melodies, voices and sound effects are used to create a sonic membrane that manifests as melancholy and malcontent. It is in the syncretic and synesthetic entanglement that sounding loneliness takes root. It is in the added value inherent in the “sound-image” – to draw upon Chion1 – that loneliness fully emerges like a black dahlia. So many lonely people, where do they all come from? And yet, as I will suggest, this sounding loneliness is not only textually specific, simply or singularly driven by narrative and generic concerns, but is historically contingent and nationally and culturally locatable. For example, the sounds of urban isolation of the American 1940s film noir are different from the Chinese peasant laments of Chen Kaige’s Yellow Earth (1984), or what I will presently argue are the British austere strings of sounding loneliness today. When one employs a “diagnostic critique”2, one undertakes to find the history in the text and the text in the history. It is in the interplay between sound and image that historical and political truth emerges. These contextualised and historicised soundings change across and within national landscapes and their related imaginings. We don’t just see the crumbling walls of the imagined nation state, but get to hear its desolate tunes: The Specials wailing “Ghost Town” – the anthem of/to Margaret Thatcher’s first wave of 1980s neo-liberalism – is a striking case in point. But what specifically is this contemporary “sounding loneliness”, and where does it come from? I would like to suggest that this age of loneliness is composed in, through and within the sonic vibrations found in the wretched politics of austerity. My case study will be the anomic soundings of Jonathan Glazer’s Under the Skin (2013).

Heterocera

“Heterocera” emerged from three things: a sudden migration of waves that invaded our home (and tormented the cat); a documentary about insect life as the future for sustainable foods; and a news report about the impact of chemical farming and waste on the environment. Akin to John Wyndham’s Day of the Triffids, ‘Heterocera’ imagines a world in which nature fights back.

Incubation

“Incubation” was produced as a result of the images from a pregnancy scan, a 3D capture and a short video of a tiny human being yet to be born, and yet fully formed, and waving to those watching as though it was aware of its performance from the inside. It was a remarkable vision, enabled only by enormous developments in technology that cross the boundaries between inside and outside—yet there was something also distant and alien about the viewing experience, a reminder of human bodies as carriers for other bodies and living things.

Nowhere left to zone in children of men (2006)

Through a dynamic critical analysis of the defining films of the turbulent post-9/11 decade, the volume explores and interrogates the impact of 9/11 and the 'War on Terror' on American cinema and culture.

The science of our own fiction : affective experiments enacted through creative research

This paper will explore the ways in which art may be understood as an ongoing experiment that interacts with the plasticity of the body to prompt change and affect the body-environment relationship. The arts offer an approach to research that recognizes the importance of the affect in studies of perception and action, self-organization and selection. An affective approach to experimentation would connect cognitive activity to the material processes of the environment in a science of our own fiction. This connection becomes the basis of affective experiments, which aim to yield new insights by merging the creative researcher with self-affecting-experimenter. To this end, I will discuss the scientific objectives of the “rubber hand”, and the ‘mirror-box” experiments are contrasted with work by artists-turned-architects Arakawa and Gins and three of my creative projects to suggest how creative research might enact embodied change. Throughout the paper I will argue that cognitive processes such as attention, selection, decision and judgment are ripe for re-entry and experimentation through an embodied approach to acquiring knowledge that is particular to the arts.

Eleven seasons : a creative writing journey through modern Australian football

This thesis offers a novel, 'Eleven seasons', that traces the physical and emotional journey of a young male footballer through the mid-1980s and mid-1990s. It also offers a comparative review of creative writing about Australian football, and a critical analysis of the book's creative gestation from idea to completed text.