The literary dawn: re-reading Louisa Lawson's poetry and politics

Scholarship on Louisa Lawson and the Dawn has necessarily often focussed on the important and wide-ranging achievements of her feminist work for women's legal, social and political rights. Indeed, as Audrey Oldfield notes, "Louisa Lawson was one of the most important figures in the New South Wales woman suffrage movement" (261). However, I want to focus here on the periodical publishing context of the Dawn as a means of pointing to further discussions of Lawson's significance as a poet. Megan Roughley has noted that the Dawn "was a forum for political causes, especially the movement for the emancipation and enfranchisement of women, and, as importantly to Louisa, the temperance movement" (ix), with influential articles appearing on a wide range of important issues including divorce reform. Yet, Lawson's construction of the Dawn was also highly literary from its first issue, with editorial choices and literary references reflecting her awareness of political and feminist literary culture. In addition to references such as the above quotation from Tennyson, Lawson included an epigraph from Joseph Addison's play Cato in the list of contents: "A day, an hour, in virtuous liberty, is worth a whole eternity in bondage." Citing Addison, a significant figure in the American Revolution, demonstrates Lawson's linking of radical class politics with feminism, as well as highlighting the importance of literary dialogues to Lawson's publishing work. Likewise, the concerns of Lawson's poetry are clearly situated within a continuing female tradition, and Lawson's poetry, when examined in the feminist literary context of the Dawn, reveals a radical and sophisticated poetics.

Duet: Improvising spatial dialogues with an artificially intelligent agent

This paper presents an experimental framework for a virtual reality artwork, Duet, that employs a combination of live, full body motion capture and Oculus Rift HMD to construct an experience through which a human User can spatially interact with an artificially intelligent Agent. The project explores conceptual notions of embodied knowledge transfer, shared poetics of movement and distortions of the body schema. Within this context, both the User and the Agent become performers, constructing an intimate and spontaneously generated proximal space. The project generates a visualization of the relationship between the User and the Agent without the context of a fixed VR landscape or architecture. The Agent's ability to retain and accumulate movement knowledge in a way that mimics human learning transforms an interactive experience into a collaborative one. The virtual representation of both performers is distorted and amplified in a dynamic manner, enhancing the potential for creative dialogue between the Agent and the User.

Displaced metaphors: collaborative poetic responses to language in a post-physical world

This paper discusses an ongoing creative and conceptual collaboration between three authors, in which poetry has been approached as a way of exploring how lived experience and language are being transformed by the rapid evolution of virtual reality and its lexicon. We recognise, via Bakhtin, that language is always shared, in-use and redolent with multiple meanings. We acknowledge that we have written within a metaphorical space where we, as avatars of ourselves, use word processing software loaded with its own metaphors of page and print. The poems we have collaborated on have interrupted the increasing invisibility of metaphors such as ‘cloud’ and ‘screen’ as applied to technology, by working in the disjunction between metaphor and what it describes. We now reflect on the collaborative process and on the influence of technology on our practice, whilst maintaining a collaborative strategy. The paper explores the poetics of longing (Stewart) and Baudrillard’s simulacra and argues that concerns over remembering the real and the effects of nostalgia are offset by the generative potential of collaborative writing and its surprising forms of heteroglossia, which have exciting possibilities for creative practice.

Sisters

Melinda Capp and her sister Meredith are identical twin. The Sisters installation presented at the Castlemaine state festival is an exploration of the experience and memories of having grown up as a twin and the complexity for both the self as single and self as other/double which underpins and confronts both the physical and psychological sense being a twin. Nature / Nurture: The work is explored as a dichotomy of Nature / Nurture by referencing the domestic context of childhood (which can be interpreted as an exposition of the influence of nurture) and reference to the physical, genetic aspect of being a twin (a reference to Nature). The Installation was located in a bedroom of a 1960’s brick house, now empty, and invites the viewer to enter into a world which pulls between these two forces of nature/nurture, which shape the sense of identity and realization of self for each twin. The bond between twins emerges at the cellular level and continues for the rest of their lives. Despite all emergence of individuality and bloodline thread binds them together forever no matter the distance between them and changes through time In dark wooden wardrobe two dresses, made from fine white tissues paper, hang quietly on each side of the robe with backlighting which floods the room with an ethereal luminance. Placed in the center of a large bare wall, a small image of Melinda and Meredith as young children (a photo transfer also on the ephemeral tissue paper) hangs in isolation. This placement and the surrounding space unites these two young twins together, bound in symmetry like a mirror image in the vast open space of the empty wall, a symbol of the potential for growth and individual identity in a world which surrounds them. On the opposite wall a series of object and artifacts are pressed between sheets of acrylic and backlit as if they were some sorts of scientific samples for detailed inspection. Feathers/hair, handmade paper with embroided (reference to the traditionally feminine arts) text and the words Blood Ties traced out. Each object is placed for analysis and hovers in space at the viewers approximate eye level like a series of clues for the revelation of some deeper insight. Hidden speakers were embedded within the walls of the room and played looped recordings at low level inviting the viewer to listen as a voyeur. A series of whispered schoolyard chants by Melinda and Meredith (identical wording were individually recorded by each sister and then superimposed) and a collage of spoken word, memories and anecdotes from the period of their childhood. Most notably recollections of the Apollo Moon landing. A symbol of the ability of science to transcend and reveal that which lies beyond and within, while at the same time counterpointed by the poetics of childhood songs emerging in unison as two twins reveal their innate unification.

if not in paint

if not in paint is an attempt to deploy the concept of the text as a space in which to bring to light the sense of hospitality. It is inspired by Jacques Derrida’s exploration of the theme (in Derrida & Dufourmantelle 1997), which has taken increasing urgency in the first decades of the millennium with the global refugee crisis. The sequence aspires to a poetics of attentiveness and radical passivity associated with Maurice Blanchot (1986) and informing Alan Loney’s poetry (Loney 2005, 2007 & 2008). The poem operates a transformation of the concept of home from the narrow one, sentimentally associated with familial and personal identity, via betrayal and calamity, to the possibility of home as openness to the other.

'Give back the human': poetic collaboration and hibakusha poems

Testimonies are viewed as essential for recording the experience of atomic warfare. However, hibakusha Keiko Ogura expresses the need for something more than recording and translating these testimonies. She highlights the need for an understanding of the hibakusha experience through a form of virtual collaboration with hibakusha and their stories. Ogura states that this is best achieved via ‘literature, art and poetry’ (Ogura 2015: n.pag.).This paper discusses why and how we speak about the atomic bomb and argues that virtual collaboration with hibakusha, by writing poetry based on their experiences and publishing it online, encourages empathy and keeps the experience alive for future generations. This paper uses Brandon Shimoda’s curated issue—entitled ‘Hiroshima/Nagasaki’—of Evening Will Come, a monthly online journal of poetics, as a case study.