Star drawings and intersections

Star Drawings and Intersections (an experimental installation) With the camera attached directly to my body extended exposures of stars were made. The images were therefore subject to the physicality of the body and it’s movements. They represent the act of photography as an extension of the body and the lens as a replacement or extension of the eye (by utilizing the camera the primary and initial a point of visualisation). The final images render the movements of the body (during the time of the extended exposures) and traces of starlight imparted during these enacted and involuntary movements. Presented as a large scale (horizontal life/figurative size) grid of images the audience is afforded the ability to view and compare the individual images and to consider them as an experimental form of phenomenological data. The work also aims to be considered as a representation of an embodied relationship to both the medium of photography and the sublime cosmos, which captured during these gestural performances. During the exhibition audience members are encouraged the engage with the grid of images by placing various objects, such as timber dowel rods, against the images as a way of invoking an extended connection - a physical line of sight and as an act of pointing to and delineating single moments within the continuum of the rendered exposure. These interactions are also a way of engaging both the physicality of the gallery and temporality of the exhibition as the timber rods cast shadows across the images which shift over time with the ever changing angle of the Sunlight as it enters though the circular arched windows of the gallery.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Citing the saucers: astronomy, UFOs and a persistence of vision

This paper consists of two parallel and interweaving investigations regarding the UFO phenomenon and its origins with respect to observational astronomy. First, as a young child, I was fascinated with astronomy and would spend many hours with my toy telescope, viewing blurred images of the night sky. I also held a deep belief in UFOs and was committed to seeing and recording a flying saucer for myself. This led me to fabricate my own UFO photographs and from these I developed a critical relationship with photography as a means of documentation and as a medium of illusionary projection. This paper is therefore partly personal and reflexive.The second thread investigates the advent of the UFO phenomenon as a consequence of nineteenth and early twentieth century developments in observational astronomy, and the speculative theories regarding life on Mars that emerged during this period. I will be considering the work of Giovanni Schiaparelli, Percival Lowell and the writings of Carl Jung. I will be arguing that the primary force that led towards a belief in flying saucers emerged from the speculations and misinterpretations of certain astronomical observations, together with a desire to project upon that which was observed, rather than to see that which was there.

Somatic soldier: embodiment and the aesthetic of absence and presence

The lived experience of the soldier has long been the subject of artistic inquiry and scholarly analysis. In this paper I reflect on my own art practice and research into Fijian military embodiment and the ways that Fijian soldiers and private security workers negotiate a liminal space between embodied indigenous knowledge (presence) and somaesthetic military practice (absence). As Maltby and Thornham (2012, 37) explain, “the dual articulation of the body constructs multiple understandings of it as simulta- neously lived and imagined, public and private, present and absent, experienced and represented”. I broaden these ideas around visibility/invisibility and the absence and presence of the military body through an analysis of key works by contemporary artists Lisa Barnard and Suzanne Opton.

The body in photography: an improvised performance with light

Considering the way light is integral to photography I draw on its paradoxical nature at sub atomic levels that describe how, when observed it changes. Taking a biocentric approach ; ‘A radical new view of reality: Life creates time, space, and the cosmos itself The farther we peer into space, the more we realize that the nature of the universe cannot be understood fully by inspecting spiral galaxies or watching distant supernovas. It lies deeper. It involves our very selves.’ (Lanza, 2009), I aim to clarify how embodied photographic practice can be explored through improvisational and performative discourse.

An obligate beach bird selects sub-, inter- and supra-tidal habitat elements

Few habitat models are available for widespread, obligate, high-energy sandy shore vertebrates, such as the Eastern Hooded Plover Thinornis cucullatus cucullatus. We examined habitat attributes which determined the difference between sites where plovers breed and randomly-selected absence sites (determined from long-term systematic monitoring). A variety of habitat variables were derived from aerial photography and bathymetric and terrestrial Light Detection And Ranging (LiDAR) data. Logistic regression against eight candidate variables, in a model selection framework, revealed considerable support for four variables with respect to explaining the presence of breeding territories. In particular, the amount of unvegetated dune and foredune which was unvegetated, and the amount of intertidal and sub-tidal reef were positively associated with the presence of breeding territories. Thus, plovers apparently select certain habitat in which to breed, involving sub-tidal, intertidal and supra-tidal habitat elements. The model also helps explain the virtual absence of breeding plovers from long sections of superficially suitable habitat, such as the fourth longest continuous beach in the world.

Aboriginal cottages, transactional encounters and mission lifestyles at New Norcia, 1860-1900s

Several photos of Aboriginal people outside their cottages exist in the New Norcia Archives. These images could be read in different ways but have commonly been viewed as powerfully symbolic stories of successful mission life and converted Aboriginal people. While historians of colonial photography have persuasively linked the photographs of ‘settled’ Aboriginal residents with evidence of missionary success, we might add that they could also be compelling proof of Aboriginal families’ own success in adapting their land use and way of life in the context of dispossession. Reading this photograph of Aboriginal houses alongside Aboriginal voices in New Norcia’s archive it is possible to suggest Aboriginal people’s own desires for houses and settlement aligned with their ideas about respectability, as well as Aboriginal families’ own complicity in mission propaganda through such images.

Thinking through things: Patrick Pound and the Flinders University art museum collections

Patrick Pound is known for his singular approach to art production: compiling, collecting, combining and captioning things in ways that challenge the orthodoxy of museums and their taxonomies. Working with public holdings and his own esoteric compendia of ‘stuff’, Pound uses self-devised cues to give shape, form and meaning to his exhibits. Pound makes his debut in Adelaide with Flinders University Art Museum, mining the 6,500 works in our care to make unexpected and unprecedented connections

Walker Evans: documentary detachment, narrative sequences and telling juxtapositions

This paper will re-examine the long established position of Evans as the quintessential detached documentary style photographer. I propose that is only part of the story. Evans was the inventor of the clinically detached and knowing ‘documentary style’. However, we will see that his magazine portfolios and his portfolios in book form; function quite differently. I will argue they employ a surprisingly engaged pictorial narrative form that echoes his personal scrapbook arrangements of magazine cuttings, and international magazine tropes of the time. Evans arranges his otherwise detached documents in satirical juxtapositions and telling sequences. I will argue that the Vitruvius of the vernacular is after all, also an engaged and engaging storyteller.

Every day you learn something : learning for life? Neighbourhood houses, adult learning and transitions to higher education

This book comes from a research project titled ‘Lifelong Learning? Neighbourhood Houses, Adult Learning and Transitions to Higher Education’ (T Ollis, Starr, Ryan, Angwin, & Harrison, 2016). This research has examined adult learning in the context of Neighbourhood Houses in the regions of Geelong and South Western Victoria.The research was conducted in 2015 and 2016 and sought to examine the learning experiences of adult learners who participate in the education programs of Neighbourhood Houses. The focus was on second chance learners and their transition pathways to higher education such as TAFE and University. A second group of learners were identified during the research process – later life learners. These learners were engaging with Neighbourhood Houses for personal interest learning and social and community connection. This small book provides a snapshot of the stories of learners who were involved in this research. It tells the lived stories of the participants, which is important as learning and education are connected with the ongoing development of ourselves as human beings. Learning is essential to our personhood and impacts on adults in terms of their welfare, health and prosperity over a lifetime. Many of the learners’ stories outlined in this book reveal checkered histories of education. Some have experienced learning difficulties, others have experienced family trauma that prevented them from finishing secondary schooling. Some of the stories describe issues related to reskilling or retraining in later life, responding to industry changes and work in the Greater Geelong and South West regions. Others were pursuing recreation and social connection and came to the Neighbourhood Houses to learn crafts, writing, photography and computer literacy skills. In almost all accounts of learning in this book, individuals had experienced less social isolation by being connected to others in the unique social environment of Neighbourhood houses.