Bunker-de-bunk 2012

A bit of a yawn for the cast and audience

Review of Sleeping Beauty by the Imperial Russian Ballet Company at Her Majesty's Theatre, 2012

The Black Side of the Sun: Camus, Theology, and the Problem of Evil

Albert Camus is typically categorized as an atheistic thinker, in the same breath as Sartre. Yet there is a sizable, often sympathetic, theological response to his works, which deal at great length with Christian themes, wrestle with the problem of evil, and are animated by his own avowed desire — in strong contrast with Sartre and other existentialists — to preserve a sense of the sacred without belief in human immortality. This essay reconstructs three components of Camus’s rapport and disagreement with Christian theology, which he approached pre-eminently through the figure of Augustine, central to his early Diplome thesis. First, we recount the young Camus’s neopagan ‘‘religiosity’’ — a sense of the inhuman majesty and beauty of the natural world at the heart of what he termed (and later regretted terming) the ‘‘absurd,’’ and rooted in Camus’s own unitive experiences growing up amidst the sea, sand, and blazing sun of North Africa. Second, we look at Camus’s engagement with the problem of evil, which for Camus — as for many early modern thinkers such as Bayle or Voltaire — represented the decisive immanent tension in later medieval theology, vindicating — in ethical terms — the modern rebellions against altar, pulpit, and throne. The essay closes by rebutting the charge, strongly argued recently by Ronald Srigley, that Camus was (both) anti-modern because anti-Christian. Camus’s aim, we propose, was instead to bring together a neopagan sense of the wonder of the natural world and our participation in it, with the egalitarian components of Christian ethics, severed from secularized eschatological content.

Artworks : Water Table and Rain Table : presented as part of the Periscope Exhibition, Castlemaine State Festival

Rain Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table - In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the centre of the Universe.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 1: "Water Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

The gardens on Anlaby - a utopian dream

Anlaby Station is the oldest sheep stud in South Australia (SA) dating back to 1839. The gardens have been noted as significant exemplars, Beames & Whitehill (1992), Swinbourne (1982), and in Pastoral Homes of Australia (1911) published by The Pastoral Review, wherein Anlaby was described as “being of no particular beauty architecturally . But the gardens are unique.” The Anlaby property is on the SA State Heritage Register and the Anlaby Gardens are listed in the Oxford Companion to Australian Gardens (2002). The beginnings of Anlaby in 1839 are integral to the colonial expansion of the interior of South Australia. Anlaby at this time was a completely self-contained community within a sheep station containing a survival garden, much like a self- contained English manor-village. The process of land sales offered by the SA government enabled Anlaby to expand, wherein wealth flowed and gradually the survival garden style at Anlaby was transformed into an extensive decorative garden style. This enabled the garden to act as a backdrop for major South Australian society and public gatherings. The driving force behind the garden during its height was the fashionable plant trends in the United Kingdom. This is evidenced by the inclusion of an extensive stove house, grotto, roses and the Gardenesque style of plantings. Traditional English head gardeners were also employed to manage the garden. The realisation of the beauty of native plants was never allowed in the inner world of this landscape; it always remained on the perimeter. The owner’s vision of the garden was Utopian, however, due to climatic forces, the dream was not fully realised. The challenge now lies in preserving this Utopian dream for future generations. This paper considers the historical evolution of the property, its context as a historical exemplar and the challenges facing its future conservation having regard to Adelaide peri-urban, climate change, and differing owner economic circumstances.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 2: "Rain Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

East Rennell World Heritage Site : misunderstandings, inconsistencies and opportunities in the implementation of the World Heritage Convention in the Pacific Islands

Continuing traditional land tenure and resource use pattern the landscapes and seascapes of the Pacific Islands, and the rights of customary land owners are enshrined in the constitutions of many Pacific Island states. The implications of this for heritage conservation programs implemented by national governments under international Conventions and Agreements are explored through a case study of East Rennell World Heritage site, the first site to be inscribed based on natural criteria under customary ownership and management. Dissatisfaction with World Heritage listing expressed by the community of East Rennell is argued to reflect inconsistencies in the requirements for inscription of the property and a tension between the conservation and ‘beauty pageant’ functions of the World Heritage List.

Despoilation

This film captures a journey across Tasmania during which nature was filmed in its beauty and its ruination. The film documents the horrific scarring of land and pollution of rivers brought about by industry and the subsequent effects of climate change

Re-framing values for a World Heritage future: what type of icon will K'gari-Fraser Island become?

K’gari-Fraser Island, the world's largest barrier sand island, is at the crossroads of World Heritage status, due to destructive environmental use in concert with climate change. Will K’gari-Fraser Island exemplify innovative, adaptive management or become just another degraded recreational facility? We synthesize the likely impact of human pressures and predicted consequences on the values of this island. World-renown natural beauty and ongoing biological and geological processes in coastal, wetland, heathland and rainforest environments, all contribute to its World Heritage status. The impact of hundreds of thousands of annual visitors is increasing on the island's biodiversity, cultural connections, ecological functions and environmental values. Maintaining World Heritage values will necessitate the re-framing of values to integrate socioeconomic factors in management and reduce extractive forms of tourism. Environmentally sound, systematic conservation planning that achieves social equity is urgently needed to rectify historical mistakes and update current management practices. Characterizing and sustaining biological refugia will be important to retain biodiversity in areas that are less visited. The development of a coherent approach to interpretation concerning history, access and values is required to encourage a more sympathetic use of this World Heritage environment. Alternatively, ongoing attrition of the islands values by increased levels of destructive use is inevitable.

Brain targeted PLGA nanocarriers alleviating amyloid-Β expression and preserving basal survivin in degenerating mice model

The chronic systemic administration of d-Galactose in C57BL/6J mice showed a relatively high oxidative stress, amyloid-β expression and neuronal cell death. Enhanced expression of pyknotic nuclei, caspase-3 and reduced expression of neuronal integrity markers further confirmed the aforesaid insults. However, concomitant treatment with the recombinant protein (SurR9-C84A) and the anti-transferrin receptor antibody conjugated SurR9-C84A (SurR9+TFN) nanocarriers showed a significant improvement in the disease status and neuronal health. The beauty of this study is that the biodegradable Food and Drug Administration (FDA) approved poly(lactic-co-glycolic acid) (PLGA) nanocarriers enhanced the biological half-life and the efficacy of the treatments. The nanocarriers were effective in lowering the amyloid-β expression, enhancing the neuronal integrity markers and maintaining the basal levels of endogenous survivin that is essential for evading the caspase activation and apoptosis. The current study herein reports for the first time that the brain targeted SurR9-C84A nanocarriers alleviated the d-Galactose induced neuronal insults and has potential for future brain targeted nanomedicine application.

Camus, philosophe: to return to our beginnings

Camus, Philosophe: To Return to our Beginnings is the first book on Camus to read Camus in light of, and critical dialogue with, subsequent French and European philosophy. It argues that, while not an academic philosopher, Albert Camus was a philosophe in more profound senses looking back to classical precedents, and the engaged French lumières of the 18th century. Aiming his essays and literary writings at the wider reading public, Camus’ criticism of the forms of ‘political theology’ enshrined in fascist and Stalinist regimes singles him out markedly from more recent theological and messianic turns in French thought. His defense of classical thought, turning around the notions of natural beauty, a limit, and mesure makes him a singularly relevant figure given today’s continuing debates about climate change, as well as the way forward for the post-Marxian Left.

In the circle of white stones: moving through seasons with nomads of Eastern Tibet

This narrative of subsistence on the Tibetan plateau describes the life-worlds of people in a region traditionally known as Kham who move with their yaks from pasture to pasture, depending on the milk production of their herd for sustenance. Gillian Tan's story, based on her own experience of living through seasonal cycles with the people of Dora Karmo between 2006 and 2013, examines the community's powerful relationship with a Buddhist lama and their interactions with external agents of change. In showing how they perceive their environment and dwell in their world, Tan conveys a spare beauty that honors the stillness and rhythms of nomadic life.

The Museum of Doubt

Is there a God? Does my bum look big in this? Why doesn’t my house cost only the materials used to build it? Is Video Art dead? When Peter Hill curated his first Museum of Doubt exhibition at Zeppelin Projects in Brunswick, these were some of the questions his artist friends wrote on one wall of the gallery. Those artists included Jon Cattapan, Phil Edwards, Julian Goddard, Ceri Hahn, and Peter Ellis. Others, who are also in this second outing of The Museum of Doubt, include Louise Weaver, Patrick Pound, Josh Foley and Michael Vale. How do we know what is true or false in any given visual statement? How willing are we to suspend our disbelief? And does that even matter if the artworks can be enjoyed for their own formal beauty, angst, or inquisitiveness?“I have a great sympathy with both doubt and faith as beacons for navigating this sublime universe,” says Peter Hill. “Remembering that the sublime in art, as in life and death, hovers between beauty and terror. Doubt and faith are both on the same side of the same coin – a coin that has “certainty” on the reverse. Most of the problems we face today are caused by individuals and nations being “certain” that they have the answer. Don’t listen to them. Be skeptical. The truth can be approached, as Karl Popper, the great philosopher of science tells us, but it can rarely be found. It can only be falsified.”So bring your doubt and your faith to this Wunderkammer of Super Fictions and enjoy the lightness, the darkness, and the strangeness in the works of: Glen Clarke, Josh Foley, Tony Garifalakis, Grant Hill, Peter Hill, Patrick Pound, Michael Vale, Louise Weaver and Robert Zhao.

Manifesto of a defeated poet

This feature-length experimental film is the result of an intimate collaboration between Bosnian filmmaker/poet/painter/musician/performace artist Saidin Salkic (On Karasevdah: Srebrenica Blues, 2007 & Konvent 2010) and veteran Australian experimental filmmaker and film educator John Cumming (Obsession, Recognition & Sabotage 1985-87, First time Tragedy Second Tome Farce, 1989, The Hollow Centre 1999). Created over a period of four years it draws on the traditions and possibilities of improvisation – in cinematography, experimental cinema, dance, music and performance – with moments of intensity and repose, fluidity and halting re-composure. Cumming’s camera and Salkic’s movement work in front of it are at once expressionistic and in dialectical tension as are Salkic’s poetry, his haunting improvisations on piano and melodica and Cumming’s industrial soundscapes. SYNOPSIS: In the midst of fascist-capitalist madness, the Foreigner (a poet/dancer with sun on his palms and blood from his dreams on his face) hovers in neon twilight with last whispers of sanity on his lips, guarding and protecting the world – forever. REVIEW: ‘Full of mystery and beauty, punctuated by strange eruptions of silent cinema, of Chaplin, of film history made personal … not the film of a dance but a dance itself around pure presence … something unique and precious.’ Maximilian Le Cain, http://lecain.blogspot.com.au/2015/11/a-few-reflections-on-manifesto-of.html