Nothing is free in this life

This chapter raises the notion of whether creativity can be 'bought' and draws on Derrida's category of the 'invention' (as opposed to creativity, which Derrida defines differently) in order to examine closely the criteria of inventiveness. The latter overlap in certain ways with a Badiouian understanding of the event. The chapter goes on to argue, using Badiou's notion of the event and the void, that creativity is abundant and 'free', but that creative industries may be ethically justified in selling other knowledges relating to creative practice, but that they should be clear about what can be 'bought' and that which is - if examined rigorously - always already 'free'.

Multimodal theatre experiences : Africa and 2 dimensional life of her

Australia’s theatre for young audiences (TYA) has concentrated on young people’s interest in techno-savvy narrative complexities since the early 1990s, and has done so with positive outcomes. Building from a reflective inquiry, which is based on a TYA practitioner’s viewpoint, I explore two Australian contemporary theatre productions for mixed audiences: My Darling Patricia’s Africa (2011) and Fleur Elise Noble’s 2 Dimensional Life of Her (2011), which utilize old and new technologies for differing purposes. I present the following article in two parts: The first section briefly contextualizes TYA plays in Australia using digital technologies, along with a review of the literature that introduces an ongoing dialogue about digital media in theatre. The second part showcases the creative development process and the synopsis of Africa and 2 Dimensional Life of Her before I discuss the use of old technology in Africa in the form of a techno-tele-character, and the impact of new technologies in 2 Dimensional Life of Her as a transmediated theatrical occurrence. Recommendations are made for ways that TYA practitioners might consider mixing old and new technologies with the live to compete in the cultural marketplace.

Vespers

Poem titled: 'Vespers' by Paul Venzo.

Review short: Cath Keneally's eaten cold

In The Sacred Wood: Essays on Poetry and Criticism, T. S. Eliot famously wrote, ‘Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.’ Cath Kenneally’s eaten cold offers a chain of indelible response-poems to New Zealand poet Janet Charman’s book, cold snack. In Kenneally’s collection, ‘Meanings perpetually eingeschachtelt into meanings’, creating new and original poetry that riffs off Charman’s book without ‘imitating’ or ‘defacing’ it.

The earth does not get fat

This story was shortlisted for the Ink Tears International short story competition (UK) 2013 and subsequently published by the Australasian Association of Writing Programs.

Boats on the roof of the house: the shadowy flux of alterity

Freud’s ‘The Interpretation of Dreams’ focuses upon the relationship between the signs, in the surface content of the dream, and the operation of thought that produces these signs, in the latent content of the dream. Freud’s analysis is a means for tangling with a discontinuous narrative style because Freud’s analysis provides a methodological approach to the question: how does the novel bear witness to the writer’s subjective consciousness?