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.

Problematic identities in women's fiction of the Sri Lankan diaspora

In her thesis, Watkins investigates the representation of ‘problematic identities in women’s fiction of the Sri Lankan diaspora’. As well as scrutinizing the literature for gender specific issues, both cultural and psychological, the thesis illustrates its collective significance as culture specific literature.

Dematerialised data and human desire : the Internet and copy culture

Since Licklider in the 1960s [27] influential proponents of networked computing have envisioned electronic information in terms of a relatively small (even singular) number of 'sources', distributed through technologies such as the Internet. Most recently, Levy writes, in Becoming Virtual, that "in cyberspace, since any point is directly accessible from any other point, there is an increasing tendency to replace copies of documents with hypertext links. Ultimately, there will only need to be a single physical exemplar of the text" [13 p.61]. Hypertext implies, in theory, the end of 'the copy', and the multiplication of access points to the original. But, in practice, the Internet abounds with copying, both large and small scale, both as conscious human practice, and also as autonomous computer function. Effective and cheap data storage that encourages computer users to keep anything of use they have downloaded, lest the links they have found, 'break'; while browsers don't 'browse' the Internet - they download copies of everything to client machines. Not surprisingly, there is significant regulation against 'copying' - regulation that constrains our understanding of 'copying' to maintain a legal fiction of the 'original' for the purposes of intellectual property protection. In this paper, I will firstly demonstrate, by a series of examples, how 'copying' is more than just copyright infringement of music and software, but is a defining, multi-faceted feature of Internet behaviour. I will then argue that the Internet produces an interaction between dematerialised, digital data and human subjectivity and desire that fundamentally challenges notions of originality and copy. Walter Benjamin noted about photography: "one can make any number of prints [from a negative]; to ask for the 'authentic' print makes no sense" [4 p.224]. In cyberspace, I conclude, it makes no sense to ask which one is the copy.

Invaders at the door : science fiction film invasion narratives of the 1950s

Public talk Warrnambool city centre campus in association with the arts centre

Prose fiction’s infinite playlist : encountering music in fiction narrative

This paper will argue that reference to music in young-adult prose fiction stimulates movement across narrative and artistic boundaries in ways that facilitate a unique reading encounter. The inclusion of musical reference opens up a space for a multisensory experience that is beyond that of the reading experience devoid of musical association, even when the audio is not immediately available at the time of reading. This experience is bound to the role of the reader, however, be it through the remembered or imagined experience of the music that is signaled in-text, or even the reader’s pursuit of the audio in response to the reading. As ‘a threshold literature’ (Eaton 2010, np) that targets a young audience for whom ‘popular music is globally acknowledged as affectively and culturally central’ (Bloustien & Peters 2011, 4), young-adult fiction is an apt space for explorations into the potential that exists when a text includes musical reference. In particular, Gerard Genette’s paratexts (1997), J Hillis Miller’s ‘membranes’ (2005) and T Austin Graham’s ‘literary soundtrack’ (2009) will be used to examine how Rachel Cohn and David Levithan’s young-adult fiction novel Nick and Norah’s infinite playlist (2006) functions as an ‘infinite playlist’ in itself via a series of paratextual and epitextual elements. Discussion of the latticework of music-narrative interaction that exists as a part of this text will facilitate an understanding of how musical reference can encourage movement within and beyond the narrative towards a potentially unique reading experience.