Second city syndrome : media reportage of urban rankings

This paper investigates the popularly reported phenomenon of city rankings and, in particular, the category of the ‘second city’ that regularly features as part of this prolific evaluative discourse. Our paper proposes that the category ‘second city’ has a specific analytical value that has to date been underestimated in academic accounts (particularly in the confusing, interchangeable use of ‘second-tier’, ‘secondary’ and ‘second cities’ in the dominant urban studies literature). Instead, we are interested in how second city identifications permeate popular forms of urban comparison in some places.

The example of Melbourne (Australia) is used to investigate how second city identities are historically sustained through evaluative media representations. In particular we examine how, through their reportage of various world city rankings, metropolitan newspapers reveal and articulate a ‘second city consciousness’. How do media institutions, and more specifically, media reports, frame these urban rankings in such a way to confirm Melbourne’s similarity to other globalised places (i.e. proposing its status as a ‘world city’), yet also as a city also marked by a particular historical specificity? And how do they draw on already existing popular and political traditions of urban comparison? This article will identify and analyse the role of newspapers in perpetuating both formal and informal urban comparisons.

Resuscitating students’ learning : exploring the “Living Dead” phenomenon

There is research spanning the 20th century on student disengagement. Despite all the research, the problem remains. It is time to adopt a different perspective. This article attempts to make transparent the influences on disengagement in schools by applying Jean Gebser’s (1985) empirical phenomenological study of cultural consciousness. What differentiates this approach from previous arguments is the basic premise that the “problem” of disengagement lies not with an individual or group, but with the cultural consciousness.

Monumental vision : a confrontation with the image of the Eternal Return

"Monumental Vision” is a nuanced summary of Nietzschean nihilism and the Eternal Return as rite of passage for free subjects and as condensed image of speculative intelligence proper. Utilizing Gerhard Richter’s “Sheet 692” from Atlas, a series of photographs of the mountains and lake at Sils Maria, Switzerland, as summary judgment of the limit imposed by this condition on all systems of representation, this form of vision discloses the chiasmus embedded in consciousness itself. In constantly revisiting Sils, the very location where Nietzsche “suffered” the vision of the Eternal Return, Richter has engaged repeatedly this origin for what has come into his work via Nietzsche – that is, an elective veil that refuses all compromises with transcendence until such is merged with immanence.

As situated amidst modernist “ideology as intellection”, and subsequent nascent forms of anti-modernism, the Eternal Return as image also signals the return of the Kantian “aesthetic-teleological” synthesis in non-discursive or purely visual agency. As an elective form of aesthetic vision, and as image of time insofar as it registers an overwhelming externality (Other) that nominally swallows and empowers the subject at once, this excoriating sense of universal praxis underwrites artistic and architectural production of the highest order, renegotiating concepts of the paradigmatic.

Utilizing Georg Simmel’s late work on Rembrandt (1916) and his encounter with Schopenhauer and Nietzsche (1907), the essay suggests that by the 1920s the avant-garde premises of modernism had already come under attack by an ahistorical and synoptic vision here denoted “monumental vision,” which also contains the imprint of eschatological time (invoking a schism present in rationality as such). The two readings of this image perpetrated by Karl Löwith in Nietzsche’s Philosophy of the Eternal Recurrence of the Same (Nietzsches Philosophie der ewigen Wiederkehr des Gleichen, 1935), or the cosmological and the ethical, while considered irreconcilable by Löwith, have since the 1960s been recalibrated through the figure of the event to pose possible scenarios out of the stalemate of the confrontation between Self and Other (ipseity and alterity) buried within this image as limit. In this manner, the image of the Eternal Return stands at the boundary between two forms of time (or two worlds) and signals the irreducible confrontation present in speculative thought and the necessity of closure through an aesthetic vision that produces a unitary field for all creative acts.

Notably, Nietzsche’s startling vision from Zarathustra suggests that the limit imposed by the Eternal Return is also a mask for an austere condition within subjectivity closely resembling the conundrum of Fichte’s I facing I, or thought turned toward thought itself (absolute subjectivity as cipher for Being). In Alenka Zupančič’s reading, in The Shortest Shadow: Nietzsche’s Philosophy of the Two (2003), the Eternal Return effectively contains a secret formal function that grinds all “error” to dust – a highly suggestive interpretation that also neutralizes the schism introduced by Löwith between the cosmological and the ethical.

The last of his kind

'The Last of His Kind' is one of a suite of drawings that responds to the work 'Kangaroo Stalking' by S.T.Gill. It also plays with certain ideas or problems in the depiction of landscape more broadly. This work is in part a kind of thought experiment on non-human (or not quite human) consciousness and the organism's particular register of it's environment.

Can't sleep

A devised, alternative musical set in the future, the play charts the story of a group of scientists, who have been tasked with capturing light in deep space. The play’s premise is bound to a strong ideological question: Life After Death or Light After Death? While religions believe in, but cannot prove, ‘life after death’, science proves that there is ‘light after death’… Lotu then asks, what if light holds consciousness? And what if scientific technique could be developed to capture light and experiment on it? “Can’t Sleep” is a story that will trick you into believing that you have embarked on a journey into the absurd, only to reach the destination of a collective reality. Lotu Theatre was awarded a $15,000 Arts Project Grant from Regional Arts Victoria to create the play and to explore the process of professional artists development through the collaborative process.

Where I'm calling from : alterity and the other I of the unconcious

As I assess my fractured novel manuscript: a narrative in multiple first-person voices, I engage with writing that I produce at a primal/generative moment of narrative composition; I encounter writing that is both familiar and strange, known and other.

The sense in which I produce writing that is ‘other’ to me is intriguing. I recognise that a dichotomy between ‘self’ and ‘self-as-other’ exists in my writing and, in this, I am drawn to Derrida’s concept of alterity: to the idea that language is ghosted by the trace of the other. I am intrigued by the haunting shadow of trace: by the ‘other’ that simulates presence and makes the otherwise empty sign ‘full’ of meaning. 

When I acknowledge that my writing is at once strange and other, as well as familiar and known, I realise that the writing that I produce at a primal/generative moment of narrative composition is produced under the delusion of self-presence; it is produced under the delusion that meaning is present to consciousness ‘at a given moment’; it is produced when I am both ‘I’ and ‘not I’. This leads me to ask: What is my attitude to the effects that I produce when I am not I? What is my reaction when the other takes the floor?

To engage with these questions in the context of my fractured novel manuscript, is to engage with the possibilities for meaning that narrative, as a language map, encompasses; it is to engage in an inquiry about the relationship between language and semantic intention; it is to ask how my attitude toward the voice of the other in my writing affects the ‘finished’ product of the narrative text.

As I tackle these questions, I plot the operation of alterity; I plot the work of the unconscious as it operates at a primal/generative moment of narrative composition; I ask: how does the language of my fractured narrative mean? I ask: what is the relationship between meaning and authorial intention?

The concept of alterity explicates the ghostly shadow that lurks behind the sign, simulating presence and making the otherwise empty sign full of meaning. The concept of alterity therefore explains how my writing might be strange to me, in the sense that I am estranged from it (because it is not consciously, logically determined) but, simultaneously, how my writing is familiar, strangely familiar (in the sense of a latent, ghostly shadow, a web of unconscious associations).

Alterity recognises that the present (surface narrative) is infected by a past (primal/generative moment of narrative composition) that I cannot access in a definitive way.

Light the towel : narrative and the negotiated unconscious

This investigation is a practice-based inquiry. It takes place in the context of writing and editing a novel manuscript: The earth does not get fat (Prendergast 2012). The unpublished novel manuscript is a fractured narrative, a tale told in multiple first-person voices. One of the problems the writer encountered, as the novel developed, was a problem from the perspective of logic and continuity: the stories did not fit together in a linear way. As a result, the writer felt estranged from the writing and, at the same time, strangely familiar with it. Despite having produced the narrative, the writer felt that it was ‘other’. This paper summarises the writer's methodology; it explains the writer's attachment to this fractured style of telling. This fractured style is assessed within the context of the mind's ability to produce its effects without full consciousness. The analysis of authorial intention therefore focuses upon the influence of altered states of consciousness upon narrative material. In particular, the writer uses Andreas Mavromatis’ (1987) work on hypnagogia: described as ‘the unique state of consciousness between wakefulness and sleep’ to describe the experience of the operation of the unconscious in authorial intention.

Climate change impacts : challenges for aquaculture

In spite of all the debates and controversies, a global consensus has been reached that climate change is a reality and that it will impact, in diverse manifestations that may include increased global temperature, sea level rise, more frequent occurrence of extreme weather events, change in weather patterns, etc., on food production systems, global biodiversity and overall human well being. Aquaculture is no exception. The sector is characterized by the fact that the organisms cultured, the most diverse of all farming systems and in the number of taxa farmed, are all poikilotherms. It occurs in fresh, brackish and marine waters, and in all climatic regimes from temperate to tropical. Consequently, there are bound to be many direct impacts on aquatic farming systems brought about by climate change. The situation is further exacerbated by the fact that certain aquaculture systems are dependent, to varying degrees, on products such as fishmeal and fish oil, which are derived from wild-caught resources that are subjected to reduction processes. All of the above factors will impact on aquaculture in the decades to come and accordingly, the aquatic farming systems will begin to encounter new challenges to maintain sustainability and continue to contribute to the human food basket. The challenges will vary significantly between climatic regimes. In the tropics, the main challenges will be to those farming activities that occur in deltaic regions, which also happen to be hubs of aquaculture activity, such as in the Mekong and Red River deltas in Viet Nam and the Ganges-Brahamaputra Delta in Bangladesh. Aquaculture in tropical deltaic areas will be mostly impacted by sea level rise, and hence increased saline water intrusion and reduced water flows, among others. Elsewhere in the tropics, inland cage culture and other aquaculture activities could be impacted by extreme weather conditions, increased upwelling of deoxygenated waters in reservoirs, etc., requiring greater vigilance and monitoring, and even perhaps readiness to move operations to more conducive areas in a waterbody. Indirect impacts of climate change on tropical aquaculture could be manifold but are perhaps largely unknown. The reproductive cycles of a great majority of tropical species are dependent on monsoonal rain patterns, which are predicted to change. Consequently, irrespective of whether cultured species are artificially propagated or not, changes in reproductive cycles will impact on seed production and thereby the whole grow-out cycle and modus operandi of farm activities. Equally, such impacts will be felt on the culture of those species that are based on natural spat collection, such as that of many cultured molluscs. In the temperate region, global warming could raise temperatures to the upper tolerance limits of some cultured species, thereby making such culture systems vulnerable to high temperatures. New or hitherto non-pathogenic organisms may become virulent with increases in water temperature, confronting the sector with new, hitherto unmanifested and/or little known diseases. One of the most important indirect effects of climate change will be driven by impacts on production of those fish species that are used for reduction, and which in turn form the basis for aquaculture feeds, particularly for carnivorous species. These indirect effects are likely to have a major impact on some key aquaculture practices in all climatic regimes. Limitations of supplies of fishmeal and fish oil and resulting exorbitant price hikes of these commodities will lead to more innovative and pragmatic solutions on ingredient substitution for aquatic feeds, which perhaps will be a positive result arising from a dire need to sustain a major sector. Aquaculture has to be proactive and start addressing the need for adaptive and mitigative measures. Such measures will entail both technological and socio-economic approaches. The latter will be more applicable to small-scale farmers, who happen to be the great bulk of producers in developing countries, which in turn constitute the “backbone’ of global aquaculture. The sociological approaches will entail the challenge of addressing the potential climate change impacts on small farming communities in the most vulnerable areas, such as in deltaic regions, weighing the most feasible adaptive options and bringing about the policy changes required to implement these adaptive measures economically and effectively. Global food habits have changed over the years. We are currently in an era where food safety and quality, backed up by ecolabelling, are paramount; it was not so 20 years ago. In the foreseeable future, we will move into an era where consumer consciousness will demand that farmed foods of every form will have to include in their labeled products the green house gas (GHG) emissions per unit of produce. Clearly, aquaculture offers an opportunity to meet these aspirations. Considering that about 70 percent of all finfish and almost 100 percent of all molluscs and seaweeds are minimally GHG emitting, it is possible to drive aquaculture as the most GHG-friendly food source. The sector could conform to such demands and continue to meet the need for an increasing global food fish supply. However, to achieve this, a paradigm shift in our seafood consumption preferences will be needed.

Animating child activism: Environmentalism and class politics in Ghibli’s Princess Mononoke (1997) and Fox’s Fern Gully (1992)

 Informed by ecocriticism, this article conducts a comparative examination of two contemporary animated children’s films, Princess Mononoke (1997) and Fern Gully (1992). While both films advocate for the prevention of deforestation, they are, to varying degrees, antithetical to environmentalism. Both films reject the principles of deep ecology in displacing responsibility for environmental destruction on to ‘supernatural’ forces and exhibit anthropocentric concern for the survival of humans. We argue that these films constitute divergent methodological approaches for environmental consciousness-raising in children’s entertainment. The western world production demonstrates marked conservatism in its depiction of identity politics and ‘cute’ feminization of nature, while Hayao Miyazaki’s film renders nature sublime and invokes complex socio-cultural differences. Against FernGully’s ‘othering’ of working-class and queer characters, we posit that Princess Mononoke is decidedly queer, anti-binary and ideologically bi-partisan and, in accord with the underlying principle of environmental justice, asks child audiences to consider compassion for the poor in association with care for nature.

A journey through places: politics of spatial location in the stories of South Asian diaspora in Australia

In this paper, I analyse the post-colonial and post-modern experiences in the light of questions and issues concerning the spatial identities or locations that the diasporans carry. By politics of spatial location, I mean a migrant's positions within power hierarchies created through geographic, historical, political, economic and other socially stratifying factors in the new homeland. This paper is mainly concerned with the theoretical ways in which a shift is accelerated in Australia's literary landscape by the South Asian diasporic writers who produce and cover the dynamics of politics of location in different contexts. It also focuses on South Asian diaspora's widely agreed ‘ability to recreate their cultures in diverse locations’. I conclude that these stories are not just of spaces but also of a promising future for the South Asian diaspora in Australia.

The sense and non-sense of Rudolf Steiner's architecture

According to Rudolf Steiner, within the sensory world there exists a spiritual world that remains concealed from our consciousness to the extent that our perception is limited to our senses and sense bound thinking. He argued that ignorance of this supersensible realm was the result of a limited understanding of the senses. Rather than the usual five senses, Steiner differentiated twelve sense functions through which, he believed, human beings were capable of perceiving subtle dimensions of life beyond the immediately apparent physical realm of being. His theory of the senses elucidated the potentiality for an understanding of the way the spiritual world creates its image in the physical world and he saw artistic activity as a means of making this hidden union manifest. As such, Steiner advocated a multi-sensory architecture that articulated its spiritual presence experientially through an active engagement with its forms, colours, textures, light and sound. However, due to the esoteric overtones of Steiner's writing, his theory of the senses has received very little scholarly attention, particularly in relation to its relevance to architectural creation. This paper aims to peel back the layers of jargon and mysticism that Steiner employed in order to reveal how his unique insights into the nature of the senses informed his architectural products. Such an approach will provide a more comprehensive understanding of Steiner's distinctive architectural forms as well as the significant philosophical ideas that inform them.

Towards a transpersonal psychology of Daoism

Daoism (Taoism) is a collection of Chinese philosophical beliefs and psychospiritual practices with a history of thousands of years, and a living community that stretches throughout East Asia. I will argue that Daoism and its corresponding texts such as those included in the Daozang provide a wealth of material regarding trans-egoic experiences (e.g., unitive absorption in the Dao), that may enhance Western psychologists’ understanding of transpersonal phenomena. Curiously, however, despite the obvious points of intersection between Daoism and transpersonal psychology (e.g., a mutual interest in phenomena typically referred to as altered states of consciousness), to date transpersonal psychologists have neglected to investigate Daoism. Indeed, the majority of published research concerning the relationships between Daoism and Western psychology has been undertaken from within the Jungian analytic and humanistic psychological movements. After reviewing this literature, I will formulate various proposals for future empirical studies that may interest transpersonal psychologists.

Transforming history and myth: on the mutuality and separation of shared narratives in Eastern Tibet

Questioning the distinction between ‘cold’ and ‘hot’ societies, and an implied separation between myth and history, anthropologists have increasingly urged for an understanding of both myth and history as equally valid modes of shared social consciousness. This article takes up this point of view by referring to a written history of Lhagang, a town in Eastern Tibet; a history that appears to have the transformative content and oral circulation of myth. Using Lévi-Strauss’ structural analysis of myth and Santos-Granero's concept of topograms to demonstrate the mythemes that derive from the written history and circulate among Lhagang Tibetans, the article argues that, within the political and cultural context of Lhagang, myth and history shift in and out of indigenous categories even while being categorically distinct.