Kim's style guide for the kinaesthetic boffin: an exercise in anti-communication

The following article refers to a performed paper, Did the Paradigm Shift for You, Darling? given as a collaboration between John Cumming, Yoni Prior, David Ritchie and me at the Double Dialogues Conference, Lines of Flight, at Theatreworks in Melbourne, November, 1997. The performance involved the staging of a mock analysis of a section of my choreographic work, Kim’s Style Guide for the Kinaesthetic Boffin, by three fictitious ‘critics’. The performance functioned as an implicit critique of three different approaches to interpreting dance. This article explores a theoretical position which supports that critique.

Global policing and the case of Kim Dotcom

In early 2012, 76 heavily armed police conducted a raid on a house in Auckland, New Zealand. The targets were Kim Dotcom, a German national with a NZ residency visa, and several colleagues affiliated with Megaupload, an online subscription-based peer-to-peer (P2P) file sharing facility. The alleged offences involved facilitating unlawful file sharing and United States federal criminal copyright violations. Following the raid, several court cases provide valuable insights into emerging ‘global policing’ practices (Bowling and Sheptycki 2012) based on communications between sovereign enforcement agencies. This article uses these cases to explore the growth of ‘extraterritorial’ police powers that operate ‘across borders’ (Nadelmann 1993) as part of several broader transformations of global policing in the digital age.

Magical realism and irony's 'edge': rereading magical realism and Kim Scott's Benang

Magical realism has been the subject of much earnest theorising, implicating the narrative mode in postcolonial projects of cultural regeneration not only in Latin America but around the world. The claim that its hybrid vision simultaneously transgresses and supplements Western ratiocinative epistemologies has seen the mode become over-determined and dismissed as a postcolonial cliche. Rarely noted, however, is the ironic nature of the literary mode. Yet the trademark representation of the magical in a realist narrative is marked by a conspicuous incongruity, which is not only necessary to magical realism's aesthetic effect but which also provides a strong incentive for ironic readings. This paper will reread magical realism through Kim Scott's Benang in order to recognise the ironic incongruity at play in magical realism and to revitalise the mode's 'edge'.