Thinking through things: Patrick Pound and the Flinders University art museum collections

Patrick Pound is known for his singular approach to art production: compiling, collecting, combining and captioning things in ways that challenge the orthodoxy of museums and their taxonomies. Working with public holdings and his own esoteric compendia of ‘stuff’, Pound uses self-devised cues to give shape, form and meaning to his exhibits. Pound makes his debut in Adelaide with Flinders University Art Museum, mining the 6,500 works in our care to make unexpected and unprecedented connections

Out of the frying pan, into the fire : Cantrills Filmnotes as Prestige Machine

This examination of the gaps and ambiguities linked to Cantrills Filmnotes (CF), an Australian publication on experimental film, offers a case study on the production and ownership of Pierre Bourdieu’s 'cultural capital' in film art at the margins, witnessed first-hand. CF emerged at the intersection between the street and the academy, spanning that period from the 70s till its abandonment in 2000 during which, it is argued here, it migrated from the former to the latter. This examination surveils, in retrospect, for whose benefit was the magazine's accumulation of power, status and prestige exercised, in whose service was it exacted? CF’s manifesto-like editorial rhetoric was often directed at perceived shortcomings of those institutions servicing film art in Australia. What is revealed when such a critical eye focuses on the production of Cantrills Filmnotes (CF) itself? CF's cultural production has a further dimension of both taking on and taking place inside a colonial mind-set, a cultural cringe often the subject of editorial commentary, elucidating a practice residing at the geographic margins of a marginal arts practice. The founders and editors of CF, the married couple Corinne and Arthur Cantrill both suffered and benefited from CF’s impact on this international field of art production.

Environmental art and the production of publics : responding to environmental change

Environmental crises around the world have inspired an outpour of creative response. As the effects of climate change increasingly manifest, environmental! art is being politically and pedagogically mobilised for ameliorative strategies. The rubric that instrumentalist, techno-scientific approaches to environmental stress (and attendant social distress) cannot solely provide solutions to this challenge has found increasing acceptance. The concern of this paper, however, is the limited understanding of public art's capacity that is perpetuated bv certain trends in environmental art in which the work is charged with communicative responsibility,. Connected to the representational and instructive traditions of public art, this tendency is further informed by the influence of the 'information-deficit model' in environmental conmunication research: a concept that asserts a straightforward connection between information provision, indiyidual awareness and collective action on a concern. The idea that public art can function as a conduit for knowledge,.which in turn will inspire new moral positions and behaviours, absents the art work from the process of knowledge-making and the production of conditons that enable new practice. Arguing for a revised approach to the environmental possibilities of public art, this paper will propose that in thinking aboutl environmental transformation as essentially unrepresentable, a dfferent mode of public engagement with the issue is enabled.

‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”

Reconciling difference: art as reparation and healing

This paper demonstrates the way shamanism and psychoanalysis are deeply related as first signalled by Claude Lévi-Strauss. It then creates a context in which the question of body and mind, creativity and healing is discoursed in an interdisciplinary manner. An exposition of thinkers emerging from disparate disciplines will be used to show how aesthetic experience (both the production and the reception of art) results in reparation and healing. This relationship is not only relevant in therapeutic terms, but can also be extended to aesthetic practices which involve possible reconciliation of inner and outer conflict. The therapeutic involves an understanding of ways in which aesthetic practices recast western notions of the relationship between body and mind.

Kristevan aesthetics, performativity and the production of situated knowledge

In this paper, I will draw on the work of Julia Kristeva to argue that performativity can be understood in terms of a materialist ontology that underpins creative production and the knowing subject. To understand this, we need to examine the relationship between individual history, biology and culture and processes through which creative practice attributes value by translating psychic representations of affect and drive into verbal and visual signs. Kristeva's aesthetics does not plunge us into an obscure metaphysics, but provides a model for articulating material-discursive practices that emerge from corporeal responses. Enactments, predicated by desire give rise to agency and judgement allowing practice to test theory through the production of situated knowledge.

Kristeva's psychoanalytical position reveals the necessity of linking material and individual practices of art with the social through language and interpretation. Material-discursive practices can only acquire meaning through their relationship between the speaking subject and addressees. Art itself provides us with the means for discovering the knowledge it produces. In and through material practice, the work of art is capable of transferring back to the artist as viewer, structures of meaning that have hitherto been hidden. In practice, this involves a constant movement between the biological self (the self as 'other') and the social self, the ego. In artistic research, it can be said that the first addressee is the artist her/himself, as social other. Constant movement between the two in creative practice can thus be understood as a performative production of knowledge.

Culture clash : artistic production and the school environment

Artists-in-schools programs involving contemporary art practices can be transformational for the participants when environmental considerations are integral to the planning and structure of the project and both the form and content of the program are reflected upon critically.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Not-I/Thou : the other subject of art and architecture

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neoliberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

A comparative study on procedure and state of the art of conventional maximum power point tracking techniques for photovoltaic system

Due to the increasing world energy demand, renewable energy systems have been significantly applied in the power generation sector. Among the renewable energy options, photovoltaic system is one of the most popular resources which has been experiencing a huge attention during recent decades. The remarkable advantages, such as static and movement free characteristics, low maintenance costs, and longevity are the primary factors for the popularity of solar generation in the late years. Nevertheless, the low PV conversion efficiency in one side and high PV material cost in the other side have made PV generation comparably expensive system. Consequently, a capable maximum power point tracking (MPPT) is all important to elicit the maximum energy from the production of PV systems. Different researches have been conducted to design a fast, simple and robust MPPT technique under uniform conditions. However, due to the series and parallel connection of PV modules and according to the use of bypass diodes, in the structure of PV modules, a conventional techniques are unable to track a true MPP. Recently, several studies have been undertaken to modify these conventional methods and enable them to track the global MPP under rapidly changing environments and partial shading (PS) conditions. This report concentrates on the state of the art of these methods and their evolution to apply under PS conditions. The recent developments and modifications are analyzed through a comparison based on design complexity, cost, speed and the ability to track the MPP under rapid environmental variations and PS conditions.

The art of wool

A curatorial project that brings together garments from the International Woolmark Prize archive with works from the Howard Hinton and Chandler Coventry Collections at New England Regional Art Museum. Themed around qualities of wool that are also present in the artworks, the exhibition considers attributes such as Production, Romance, Pattern, Texture, Drape and Artistry. From the sale yards and shearing sheds of the New England landscape to the international catwalks, merino wool provides a staple thread made durable through works from these extraordinary collections.

Materiality, language and the prduction of knowledge art, subjectivity and Indigenous ontology

If ontology concerns theories of being, and epistemology theories of knowing, how might we bring the two together to account for movements between being and knowing that constitute cultural production? something occurs or lies behind language and meaning that must be acknowledged if we are to arrive at an explanation. In this essay, I examine some key ideas that emerge from the work of Julia Kristeva, as well as those of Gilles Deleuze and Félix Guattari on sensation and affect, to demonstrate how ontology and epistemology are inextricably entwined in knowledge production.1 Kristeva’s perspective of creative practice not only aligns with the new materialist acknowledgement of the agency of matter, but, in contrast to Deleuze and Guattari, it also affirms the dimension of human or subjective agency that is implicated in cultural production.

Abjection, affect and othering through art

In keeping within a new materialist approach, this paper involves a transversal encounter with, Kristeva’s thinking on abjection. She says of abjection, that it is a primer of culture, because as a process it is fundamental to the constitution of identity and the renewal of meaning through an expansion of language. Here, I will argue that abjection is also a primer of affect and is the operation through which affects are given valency: either negative or positive, which in turn articulate modalities of othering as oscillations between the empathetic and ethical, or repellent and adversarial derived from an instinctual movement towards what is enabling and away from that which present threst or danger to the organism. I argue further, that it is the notion of jouissance and positive affect that distinguishes Kristeva’s account of cultural production from other thinkers such as Freud, and that this has significant implications for understanding the dynamics of othering or the kinds of relationality made possible through language.