Community governance in rural Victoria: Rethinking grassroots democracy?

The development of local community associations in small rural towns in Victoria has engendered a sense of local self-governing that can be described as a shift from government to governance. This ‘more flexible’ approach extends beyond government, and the place of its agencies, to a greater sharing of power between the state, the market and civil society via new network and partnership structures. The question arises whether  community networks and partnerships bring with them a new sense of  democracy as well. The paper begins with a discussion of governance, its  relationship to two democratic frameworks - liberal minimalism (or representative governance) and associationalism - and the implications for democracy in community governance. Focusing on three internal factors (accountability of the leadership, inclusiveness and the scope of  responsibility), and two external factors (relationships to the state and types of relationships with other groups), the paper then explores the ways that community governance has been adopted in rural Victoria using in-depth interviews and a survey of community groups in 35 small rural towns. The ensuing discussion argues that while these community associations may be involved in forms of associational democracy, there is still some doubt about the inclusiveness of their membership and the extent to which their advocacy represents all sections of their communities. The paper then  concludes by suggesting that representative and associational forms of democracy need not be seen as opposites but as a more enhanced form of local governance.

Blister pack

David McCooey's poems combine minimalism and intensity, elegance and emotion. Finely crafted and edged with wit, they offer a kind of unsentimental nostalgia, a passionate irony.

The eye of the Beckettian present

In this article, we take up M‟s closing question from Play, arguing that it is the central phenomenological conundrum in much of Beckett‟s stage and screen work. The question we bring to Beckett‟s oeuvre is: what is the relationship between perception and presence, consciousness and corporeality? To answer „yes‟ to M‟s question – to be is as much as being seen – is to render the body not utterly useless, but periphery, or secondary, merely the flesh of perception. Beckett famously remarked that, in his increasing sense of minimalism, in his desire to „say the least necessary‟, his final work would be a blank piece of paper. In Beckett, does the body suffer the same fate as language?

Recovering the hidden through found-footage films

In the early nineteen seventies materialist experimental film was cogently rejected by feminist theorists for its inability to deliver a feminist counter-cinema addressing its political agenda. The concomitant development of feminist psychoanalytic readings of “dominant cinema” against its grain also discounted such work. This split is marked by Peter Wollen’s formulation of “two avant-gardes”, one narrative and explicit about its political position and the other non-narrative and focusing directly on implicit perceptual processes. Materialist film’s fixation on structure jettisoned content, and extended post-war painting’s essentialist move to pure abstraction manifest in abstract expressionism and minimalism. The emergence of trauma theory and the recent explosion of moving image digital media with its non-linear bias and the complex layering of “technical images” have created a new situation opening up alternate readings of such discounted materialist practices. As well as a historic precursor for digital media, it is suggested that a materialist cinema, represented here by the found footage films: Alone: Life Wastes Andy Hardy (Arnold 1998) and Dreamwork (Tscherkassky 2001), signposts a belated return for materialist film within the context of trauma studies. This materialist turn rescues such experimental film from its traumatic excision and extends an understanding of what has been termed a “trauma cinema” by Janet Walker. Rather than pure, abstract or visionary such practice is read here through trauma theory as performing implicit mechanisms of denial and erasure.

Catalogue notes for black noise

Where the speed-up of technology led Marshall McLuhan into the realm of ‘pattern-recognition’ the game has now been ratcheted up a further notch. Technologies themselves are being creatively re-designed and reconfigured to hunt down the Snark (see Lewis Carrol, 1898), a game in which the skill of identifying gaps, ruptures, of cracking the surface, remains critical. In this situation a New Minimalism has taken shape in which narrative and content have not been erased exactly but have retreated, to be resident in the architecture and flow of the apparatus itself. For Marcia Jane this is where the story now sits, to be laid bare on the Gallery floor.

Gidal's materialist film

This paper belatedly re-evaluates Peter Gidal’s texts Materialist Film (1989) and Structural Film Anthology (1976) for contemporary use within digital media moving image production. Materialist film’s direct methods reproduce Abstract Expressionism’s essentialism in painting and sculpture and can be related to Samuel Beckett’s minimalism, of which Gidal has also written. Gidal’s texts are recounted in relation to the splitting of the avant-garde in two by Peter Wollen in 1975, a move that subjugated materialist film in favour of an emergent feminist counter cinema.

Teaching an old game new tricks : long-term feedback on a re-designed online role play

Despite an extensive history of use in teaching Political Science subjects, long-term scholarly studies of online role plays are uncommon. This paper redresses that balance by presenting five years of data on the Middle East Politics Simulation. This online role play has been run since the 1990s and underwent significant technical upgrade in 2013-14. The data presented here covers student feedback to this upgrade process and the factors that can influence their response. Key indications are that students tend to recognise when something is fit (or not) for its purpose and will forgo attractive and well-appointed online environments if the underlying learning exercise is valued. However, there are limits to this minimalism and whilst designers do not need to replicate every Internet trend, attention needs to be paid to broader changes in technology, such as access platform and changing avenues of political communication. The study demonstrates that long-term monitoring of online role play exercises is important to allow informed changes to be implemented and their impacts properly assessed.