Writing as capitulation : the shelter of being-responsible

This paper explores the notion of writing and its relationship to an always-existing responsibility. It asks the question of whether writing might necessarily be a kind of biographical undertaking, and then drawing on Heidegger, it inquires into how writing might provoke an ontological encounter for the writer. Via a close investigation of the definitions and etymologies of the word ‘capitulate’, the paper links the concepts of Derridean violence, Hellerian freedom and (post)modernity, non-infinite temporality and assumptions of a metaphysics of presence to a practice of reading/writing. By taking up the Heideggerian concept of Being’s as ex-istence and porosity, it attempts to argue that post-modernity, in coming to terms with the consequences of freedom, offers the subject the opportunity for an ontological encounter with responsibility, and subsequently how an acknowledgement of this thrownness might function in itself as a kind of shelter, albeit an open one.

Subjective and objective point of view as metaphor in Mitko Panov’s With Raised Hands

What are we watching here? What is the nature of our discomfort? The point of view established in the opening of With Raised Hands – through the lens of a German camera recording the round-up of Jews in the Warsaw Ghetto – uncomfortably implicates us in this act of violence. The subsequent shifts in point of view are also supported by temporal shifts, both of which function at deeper, metaphorical levels to support the developing story.

Senses of waiting among Tibetan nomads

Ethnographic vignettes on how Tibetan nomads move describe a modality of waiting that is attuned to the rhythms and syncopations of movement through pastures and the life-cycle. Such waiting complements moving and is in time. How waiting is experienced reveals an important facet of one's synchronicity with time and place.

History's motion : on absolute time and space in Tibet

On-going contestations to establish the hegemonic narrative of Tibet's history rest on the shared assumption that a true narrative, or history's motion, exists. This essay suggests that history's motion is a continuing legacy of Newton's concepts of absolute time and space, even while the current disputes over Tibet's history point to the limitations of these concepts in practice.

Gaining a past, losing a future : Web 2.0 and internet historicity

This article explore how, in the first decade of the twenty-first century, the internet became historicised, meaning that its public existence is now explicitly framed through a narrative that locates the current internet in relation to a past internet. Up until this time, in popular culture, the internet had been understood mainly as the future-in-the-present, as if it had no past. The internet might have had a history, but it had no historicity. That has changed because of Web 2.0, and the effects of Tim O'Reilly's creative marketing of that label. Web 2.0, in this sense not a technology or practice but the marker of a discourse of historical interpretation dependent on versions, created for us a second version of the web, different from (and yet connected to) that of the 1990s. This historicising moment aligned the past and future in ways suitable to those who might control or manage the present. And while Web 3.0, implied or real, suggests the 'future', it also marks out a loss of other times, or the possibility of alterity understood through temporality.

Migrant mothers: family photographs and the intra-active fashioning of a visual-material ethics

Migrant mothers play crucial roles within the social landscape of schools, particularly in providing care, education and a transition between home and school for their children. My research considers the relevance of theories of space, place, temporality and mobility in Iranian migrant mothers’ production of subjectivity for themselves and their children in and through their family photograph collections. Gillian Rose’s anthropological approach to visual objects is put to use in an exploration of the co-constitution of migrant women and their photographs. In this paper, I trace the shaping of a visual-material ethics within the research context and appropriate to the sensibilities and needs of the participant women who each moved from Iran to Australia with their children. Karen Barad’s notion of a posthumanist ‘ethics of mattering’ is drawn upon in conceptualising a visual-material ethics as fashioned in the intra-actions of people and visual objects. Specific ethical issues considered include the collaborative process of producing a family photograph, and the shaping and reshaping of images from photograph to line drawing to hybridised photograph-line drawing. A research ethics committee’s application of a liberal individualist, utilitarian and positivist biomedical paradigm in considering the research project is discussed as not only inadequate but also incompatible with the fashioning of a visual-material ethics in concert with the participant women and their photographs.

Exploring subject positions and multiple temporalities through an Iranian migrant mother's family photograph albums

 In this article, I draw on a research study of one Iranian migrant mother's generation of selves through her material configuration of her personal photograph albums and through our verbal reading of her photographs. The research engages in a visual-material feminist ethnographic approach, and is informed by the work of Gillian Rose and the understanding that family photographs are a means by which women negotiate subject positions. In this article, I discuss an unexpected finding of my research, the significance of multiple temporalities in a migrant mother's production of selves. The photo album practices of the participant mother of this study, ‘Parvin’, depart from the common social convention of mothers arranging their photograph albums to chart family growth following the model of milestones occurring over linear developmental time. Parvin does not limit herself to linear developmental time, but rather she mixes up photographs in her post-migration family albums to generate multiple temporalities woven together by an enveloping ‘mixed’ time. Drawing on both Julia Kristeva and Homi Bhaba's theories of temporality and the subject, I suggest that Parvin produces subject positions for self and family through a continual interweaving of a multitude of pasts into the present and through a subsuming of milestones within cyclical family time. Further, I suggest that through her generation of multiple temporalities, Parvin produces the subject position of ‘accommodating mother’. Finally, I highlight the potential afforded by considering the temporal and the spatial together in studies of migrant identity.

Mega-events and mega-profits: Unravelling the Vancouver 2010 security–development nexus

Academic and political commentators have commonly sought to understand the Olympics as a cultural dynamic, a "spectacle" that motivates certain actors to project their relative interests in localized spaces and as well on a global scale (Hiller 2006; Boyle and Haggerty 2009b ). Mega-events, as this argument goes, are monumental cultural events (Roche 2000) that rely on the audacity of spectacle to dramatize and condition the cultural, political, legal and economic landscape. Extending these insights into surveillance studies, Boyle and Haggerty (2009b: 259-260) position spectacle and the disciplinary mechanisms of anxieties associated with mega-events to explain the risk management practices of security planners. The dynamic social implications of the spectacle condition dramatic regimes of securitization and surveillance such that sovereign power emanates from the production and consumption of spectacle. In similar fashion Vida Bajc (2007: 1648) writes that security meta-rituals "demonstrate[s] that the process of transformation of [the] public space [of mega-events] from one of routine of daily life into a sterile area [that] has a ritual form [that] .... separates insiders from outsiders and brings about a new socio-political reality." Put another way, the "security-meta ritual" legitimates security and surveillance practices by normalizing the social hierarchies it imposes. Bajc focuses on the over-determination of dividing practices in mega-event security, but the signifying practices associated with capital are absent (perhaps due to her empirical focus on presidential addresses). Klauser (2008: 181) links commercialization and mechanisms of surveillance, but only by foregrounding the significance of "neutralized space" created by granting absolute commercial rights to event sponsors. Neoliberalprivatization and its articulation with security and surveillance, however, cannot be reduced to control over sponsorship rights and consumptive practices in particular urban "zones," nor can it be limited by the methodological temporality of the event itself.

The whiteness of David Bowie

During the 1980s, in particular, Bowie embodied particular notions of white masculinity that were on the one hand supportive of its idealized hegemony, and on the other subverted its normative power. I will take 1983 as the year when his whiteness is particularly visible and unstable. Bowie, as either the blonde dandy from Let’s Dance; the enigmatic character, Maj. Jack 'Strafer' Celliers from Merry Christmas Mr. Lawrence (1983); or the simmering vampire, John Blaylock from The Hunger (1983), crystlised the pure qualities of white masculinity while demonstrating its violent, queer and subversive nature. The chapter will suggest that Bowie has constantly operated along a white continuum, self-consciously embodying it, granting it carnal and ideological power, while drawing attention to its death-like instinct, its anti-reproductive progeny, its implicit queerness.I have chosen to read Bowie’s whiteness through this shortened window of temporality to enable me to draw into the analysis the historical and cultural issues of the period in question. 1983 registers as the year in which whiteness is acutely imagined to be under threat from the Asian tiger and transforming geo-political realities, its own languid anti-corporeality, the AIDS ‘epidemic’, and from the rise of racism in Europe and elsewhere - realities which require it to re-position its power relations with the sexual, and ethnic Other. The whiteness in/of David Bowie speaks particularly eloquently to this historical moment.

Stillness and movement: a bodily approach to photography

My paper will address both Duration and temporality of the ‘still’ imageand Sensorial and bodily experience of photography through a discussion of a recent body of work ‘Fly Rhythm’, a series of photographs and video works exhibited in a gallery context.By acknowledging the inter-relationship between the body and the camera my project seeks to challenge a perceived separation between performance and photography. Fly Rhythm was conceived through a performative somatic process. Through using a custom made camera I was able to negotiate time and space to create a visual drawing of movement and stillness together in photography. The resultant images are discussed as a notation of body movement – a record of bodily history enabled through a self imposed discipline of learning to read light.I initially constructed a human size camera to understand how photography works. Spending time inside observing the way light moves and affects the formation of sight is also a way of embodying the act of photography. I responded by making a bespoke camera that enabled light to be captured during extended periods while moving. My project is dependent upon a self-imposed discipline of intuiting light’s strength and erratic changes, a skill developed by making analogue prints while inside a camera obscura. Once I had developed an ability to read light’s changes and gain an understanding of camera mechanics I made durational recordings moving through the landscape on Bruny Island Tasmania and industrial sites in Melbourne, photographs exhibited as part of Fly Rhythm. I will discuss these prints in context with the idea that light is a conduit through which past and present fuse together in a bodily act of photographing and processing images.I will explore durational aspects of photography by discussing light’s relative motion while taking photographs without using the viewfinder or composing images in the traditional way. Rather, the camera at the end of my arm is directed through how I read light therefore a choreography notated in the prints – a kind of body signatureMy practice enables a new the way of seeing, in a spontaneous hand held process creating a sense of embodiment. By analyzing process my paper will consider how the body together with analogue and 21st century digital technology coalesce cross-disciplinary practice combining visual art, performance and photographic disciplines.I also explored limitations of digital light in contrast with ‘natural’ light by a making a gamut of dissolving colour determined by the software based on two pixels. Projected into the ambient light ‘Glide’ is an 11minute durational work installed at the Substation Contemporary Art Space in Melbourne Australia.

Capture, hold, release: an ontology of motion capture

In proposing an ontology of motion capture, this paper identifies three modalities — capture, hold, release — to conceptualise the peculiar affordances of motion capture technology in its relationship to a performer's movement. Motion capture is unique among contemporary moving image media in its capacity to re-perform a performer'srecorded movement a potentially limitless number of times, e.g. as applied to innumerable different CG characters. Unlike live-action film or even rotoscoping (motion capture's closest equivalent), the movement extracted from the captured performance lives on, but only by way of the inimagable (non-visible) domain of motion data.Motion data 'holds' movement itself in inimagable form, and 'releases' it in the domain of the digital moving image. This tri-fold conception relates an important dimension of (Heideggerian) Being to the idea of movement as fundamental to an ontology or 'being' of motion capture. At the same time, the proposed ontology challenges the 'illusion of life' metaphor as the accepted definition of (motion capture) animation.The Oscar's Special Rules for the Animated Feature Film Award asserts that 'by itself' motion capture does not qualify as an animation method. The notion that a technology could do or be anything 'by itself' affords a conceptual leap toward Heideggerian thinking on the nature of Being as embodied in temporality, in which past, present and future are unified.In its capacity to operate outside the domain of the digital moving image, the concept of 'movement itself' not only articulates an ontology of motion capture: motion capture itself can be understood to be brought into being by movement, thus also challenging the notion that capture technology has a parasitic relationship to a performer's originary performance.

Competitividade no setor público: as ações mercadológicas desenvolvidas pelo banco do Brasil no lançamento de uma família de fundos de investimentos estão garantindo vantagens competitivas?

Este trabalho apresenta as conclusões de um estudo de caso realizado no momento da desregulamentaçao dos fundos de investimento brasileiros, em 1995, num típico contexto de mudança de paradigmas. Para chegarmos esse ponto tivemos que realizar dois trabalhos auxiliares preliminares: primeiro esquadrinhamos de forma inédita Indústria de Fundos brasileira, utilizando Modelo de Forças Competitivas da Indústria, idealizado por Michael Porter. Simultanea mente identificamos os fatores críticos de sucesso para empresas, elaborando um quadro sinóptico que consolida uma gama complexa de informações sobre assunto. luz desse referencial teórico, pesquisamos as ações desenvolvidas pelo Banco do Brasil ao lançar uma nova família de fundos de investimento concluímos sobre sucesso que Banco obteve. despeito da temporalidade do trabalho, apresentamos perspectivas futuras tanto para Banco do Brasil quanto para Indústria de Fundos no Brasil.

Estudo sobre comportamentos de cidadania organizacional em organizações temporárias

Esta dissertação buscou aumentar os conhecimentos sobre os comportamentos de cidadania organizacional (CCO), que são ações informais de trabalhadores que beneficiam a empresa, através da análise de como estes comportamentos se manifestam em empresas que adotam estruturas temporárias para realização de suas atividades, ou seja, estruturas organizacionais temporárias (EOT). Nos estudos desenvolvidos, um modelo representativo das relações dos constructos referentes aos antecedentes cognitivos e afetivos com as dimensões que compõem os CCO foi proposto e as respectivas relações foram testadas. O estudo contou com a participação de 86 profissionais que trabalham em empresas com características equivalentes às EOT e permitiu avançar no conhecimento a respeito deste tipo de organização que carece de estudos empíricos a respeito. Estes profissionais responderam a um instrumento contendo 7 escalas de medidas das variáveis constituintes do modelo, desenvolvidas e validadas por outros autores. Os dados foram tratados por meio de análises fatoriais e por modelagem de equações estruturais. Os resultados mostraram que os CCO são significativos em EOT, apesar da ideia de temporalidade e das características referentes aos profissionais e tipo de atividades presentes (alta especificidade do produto e alta qualificação dos profissionais) sugerir inicialmente o contrário. Além disso, os resultados confirmaram que as cognições sobre a organização constituem um fator preponderante na formação dos afetos que os profissionais nutrem pela empresa e estes, por sua vez, mostraram possuir relação significativa sobre as ações que correspondem aos CCO.