Leading indigenous cultural inclusion: a partnership for learning

The Leading Indigenous Cultural Inclusion module was developed by Deakin University for the Department of Education and the Bastow Institute. The tender was developed as a response to the DET policy shift from Wannik to the Koorie Education Strategy. Participants included leading teachers, principals and regional consultants. The five-day program included a two day residential program, one day follow up, school visits and a final day at Melbourne Museum. This workshop will highlight the challenges and successes of working across inter-agency and intra-agency co-operation and how these were resolved. The workshop includes: the successes and challenges faced by participants as they implemented their reconciliation action plan and their reflections on learning from the Leading Indigenous Cultural Inclusion module.

TWEI 2.0 (Type will ease itself 2.0)

TWEI 2.0 (Type will ease itself 2.0) is a newly developed artefact of inquiry that engages the reproductions of memory, meaning and experience. The work offers a new typographic mark-making proposal salvaged from ordinary articles common to routines of the everyday – street and road signage, maps, and GPS coordinates. Our experience of these articles offer familiar patterns of recognition and sites for meaning making. We keep hold of and remember the traces of colour, marks and symbols as a means to retain our experiences of places and sites of meaning. In this work TWEI 2.0 positions a cartographic reproduction of digital histories, which have been repurposed from landscapes in Kuwait and Oman. The digital based work will be projected in a large format so to be physically realized on an architectural scale representative of large maps in the gallery environment. This scenario offers a vision that is as inescapable as the signage from which it comments on and offers a consideration of the gallery wall as both a boundary for experience and the production of a site of meaning. The work in this space physically presents an installation that seeks to be at both overwhelming and intimate. Here the artist pursues direct engagement with the audience as a practice of social meaning and partnership providing a direct correlation to our familiarities with common physical signage and sign posting of our streets, corners and roads. In achieving this TWEI 2.0 proposes to highlight the fragility of meaning and the brittleness of memories.

Re-framing values for a World Heritage future: what type of icon will K'gari-Fraser Island become?

K’gari-Fraser Island, the world's largest barrier sand island, is at the crossroads of World Heritage status, due to destructive environmental use in concert with climate change. Will K’gari-Fraser Island exemplify innovative, adaptive management or become just another degraded recreational facility? We synthesize the likely impact of human pressures and predicted consequences on the values of this island. World-renown natural beauty and ongoing biological and geological processes in coastal, wetland, heathland and rainforest environments, all contribute to its World Heritage status. The impact of hundreds of thousands of annual visitors is increasing on the island's biodiversity, cultural connections, ecological functions and environmental values. Maintaining World Heritage values will necessitate the re-framing of values to integrate socioeconomic factors in management and reduce extractive forms of tourism. Environmentally sound, systematic conservation planning that achieves social equity is urgently needed to rectify historical mistakes and update current management practices. Characterizing and sustaining biological refugia will be important to retain biodiversity in areas that are less visited. The development of a coherent approach to interpretation concerning history, access and values is required to encourage a more sympathetic use of this World Heritage environment. Alternatively, ongoing attrition of the islands values by increased levels of destructive use is inevitable.

Will the real Waleed Aly please stand up?: Media, celebrity and the making of an Australian public intellectual

Abstract: Waleed Aly is arguably the most visible and vocal Australian public intellectual from a non-Anglo-Australian background. The ubiquitous Aly is a veritable Renaissance man - he is a television presenter, radio host, academic and rock musician. He is also a former lawyer, and served on the executive committee of the Islamic Council of Victoria. In short, he is the 'go-to' Muslim for commentary on a wide range of political and civic affairs. This article argues that Aly's media profile and celebrity status have as much to do with an Australian cultural imaginary that posits 'whiteness' as an uncontestable normative value as it does with Aly's undoubted skills as a journalist, academic and cultural commentator. It examines Aly's career with reference to Ghassan Hage's concept of 'whiteness' as a form of aspirational cultural capital and various theories of persona and performativity. For Hage, 'whiteness' is not a literal skin colour; rather, it consists of elements that can be adopted by individuals and groups (such as nationally valued looks, accents, tastes, cultural preferences and modes of behaviour). While entry to what Hage calls Australia's 'national aristocracy' is generally predicated on possessing the correct skin tone, it is theoretically possible for dark-skinned people such as Waleed Aly to enter the field of national belonging and partake in public discourse about a range of topical issues. More specifically, the article substantiates its claims about Aly's status as a member of Australia's cultural aristocracy through a comparative discourse and performance analysis of his presentation of 'self' in four distinctive media contexts: Channel 10's The Project, the ABC RN Drive program, ABC TV's Q&A and the SBS comedy-talk show Salaam Caf , which looked at the 'funny side of life as an Australian Muslim' and showcased other multi-talented Muslim professionals of both genders.

There will be no more night

Exploring how the body and light are connected in interdisciplinary practice, in this work I make sound design and moving image re inscribing physical yet out of body experiences of light in near death – recorded from youtube. The image of fading light is in real time and constitutes a symbolic interpretation of eternity mirroring the audio. This work has been curated into a group exhibition at ‘Strange Neighbour’ alongside internationally recognised artists such as Peter Booth and Sam Shmith. The work has also been curated in my solo exhibition by Conny Dietzschold and is the subject of the essay in the catalogue by Sean Redmond and was presented in my paper ‘Motion and stillness: a bodily approach to photography.’ and is mentioned in the journal article to be published titled ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books