Building a national image : the architecture of John Smith Murdoch, Australia's first Commonwealth Government architect

Presents John Smith Murdoch and examines his significant contribution as an architect and public servant in Australia between 1885 and 1929. Murdoch's greatest achievement was the development of his modern Renaissance idiom of which Provisional Parliament House, Canberra is the finest example.

Uomo universale : the imaginary relation between body and mathematic(s) in architecture

What is the role of the human figure in the drawing of the uomo universale? Interlocked with the “master architect” as a constituent component of the canonical bodies of architecture, is the idea of the uomo universale, the universal man, an idea that was especially compelling to Renaissance masters. In contemporary social theory the uomo universale is read for its generic sense as the “universal subject”. Critical to this is a dialectical sense in which “man” confronts its non-neutral association with a gender specificity, either man or woman. This paper looks at the drawing and image of the uomo universale and explores the distinction between presence and representation, between the visibility of the image, its content and detail and the symbolic role of the image as constitutive of a canon of architecture. Though we are not meant to “see” the human figure as corporeal presence and rather focus our attention on the image as a geometric schema, my argument is that only through the figure is the uomo universale engendered as an image of the highest form of nature.

Dynamic due diligence : an entrepreneurial business planning method for evaluating mergers and acquisitions: theory, case application and general implications

This paper presents a method for conducting dynamic due diligence to evaluate Mergers and Acquisitions; demonstrates its effectiveness in a particular case; and extrapolates its theoretical and practical implications to the general case. It may be called the ‘ECIPP’ method - an acronym for: Establishing mandates; Creating projections; Identifying issues; Prioritizing procedures and Performing them.

Two established alternative due diligence methods are examined. The prevailing finance-theory-based procedure has the virtues of simplicity and elegance; the vice is abstraction. The prevailing practitioner-based regime has the virtues of thoroughness and concreteness but the vices of rigidity and inefficiency. Resolving the tradeoffs inherent in both static prescriptions provides an opportunity for a dynamic, innovative approach derived from grounded theory and an application of Hindle’s (1993) theory of venture renaissance through application of an enhanced paradigm of Entrepreneurial Business Planning. The ECIPP method retains simplicity, concreteness and thoroughness but eliminates abstraction, rigidity and inefficiency.

This is demonstrated in a case. ChildCo’s CEO had only one month to complete his M&A evaluation; no expertise or previous experience; severely limited budget for the exercise and had been flatly informed by prevailing M&A experts that what he wanted could not be done. Using the ECIPP method, the CEO and the author did it: on time, within budget and to the satisfaction of a previously skeptical board of one of the world’s largest multi-national companies including arguably the world’s most professional corporate M&A division.

The replicability logic of the case research permits two generalisations. (1) ECIPP extends the range and utility of Entrepreneurial Business Planning as a management technology, well beyond the constraints to which it is usually confined. (2) The ECIPP method of dynamic due diligence is an innovation worthy of mature consideration and further investigation by theorists and practitioners in the M&A field, in the disciplines of both Finance and Entrepreneurship and, well beyond, in the realms of general management theory, methodology and practice.

Perfecting nature : Friedrich Nietzsche's ideal and politics of cultivation

What I have called the Ideal of Cultivation is a fundamental ethical principle of civilisation, originated by aristocratic warriors in Greek antiquity who held that the true purpose of humanity is to perfect nature

It was then professed that individuals and even entire peoples could consciously develop and improve themselves in a way that was thought to obey the original lawful impulses of nature, a process which was likened to those of agriculture and animal husbandry.

Subsequently the cognate idea of a politics of cultivation arose which deemed that society should be organised specifically to produce more virtuous or perfect human types. Given their fundamental association with Hellenism both ideas have been revisited constantly in the intellectual history of the west, and most notably during the great secular periods, the Renaissance and Enlightenment when active attempts were made to retrieve the ideals of antiquity. Both ideas were particularly pervasive in the German enlightenment, the Aufklärung, and were assimilated by the succeeding Romantic generation.

In nineteenth century Germany, when interest in these ideas was quickly waning, the German philosopher Friedrich Nietzsche acquired an unswerving attachment to them and made the service of them his life's work.

The intention of this essay is to trace methodically the appearance of the Ideal of Cultivation in Nietzsche's philosophy and politics, and to outline his responses to a world which was abandoning the principles in which he deeply believed. This essay should be regarded as a case study in the long history of a fundamental ethical idea rather than one about the philosopher Nietzsche.

Hagia Sofia (532–537AD) : a study of centrality, interiority and transcendence in architecture

The study by Robin Evans of the centralised churches of the Renaissance explores the idea of centrality, and argues that architecture does not simply invest in one geometric centre. Evans’s analysis makes detours into the histories of theology, geometry and mathematics attempting to find how architecture participates with these fields. In a footnote, he suggests that architecture in its singular artistic physicality ‘suspends our disbelief in the ideal’, offering a world that does not reflect culture, in all its fullness, but rather supplements culture’s incompleteness. This idea reiterates psychoanalytic theories of Freud and Kristeva that qualify the notion of transcendence with the psychoanalytic concept of transference. Architecture, like art, is able to resolve that which in society and in other fields remains a contradiction, giving a picture (albeit fictional) of a harmonious and unified order and wholeness. In this essay, I turn to Hagia Sofia (532–537AD) in present-day Istanbul, a church that marks the beginning of a Christian empire relocated to Constantinople, East of Rome, and built one thousand years before the Renaissance churches discussed by Evans. Hagia Sofia is a building that symbolises the shift towards a domed centralised form, away from a basilica form, and a building that develops an innovative interior. Hagia Sofia is usually observed and described in a devotional manner, as though addressing the architecture of the church is equivalent to a pious person addressing the church itself, and more significantly, addressing the Divine figure of God, through the architecture of the church. Its influence on Islamic mosque design has been noted. What rôle does Hagia Sofia play in the kind of artistic mastery that Evans is proposing, and what other dimensions of centrality and transcendence in architecture are offered by a study of Hagia Sofia?

Defining national identity? Visiting the architectural spaces of the Museum of Scotland

National Cultures construct identities by producing meanings about the nation with which we can identify, meanings which are contained in the stories which are told about it, memories which connect its present within its past, and images which are constructed of it. A museum, the repository of a nation’s culture, which connects the past to the present through recounting stories about the artefacts of past cultures is clearly significant in representing the culture of a nation.

This paper explores the architectural spaces of the new Museum of Scotland, which opened in Edinburgh in November 1998. The museum has opened at a crucial time in Scottish history. The Scottish cultural renaissance is manifested in the increase in cultural production and call for Scottish cultural institutions. Parallel to this renaissance are political developments with the re-creation of a Scottish Parliament in 1999. When the idea of ‘Scotland’ is itself in a state of flux, the stories of the nation told in the museum, which attempt to give a sense of location, a connection between the individual and the nation are especially important.

Thus, issues of identity and ‘self’ are crucially important in understanding the contemporary museum. Within this, the relations between the production of these narratives and their consumption by the public are little understood. The majority of studies have concentrated, although not exclusively, on the production of museum displays, primarily with the "politics and poetics" of display. This paper analyses the relationship between producer and consumer within the Museum of Scotland, attempting to reconnect the forces of production and consumption. In doing so, it focuses primarily on the differing conceptions of the ability of the Museum to be able to narrate the nation.

Based on interviews both with museum staff and with visitors to the museum, it argues that an understanding of the relationship between the museum and Scottish national identity can only be considered through an understanding of the tension between the producers’ intentions and the way in which consumers conceptualise the museum as a space for "telling the nation".

Gyration

European Renaissance and Romantic landscape appeared in vistas. The conditions of the industrial revolution and, according to Patrick Maynard and Jonathon Crary, the film camera especially, led to a Modernist re-vision vividly recorded in Xavier Herbert’s contrary Modernist vision, prompted by seeing the Australian bush, its ‘... stunted trees, the mulga and the wilga and the gimlet gum, doing a kind of dance, spinning past, seeming to swing away from the train to the horizon and race ahead, to come back...the same set of trees in endless gyration’.

Web 2.0 : an argument against convergence

Web 2.0 has been a dominant concept in recent discussion and development of Internet applications, businesses and uses. Dating from 2004, the term Web 2.0 is variously understood as new forms of website development and delivery technology, changing uses of the Internet to emphasise sociability over consumption, new understandings of the possible financial exploitation of the web, and more broadly, a new way of thinking about the Internet as a whole. However, Web 2.0 is, conceptually, both more and less than these various understandings and we can only grasp why it has become such a key term in contemporary usage by appreciating two key discursive foundations for this term. Firstly, much Web 2.0 thinking is a re-expression of long-held ideas about the Internet and the web. Secondly, at the particular time when Web 2.0 was made popular, net technology policy makers and financial analysts were primarily enthused by the possibilities of broadband networks for improved and more profitable versions of the well-established businesses of telephony and audio-visual entertainment, and had to some extent consigned novel, web-based services to a lesser role, following the dot.com crash. Thus, as I argue in this paper, Web 2.0 can be understood as a key intervention, from within the dot.com / new media business sector, recovering from the crash, that re-asserts the equal legitimacy of the use of networked computing, over high-speed lines, for computing-oriented activities, and not just video on demand and voice over IP. In short, in the first years of this century, discussions about the future of the Internet had become dominated by arguments for increased broadband access, substantially concerned with providing more traditional video and voice services in new ways. The World Wide Web was seen as relatively unimportant for this purpose, even though it was part of the so-called 'triple play' of voice and data services. At this time, first in the hands of Tim O'Reilly and then from others who took up his position, Web 2.0 became a catchy simple term under which to mount a campaign for the renaissance of the World Wide Web as a quite distinct, yet equally important, form of media and communications. So, Web 2.0 provides evidence that, while there is a convergence of all forms of media and communications towards similar data traffic over the Internet, there remain diverging views over the nature, control and use of the Internet, views that express the degree to which corporate players imagine themselves to be 'media', 'telephony' or 'computing' in primary orientation.

Introduction: of turtles, dining and the importance of history in food, food in history

Feasting on North American moose or Caribbean turtle in Renaissance Italy, Ancient Rome, or the colonial working-class pub, is Social and Cultural history in a new and exciting form. Dining on Turtles traverses time and place to open up food and drink as a new field of historical enquiry. In chapters covering the heritage landscapes of sugar canefields, the reform of popular drinking customs, the importance of eating and drinking culture to Olympic Games planning, and the significance of cookbooks to civic society, historians here break new ground in locating food's importance. From the exploration of French tavern rituals, Scottish feasting on haggis, and memories of food traditions in Cyprus come themes of identity and nationalism, change and continuity.

Missing the lesbian and the missing lesbian: a study of the forgotten lesbian in 1970s Australian cinema

This paper addresses the (largely forgotten) presence of lesbians, in 1970s Australian film. It explores the romantic friendships canvassed in 'Picnic at Hanging Rock', (Peter Weir, 1975) and 'The Getting of Wisdom', (Bruce Beresford, 1977) alongside the lesbian in other canonical 1970s works, like the election comedy, 'Don’s Party' (Beresford, 1976) the bio-pic 'Dawn!', and unique tele-features such as 'The Alternative' (Paul Eddy 1978). This paper investigates the way these texts are read and received. The 1970s was an important decade in Australia's filmic history, (affectionately dubbed Australia's film ‘Renaissance’) and this paper examine the lesbian readings that are and aren’t there; and that are and are not avowed.

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.

Seeing Sarah Bernhardt: performance and silent film

The most famous stage actress of the nineteenth century, Sarah Bernhardt enjoyed a surprising renaissance when the 1912 multi-reel film Queen Elizabeth brought her international acclaim. The triumph capped her already lengthy involvement with cinema while enabling the indefatigable actress to reinvent herself in an era of technological and generational change. Placing Bernhardt at the center of the industry's first two decades, Victoria Duckett challenges the perception of her as an anachronism unable to appreciate film's qualities. Instead, cinema's substitution of translated title cards for her melodic French deciphered Bernhardt for Anglo-American audiences. It also allowed the aging actress to appear in the kinds of longer dramas she could no longer physically sustain onstage. As Duckett shows, Bernhardt contributed far more than star quality. Her theatrical practice on film influenced how the young medium changed the visual and performing arts. Her promoting of experimentation, meanwhile, shaped the ways audiences looked at and understood early cinema.

O homem do renascimento

Investiga-se a existência de um ideal de homem do Renascimento e seu universo ético, seus valores e expectativas morais. Pressupõe-se a existência de novos tipos sociais, em cena desde o século XV: artista, príncipe, navegador e indígena, cardeal, mulher renascentista, filósofo e mago e, em particular, banqueiro e mercador -expressões máximas de individualidades.