A contribution to the history of assessment: how a conversation simulator redeems Socratic method

Assessment in education is a recent phenomenon. Although there were counterparts in former epochs, the term assessment only began to be spoken about in education after the Second World War; and, since that time, views, strategies and concerns over assessment have proliferated according to an uncomfortable dynamic. We fear that, increasingly, education is assessment-led rather than learning-led and ‘counter to what is desired’ in an ugly judgemental spirit whose moral underpinnings deserve scrutiny. In this article, we seek to historicise assessment and the anxieties of credentialising students. Through this longer history, we present a philosophy of assessment which underlies the development of a new method in assessment-as-learning. We hope that our development of a conversation simulator helps restore the innocence of education as learning-led, while still delivering on the incumbencies of assessment.

Migration exhibitions and the question of identity: reflections on the history of the representation of migration in Australian museums, 1986-2011

Museums and Migration explores the ways in which museum spaces - local, regional, national - have engaged with the history of migration, including internal migration, emigration and immigration.

The complex and contested history of democracy

Democracy has never been more popular. It is successfully practiced today in a myriad of different ways by people across virtually every cultural, religious or socio-economic context. The forty-five essays collected in this companion suggest that the global popularity of democracy derives in part from its breadth and depth in the common history of human civilization. The chapters include exceptional accounts of democracy in ancient Greece and Rome, modern Europe and America, among peoples’ movements and national revolutions, and its triumph since the end of the Cold War. However, this book also includes alternative accounts of democracy’s history: its origins in prehistoric societies and early city-states, under-acknowledged contributions from China, Africa and the Islamic world, its familiarity to various Indigenous Australians and Native Americans, the various challenges it faces today in South America, Eastern Europe, the Middle East and Asia, the latest democratic developments in light of globalization and new technologies, and potential future pathways to a more democratic world. Understanding where democracy comes from, where its greatest successes and most dismal failures lie, is central to democracy’s project of inventing ways to address the need of people everywhere to live in peace, freedom and with a say in the decisions that affect their lives.

Conclusion : democratising the history of democracy

The aim of The Secret History of Democracy has been to open debate on a larger view of democratic practice than that encapsulated by its wellknown standard history. The book came about from a concern that, while democracy was experiencing an ascendancy that began in the aftermath of the Second World War and intensified with the end of the Cold War, the global uptake of this particular form of governance came at the very moment when its limitations were becoming clearer: in its European and American heartlands there was less interest in participating in democracy; Clinton began in hope but ended in scandal; 9/11 was a victory for intolerance precisely because Western democracy restricted its own freedoms; the Bush, Blair and Howard governments became less relevant to their constituents and waged unpopular wars; the global financial crisis revealed democracy’s dependence on a flawed economic model; and difficulties in dealing with the global impact of climate change showed the limitations of national democracies, hostage to sectional interests. The exemplars of democracy were not having an easy time.

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.