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.

Working with technology/making technology work: a round table discussion

What follows is an edited transcript of a conversation that took place on the topic of performance and technology at the Mechanics Institute, Brunswick, on Saturday 3 November 2013. The participants - Suzanne Kersten, David Pledger, Julian Rickert, Tamara Saulwick and Hellen Sky - are all practising artists who have engaged with various forms of everyday and extra-daily technologies in their creative work. Gorkem Acaroglu and Glenn D'Cruz facilitated and moderated the discussion.

The Art of Wool

An edited volume that examines the place of wool in the artistic imagination of Australia and considers visual relationships between art and fashion.Part of a wider curatorial project that brings together garments from the International Woolmark Prize archive with works from the Howard Hinton and Chandler Coventry Collections at New England Regional Art Museum. Editor's Introduction:Tanya Zoe Robinson'Introduction: stories of wool'Essay authors:Margaret Maynard, Honorary Research Consultant, Queensland University'Wool fashions: comfort, tactility, innovation'Adam Geczy, Senior Lecturer, Sydney College of the Arts'The art-fashion crossover'Christine France OAM'Wool in the artistic imagination of Australia'

Tree-based iterated local search for Markov random fields with applications in image analysis

The maximum a posteriori assignment for general structure Markov random fields is computationally intractable. In this paper, we exploit tree-based methods to efficiently address this problem. Our novel method, named Tree-based Iterated Local Search (T-ILS), takes advantage of the tractability of tree-structures embedded within MRFs to derive strong local search in an ILS framework. The method efficiently explores exponentially large neighborhoods using a limited memory without any requirement on the cost functions. We evaluate the T-ILS on a simulated Ising model and two real-world vision problems: stereo matching and image denoising. Experimental results demonstrate that our methods are competitive against state-of-the-art rivals with significant computational gain.

Spring 1883: Art Fair at the Windsor Hotel

Exhibition of three works by Patrick Pound as part of the Spring 1883 exhibition. Art works entitled: 'Spring Street' a collection of vintage postcards each showing the street the exhibition hotel is located on, the 'Collector' a collection of John Fowles' novel the 'Collector' in numerous editions, and 'The Apartment' a collage of a derelict apartment block. These works were exhibited by Hamish McKay Gallery.The brainchild of Melbourne gallerists Vasili Kaliman (Station), Geoff Newton (Neon Parc), and Vikki McInnes (Sarah Scout Presents), SPRING 1883, the exhibition took place at Melbourne’s historic Hotel Windsor from August 14-17, 2014.The fair drew on the traditions of New York’s hotel-based Gramercy Park Fair and presented the best of contemporary art practice from Australia, New Zealand, Europe, and the United States.“Providing a boutique site for dialogue and interaction between galleries, artists and collectors, the fair will create a new energy for the contemporary art market in Australia”

Op Shop Series

This series of works by the Melbourne collaborative group, Bozo Ink, in undermines the art gallery’s system of exchange and representation. They make the observation that as a site that supposedly reflects and critiques contemporary cultures, histories and practices, the gallery is merely a space of exhibition. Like many contemporary artists, and the critics and academics who assess their work, they are aware of the inherent paradox of exhibiting a work critical of commodity culture since we enter into a process of consumption that actually magnifies commodity culture when we place work in a gallery context. Bozo Ink’s project, The Op-Shop Series, offers a critique of consumptive practices in the art gallery and looks to entwine art, everyday practices and resistance strategies. They do this to test the potential of the gallery as a site for resistance, and to reconsider its function in the age of “consumption and spectacular exhibition” (Agamben 2007, 82). In linking the counter-practices of profanation (Agamben 2007) with the Situationist strategy of détournement (Debord 1994; Wark 2013) they hope to recast the art object as one without currency in the gallery. They propose that it is possible for the art object to unsettle both the image and the system of exchange within which it operates.

Locating learning: making connections between virtual and physical spaces with mobile touch-screen devices

This paper is concerned with the potential of mobile touch-screen devices and emerging socio-technological practices to support pedagogies of place that provide a means for young people to reflect critically on the social construction of place and to take actions that speak of and to their own locatedness. Drawing on de Certeau’s (1984) concept of space as a practiced place and Massey’s (2005) perspective of spatiality and interrelatedness, we examine two school-based examples of learning activities that bring together the virtual and physical as in experiences and representations of place. The first example is an Australian local history unit, where lower secondary school students participated in a series of field trips, planned and conducted under the guidance of an indigenous elder. They used Smartphones and iPads to capture and create personalised audio-visual records of their knowledge of place that were then used to create geo-location games. In the second example, upper primary school students worked with local authorities and environmental educators to select sites for two environmental monitoring posts, which were then installed and provided a locus for the students’ school-based environmental science learning as well as a vehicle for community engagement. Drawing on interview, video and photographic data, this paper examines the way mobile technologies were deployed for student knowledge production, engagement with place, reconstruction of place and engagement with community.

The unstable print: Material challenges in printmaking and the moving image

The past few years have seen an emergence of printmakers motivated by moving-image technology to use print as performative creative practice; in film and animation, as installation and in various processes of thinking and production. Notions of movement and change that could be said to identify much of our contemporary world reflect the interests of a number of printmakers who utilize printmaking characteristics of multiplicity and reproduction by integrating the digital and the handmade within the moving-image. There seems to be a restlessness by some artists who wish to explore an unbounded, experimental approach to printmaking; perhaps it is a natural progression for printmakers to relate their processes of thinking and production to concepts of frame-by-frame production – to additive and subtractive methods, multiple imagery and the reproduced or copy. But what happens when printmaking that has entered the realm of multimedia technology returns to the physical, material print? This paper presents and discusses printmaking as moving image, and in particular the practice of printmaking that utilizes the copy and multiplicity while exploiting qualities of change through, for example, organic non-archival materials. Drawing from my own print projects and practice as well as the work of other Australian printmakers, the paper asks: can the physical print convincingly perform, not only represent, movement and change as analog experience through its materiality, and how is it to be valued within printmaking conventions concerned with longevity and permanence?

Otto Klitgord

This photo shows Otto Klitgord speaking at a college event. Otto Klitgord was the first president of the New York City College of Technology. He was named director of the New York State Institute of Applied Arts and Sciences when it was formed in the 1946 and became president in the 1950s when the administration was reorganized. Klitgord served until 1960, making his tenure as president the longest in City Tech's history.

Space Window*: an exhibition devoted to Man in Space and Space in Art

Call for submissions to participate in a show in the Bell Gallery, List Art Building at Brown University. Co-sponsored by the RI State Council on the Arts and the Providence Inner City Arts Association.

Eficiência em órgãos públicos: uma proposta de indicadores

A inserção do Princípio Constitucional da Eficiência no art. 37 da Constituição Federal do Brasil, por meio da Emenda Constitucional n. 19/98, representa a busca da maximização do aproveitamento dos recursos públicos na prestação apropriada de serviços públicos e da excelência da qualidade dos mesmos. Observa-se, ainda, que a aplicação deste Princípio na Administração Pública carece de instrumentos normativos que permitam o alcance da melhor efetividade possível. Este trabalho busca elencar indicadores com capacidade de mensurar o grau de eficiência de certos órgãos públicos, seja por intermédio de órgãos (organizações) fiscalizadores ou superiores, ou pelo público atendido, que se beneficia dos serviços disponibilizados. Para isso buscou-se, inicialmente, conceituar termos como princípio, eficiência e outros diretamente ligados à Administração Pública. Em seguida, são abordados os conceitos relativos a indicadores, em especial aos de eficiência. De forma mais específica, são apresentados indicadores usados por alguns órgãos públicos e, a fim de contribuir com a implementação mais efetiva destes, foram feitos acréscimos e adaptações de outros, bem como se sugere uma planilha para avaliar a gestão em seus diversos aspectos, seja por auditoria ou pela mensuração da qualidade e satisfação referentes aos serviços públicos prestados à população. Tenciona-se com este trabalho colaborar para a melhoria da gestão com foco nos resultados na Administração Pública, disponibilizando um rol de indicadores básicos que possam ser utilizados na mensuração da eficiência de um órgão público, destacando-se que é necessário atualizar e aprimorar constantemente a aplicação destes instrumentos.

Um estudo empírico sobre a construção da identidade social do consumidor de toy art

O objetivo deste trabalho é compreender como os consumidores de Toy Art utilizam o seu bem para constituir a sua identidade social, além de explorar este relacionamento de consumo, investigando os fatores que desencadeiam o processo de extensão de si no Toy Art. A sustentação teórica deste trabalho se deu pelo aprofundamento dos temas já levantados anteriormente por Campbell & Barbosa (2006) e McCracken (2003), em seus estudos sobre cultura e consumo; Schouten & McAlexander (1995) em sua pesquisa sobre subculturas de consumo; Hall (2005), que expôs suas teorias sobre a formação da identidade no mundo moderno; Douglas & Isherwood (2004), que estudaram os rituais de consumo; Belk (1988), com suas pesquisas sobre a extensão do self. Este estudo é de caráter exploratório, e foi conduzido com entrevistas em profundidade com o intuito de deixar emergir os sentimentos e emoções dos respondentes, para uma melhor orientação na direção das análises dos dados obtidos. Os dados foram coletados junto a 14 consumidores de Toys, de ambos os sexos, com idades entre 19 e 38 anos, residentes nos estados de Belo Horizonte, Paraná, Rio de Janeiro, Rio Grande do Sul, São Paulo e o Distrito Federal, durante os meses de julho e agosto de 2009. Para atingir os objetivos propostos, o método de pesquisa adotado foi qualitativo, com priorização do sujeito e da subjetividade, utilizando-se uma forma interpretativa para a análise dos dados. Os resultados demonstraram que os consumidores de Toy Art utilizam o seu bem para constituir sua identidade social e como uma forma de diferenciação e expressão. A extensão de si se dá exatamente durante essa busca pelo incomum, por um bem que o distinga dos demais. Conclui-se o trabalho, fazendo-se recomendações gerenciais com o intuito de beneficiar e desenvolver a indústria deste segmento.

Decision making naturalized: the interweaving of the unconscious, the emotional and the rational in decisions taken in a contigent world

Dadas as limitações e inadequações presentes, tanto no arquétipo do tomador de decisão como um agente racional, adotado nas teorias econômicas e gerenciais, quanto no estereótipo de um ser transcendental, tão presente na vida prosaica, se faz necessário substituí-los por uma nova perspectiva: onde o tomador de decisão é um animal emocional, frágil diante do acaso, e fruto de um processo evolutivo.

Projetos de memória e imagem institucional: um estudo de caso do Banco Itaú

Fenômeno que tem sofrido um crescimento considerável nas últimas décadas, a constituição de projetos de memória empresarial se insere em um panorama mais amplo de valorização do passado na sociedade contemporânea, caracterizada pela 'febre da memória'. Parte de um expediente que tem como objetivo final fortalecer a identidade e a imagem dessas instituições entre seus funcionários e o público mais amplo, essas iniciativas têm gerado diferentes produtos e linhas de ação, sendo inicialmente vinculadas às áreas de marketing e comunicação, mas mostrando sinais de profissionalização e ampliação dos seus horizontes. O presente estudo tomou como objeto de análise o projeto memorial do Banco Itaú, criado em 2003, buscando compreender a natureza dessa iniciativa e de que maneira ela colabora na consolidação da imagem de 'vocação' cultural do Banco.

O balanço social como estratégia de fortalecimento das práticas de responsabilidade socioambiental

A sociedade de hoje, não se contenta mais em cobrar das Organizações apenas o triângulo consagrado que trata especificamente da qualidade, custo e prazo. Consciente de seu papel no mundo globalizado, ela exige o envolvimento e o comprometimento dessas Organizações com as questões sociais e ambientais. Neste contexto, faz-se necessário investir na preservação da natureza, na sua relação com a sociedade e no estreito relacionamento com os envolvidos direta e indiretamente nesta difícil empreitada. Em respostas a essas demandas, a ciência contábil, frente às exigências deste mercado globalizado e em lugar do modelo gestão corporativa utilizado até recentemente, que tratava apenas dos resultados econômicos, criou o Balanço Social. Como instrumento estratégico de desenvolvimento corporativo, o Balanço Social permite que a sociedade visualize os resultados de seu comprometimento com o futuro da humanidade. Quem não procura se adaptar às novas exigências da sociedade global, tende ao fracasso. Esta pesquisa tem como agente principal apresentar se as empresas no Brasil aplicam o conceito de Responsabilidade Social em suas atividades, propondo a cidadania de forma séria e responsável. Foram observados os dados divulgados pela Petrobras, - Petróleo Brasileiro SA, Vale e Gerdau S.A,, descrevendo informações entre seus demonstrativos e relatórios com a aplicação a partir dos propostos pelo Instituto ETHOS. Foi investigado o quanto estas empresas atendem aos quesitos propostos e, com base nos resultados obtidos, indicar, o nível de seriedade que estas companhias praticam a questão. A preferência pelas empresas supracitadas como objeto de pesquisa se dá pela posição de destaque no cenário econômico nacional e mundial; por sua atuação em setores considerados de alto nível de degradação e consumo de recursos naturais; e pelo alto impacto social gerado pela organização no local onde está introduzida. Os resultados mostram que as empresas começam a visualizar as questões socioambientais, verifica-se esta informação devido aos montantes absolutos investidos, todavia esta preocupação não atingiu a idéia principal deste conceito de responsabilidade social, ao atender interesses estratégicos superficiais de promoção e auto-imagem.