It comes with the territory: 'remote' Indigenous reporting for mainstream audiences

Mainstream news coverage of ‘remote’ Indigenous Australia is arguably one of the most distinctive forms of Australian journalism practice. While there has been considerable scholarly interest in news media representations of ‘remote’ Indigenous people, little research has been done until now on the logic or operations of this reporting specialisation. This monograph presents a Bourdieuian analysis of the subfield based in the insights study participants offered in interviews undertaken as part of The Media and Indigenous Policy project. It analyses the reporting subfield through an investigation of the practices participants say shape the way white, mainstream journalists understand their role, its possibilities and limitations. Reporting specialists spoke of the geographical and ontological distances they have to negotiate in dealing with Indigenous and government sources, as well as the ways in which they are constrained by institutional pressures. They attribute many of the difficulties with covering ‘remote’ Indigenous issues to factors linked with these physical and cultural distances.

Finding the edge : online persona creation by fringe artists

Self-presentation through the creation of profiles and pages on digitally networked spaces is becoming ever more ubiquitous. In order to develop greater depth of understanding of the place of social media in our self-identification practice, my dissertation investigates the experiences of online persona creation by eight artists. Drawing on sociological and cultural studies approaches to understanding identity as performance, I tie current artists’ presentational and representational practices to historically grounded, socio-culturally constructed discourses of ‘artistness’. Through this connection, I argue that the creation of online persona has not radically changed notions of what it means to be an artist, or how artistness is represented and understood by audiences of fans or followers, but rather that digital technology has allowed for renegotiation of the boundaries of artistness that still draws from historical understandings of the role and persona of the artist. This shifting of boundaries, allowing for more inclusivity within the art world, is demonstrated by my focus on ‘fringe’ artists: those whose creative practice places them outside of the traditional art world and its existing structures of representation, distribution and consumption. The eight fringe artists who participated in this study are drawn from street art, performance poetry, craftivism and tattoo.

Interpretative Phenomenological Analysis drives the methodological focus on the experiences of the artists. Rather than a consideration of behaviour and habit, or what the artists do, this phenomenological approach allowed me to instead focus on what it is like for the artists to create persona, what drives particular types of representational practices. Using unstructured interviews, and online listening as an extension of participant observation, the artists’ narratives of experience are expressed through transcript extracts and screenshots: both are necessary to fully explore the nature of online persona creation.

My analysis of the artists experiences has demonstrated that there are three somewhat distinct registers of performance with which an artist’s persona can engage: the professional register, where one demonstrates ones proficiency, experience, popularity, and professionalism; the personal register, where one connects with
wider social and political interests and activities; and the intimate register, where one allows the audience in to one’s private world. These three registers occupy the same performance space, but are implicitly or explicitly for different segments of the digitally networked audience of fans, followers, friends and family. The complexity of the performance and reception of these registers is influenced by the shared nature of the performance space – where previously different roles would be performed for different audiences without reference to one another, the networked nature of online social media influences decisions of how much, and when, to share with whom.

Interpreted here using themes of strategy|happenstance, specialisation|diversification, visibility|self-protection,
self|others and work|play, the professional, personal and intimate registers of performance enable us to see the consideration and care with which each participant creates their artists persona. The experiences of performing the self in these three registers, as presented here, provides an insight into the complexities involved in creating online persona, while also demonstrating that this type of presentation of self is, in itself, no different from the types of role play and performance of self that has arguably always occurred in our physical world. Despite focusing on the role and performance of artistness, this dissertation speaks to the creation and performance of online persona more broadly. 

Landscapes in transition : local perceptions of indigenous and European settlement changes along the Victorian coast

Around the world coastal areas are witnessing dramatic changes due to the consequences of the growth of human settlements. Rapid urban expansion in coastal settlements due to ‘life style migration’ impacts negatively on environmental coastal amenities that are the driving factor behind the attraction of these areas. The Victorian Coast in Australia is under stress, with the growth pattern of coastal settlements in a sprawling linear fashion resulting in devastating effects on the natural coastal environment, biodiversity and the loss of cultural heritage. The Victorian coast is rich in history, and the coastal towns are often described in literature as places with ‘sense of place’, or referred to as place character. This place character has been formed over many years with the interaction between social histories and natural environments woven together across time. This paper reviews the transition of the landscapes along the Great Ocean Road coastal region, and ask the question how can a potential Generative Plan be developed to establish a process to keep the place character of coastal towns. The proposed plan considers the interrelationships of nature and people as fundamental to forming place character, from the time of Indigenous habitation before European settlement, to the current day of rapid increased developments scattered along this coast.

Incorporating indigenous Australian knowledge and perspectives into planning practice : past, present and future

The history and contemporary practice of land-use planning and place-making by Indigenous Australians is poorly understood by academics, students and practitioners in the field of urban and regional planning in Australia. This is despite recent high-profile events which have increased the profile of Indigenous peoples’ rights, such as the recognition of native title by the High Court in Mabo v the State of Queensland [No. 2] (1992) 175 CLR 1 and The United Nations Declaration on the Rights of Indigenous Peoples (2007), and Commonwealth policy and reconciliation discourses. Further, little impact has been discernible arising from the adoption of reconciliation policies by government bodies, planning authorities and the Planning Institute of Australia (PIA). This paper reviews this lack of progress and discusses why this is a problem for Australian planners which needs to be addressed. The paper reviews the present Australian historical and socio-cultural context in terms of collaboration with traditional land owners as it relates to contemporary planning practice. It considers ontological, epistemological and axiological differences between the dominant western model of planning and Indigenous models, and the challenges this presents. A case-study documenting past, present and future planning practices at Lake Condah in South West Victoria which is the Country of the Gunditjmara and Budj Bim will bring to life these topics through the documentation of Indigenous planning practices prior to and post European arrival. It offers a vision for the future of planning with Indigenous communities. The paper envisages a future which values and incorporates Indigenous place-making and planning, which goes far beyond the tacit acknowledgement of traditional owners commonly observed around Australia today.

Immaterial land and indigenous ideology: refiguring Australian art and culture

Through an examination and critique of western notions of ideology my research aims to propose an alternative way of thinking about ideology and ontology. My argument relates specifically to art and culture and demonstrated through theoretical argument and artistic practice, how Indigenous art and culture allow us to conceive of an alternative understanding of ideology.

Two trees: Australian artists' books to Afghanistan and back

Two Trees documents an artists' books collaboration between 14 Australian women artists and women in Afghanistan who were learning literacy. The collaboration resulted in 36 concertina books of images, withDari and Pashto hand written texts.The books are held in the State Library of Queensland's artists' books collection. Two Trees includes includes an introduction by Barbara Kameniar, and texts by Malalai Joya, Gali Weiss, Matthias Thomczak and Latifa Ahmady.