Retrieval

Retrieval was a site-specific performance installation which transformed five floors of the National Library of Australia in Nov-Dec 2010. Devised in collaboration with a team of 30 young performers, the production lead the audience on a quest deep into the library to retrieve priceless cultural memories before all was lost. Louise Morris working in collaboration with co-designer Matthew Aberline and the artistic team created the installed environments for the production. The production won numerous awards including Best New Project- Express Media and Best Original Work- CAT awards.

Abandoned cubby huts: a site of dreaming and decay

The Cubby Hut is a powerful symbolic structure, an archetypal structure, and a place of imagination, dreams, refuge and adventure. The Cubby is ephemeral and passes from our childhood exploration of the world and into the dreams and memories of adulthood. These cubby huts are primarily built from and located in the landscape and are intrinsically linked to this context; they are landscape as architecture and architecture as landscape and in construction they articulate a connection between the imagination and landscape and decay as they return to the land and the psyche.

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".

The inner nana, the list mum and me : knitting identity

Here we present young knitters’ reflections on their acquisition of textile skills and we review media images of women and knitting. While the image of the grandmother as teacher is clear, the mother is absent or obscure. This absence is also reflected in knitting groups, blogs and in one of the authors’ false memories. We propose further investigation of the construction of identity through craft and of both the materiality and the ethereality of nostalgic references.

Living to tell the tale : survival and connection

Memories too sharp for public handling most often stay in our private worlds where we all live, at some point or other, with the weight of regret, or sadness of things lost. The idea of living to tell the tale becomes in itself the story, and we keep counsel with that idea in early morning dreams, or late night fears. For most of us, that is as far as our story goes. Some women, however, move beyond that instinctive silence born of trauma. When the story they have to tell is also a trauma of nationality, of intercultural connection, and of women’s shared sense of survival, it can be tough reading. Judith McNeil’s memoir, The Girl With the Cardboard Port was set down, like this, in front of me.

To say goodbye loop

A composition that has a deep and longing feel to it. It evokes loss and love and features guitar, drums, synths and gated vocals in the bridge.

Absence makes the heart grow fonder SPOKEN WORD

Absence Makes the Heart Grow Fonder is a female voice (British) saying the proverb where the voice has been manipulated to sound arrhythmic and robotic. A good piece for a non-human (robot or like) saying a proverb that goes to the heart of sentience.

Ambieerie rock stinger

A rock stinger intro.

Paintings 2002

This exhibition followed an artist in residency at Marsden College, Wellington. During this residency, she engaged in a project of creating paintings from memories and imagination rather than plein-air or other reference material. The paintings and drawings became layered images from different sources culminating in essence images about her identity and experience with the Place that is Wellington.

Reconstruction over ruins : rebuilding Dresden's Frauenkirche

The debate over the reconstruction of Dresden’s Frauenkirche, the city’s landmark Protestant cathedral destroyed by aerial bombing in 1945, exemplifies the conflicts inherent in the treatment of war-related cultural heritage. Although initially preserved only by virtue of some local citizens’ determination to rebuild the church, in time the Frauenkirche ruins emerged in their own right as an arresting antiwar symbol and one of the foremost sites of war memory and commemoration in the divided Germany. This development created a certain conundrum, for if the church ever were to be rebuilt such a project could only materialise by disturbing the ruins, which supporters claimed were deserving of preservation in their unaltered state. With the advent of reunification, the kind of heritage to be preserved at the site—and the way in which it was to be conserved—came under renewed and reintensified scrutiny and debate. By tracing the shifting dynamics during a half-century of debate over how the Frauenkirche site should be conserved, this chapter examines the impact that struggles over war memory and commemoration can have on cultural heritage. It surveys the arguments for and against rebuilding the Frauenkirche before, during, and after reunification, and considers what aspirations conflicting sides had for expressing personal, national, and international memories of war, loss, and the German national past. Finally, it explores how anastylosis rebuilding principles were used to find a compromise by incorporating, somewhat controversially, parts of the existing ruins into the new church after a local citizens’ initiative successfully appealed for worldwide support to reconstruct the Frauenkirche in the wake of Germany’s reunification.

Stone soup drawing exhibition and workshop

This series of drawings based on the folk tale of stone soup, axe soup and other tales of travel and engagement with a new community. I also conducted a community workshop in which people drew on paper prepared by myself in which memories and placeswere the focus. As the community drawings were produce I substituted them for the ones I had produced and left them with the festival committee as a gift to the community.

Racialized urban America and Holocaust film : negotiating the limits of representation

Sidney Lumet’s influential film The Pawnbroker (1964) is one of the earliest films to consider the encounter between Holocaust narratives and low-income, urban American racial minorities. As much concerned with contemporary ‘race relations’ in the United States as it is with the Nazis’ persecution of Europe’s Jews, the film intertwines the story of Holocaust survivor Sol Nazerman with the social tensions of 1960s America, represented in his relationship with the young Puerto Rican shop assistant Jesus Oritz. The film stylistically juxtaposes raw footage of concentration camp existence with dismal images of New York slum life. Against these backdrops, the protagonist’s climactic ‘silent scream’ emblematically merges the repressed trauma of the survivor with the filmmaker’s interest in race relations, a theme that has undergone various transformations in a number of films since. One film that contemporizes this encounter is Richard LaGravenese’s Freedom Writers (2007). As opposed to the tragic outcome of the pawnbroker’s induction into urban America, here the Holocaust is a redemptive tool that permits inner-city Black and Latino youth to contextualize their own suffering. After reading The Diary of Anne Frank, this group of ‘at-risk’ sophomores to inspired to collaborate on an ultimately successful effort to bring Miep Geis, the woman who sheltered Anne Frank, to speak at their high school. Foregrounded by the 1992 Los Angeles riots, gentiles teacher Erin Gruwell and savior Miep Geis transform the Holocaust from an amplified parallel of American slums into an event that permits the children of American postcoloniality to triumph in spite of their socio-economic circumstances. Underlining the tension between the Jewish specificity and unprecedented nature of the Holocaust, and the need to generate Holocaust narratives that intersect with intrinsically racialized American narratives, such films have significant implications for how collective memories of suffering are constructed and contested.

What was web 2.0? Versions as the dominant mode of internet history

This paper explores Web 2.0 as the marker of a discourse about the nature and purpose of the internet in the recent past. It focuses on how Web 2.0 introduced to our thinking about the internet a discourse of versions. Such a discourse enables the telling of a ‘history’ of the internet which involves a complex interweaving of past, present and future, as represented by the additional versions which the introduction of Web 2.0 enabled. The paper concludes that the discourse of versions embodied in Web 2.0 obscures as much as it reveals, and suggests a new project based on investigations of the everyday memories of the internet by which individual users create their own histories of online technology.

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Messages from Long Tan, Vietnam: memorialisation, reconciliation, and historical justice

This article explores the changing ways in which Australians and Vietnamese remember and memorialize their involvement in the Vietnam War and how these processes intersect with notions of reconciliation and historical justice in postwar contexts. It uses the Battle of Long Tan of August 1966 as an entrée into these considerations and questions how heritage-making and memorialization processes can facilitate the achievement of reconciliation between parties formerly in conflict. Not surprisingly, the Australian and Vietnamese veterans of the battle and the two states, the Commonwealth of Australia and the Socialist Republic of Vietnam, have different motivations for wanting to remember Long Tan. On the Australian side, a sense that reconciliation and atonement are needed is often reflected in official government and veterans’ statements about the war and Australia-Vietnam relations, in the memorialization process at Long Tan and in the involvement of Australian veterans groups engaged in local economic development and community building in Vietnam. On the Vietnamese side, where the Vietnam War played out as a civil as well as an international war, efforts by those who actively supported the former Republic of Vietnam based in Saigon in the south and among the overseas Vietnamese (Viet kieu) to memorialize their engagement in the conflict have been frustrated. The usefulness of the notion of seeking historical justice is therefore questioned in post–civil war situations where people are locked into fixed histories and are unprepared or unable to revisit and retell personal and collective memories and histories.