Bringing the outside in and brining the inside out - artifacts in a university classroom

This article draws on psychoanalysis to theories artifact as data in a post-secondary classroom setting. Psychoanalytic theory offers nuanced frames through which to interpret this data. What psychoanalysis alerts us to is the multiple and as such irreducible meaning of experience. Importantly psychoanalysis allows reading of this data for its affective moments. What does it mean for students to bring personal artifacts into a classroom? What sorts of meanings are ascribed to artifacts? What are the layers of narratives that are revealed when students speak to memories of photographs and objects? How might artifact work permit the outside self to be present inside an educational setting and generate a sense of reciprocity?

From estrangement to a sense of place …

Maggie MacKellar in her book Core of my Heart, my Country writes 'What is sense of place? Why is relationship with place so fundamental to our identity as individuals and as communities?' MacKellar rightly acknowledges that 'A sense of place is a complex connection between land and self. Place is both inside and outside; it takes us beyond ourselves, yet allows us to make sense of ourselves. Attachments to place are born into us, but they are also formed through movement, through labour, through words.' My mother Maria Radzimirski-Herzog considered herself truly Swiss and thoroughly Australian. Through one migrant's story this paper explores something of the complex intertwining of place, memory and identity. It grapples with the notion of belonging to one's country of birth and one's adopted country via a rich understanding of place. In Maria's case, place becomes inextricably bound with who she became as a person. In the early 1940s, Maria explored Switzerland on bike and on foot during war-time restrictions on cars and she came to know it intimately. She photographed the land and the mountains; she documented her journeys. Spirn writes perceptively that 'Significance does not depend on human perception or imagination alone.' For Maria significance was, to use Spirn's words, 'there to be discovered, inherent and ascribed, shaped by what senses perceive, what instinct and experience read as significant, what minds know'. For Maria, Landscape was not 'mere scenery'. The ability to see, to listen, to be present in place, stood her in good stead in her adopted country, Australia. Maria called place into being for her children: through her lived experiences, her memories, her story telling, through language, traditions and history, Maria shared her Swiss identity with her children. But imperceptibly she also taught them how to understand her new homeland Australia, their birth country. How did Maria become Australian? Was that her creative response to exile from Switzerland? How did she come to feel at home in both countries, to understand both places? How did they seep into her and she into them? Through my own research on place I have discovered that assessing 'sense of place' is not an exact science but a creative analysis of the attributes of a place. The methodology I have adopted to explore the complex interrelationships between place, memory and identity allows recovery and reclamation, rediscovery, juxtaposing the subjective and the objective, the co-presence of different evidence. This paper draws on place research, on personal papers, letters and photographs, and the author's own experiences and memories. Through story and narrative it interweaves autobiography and biography with theoretical scholarship, to illuminate one migrant's journey from estrangement to a sense of place in her adopted country, Australia.

A review of the impact of different types of leading interview questions on child and adult witnesses with intellectual disabilities

Children and adults with intellectual disabilities have traditionally been considered poor witnesses because they are easily misled and produce less accurate information in interviews when compared with individuals without intellectual disabilities. However, witnesses’ levels of accuracy depend on the types of questions that they are asked, such as whether they are open or closed and whether they contain misleading information. In the current systematic review, we examined the literature investigating the different types of misleading questions commonly used in interviews, and their influence on the memories of adults and children with and without an intellectual disability. Thirteen articles that met inclusion criteria were reviewed. It was found that, compared with other question types, open and closed questions that presumed certain information to be true elicited the greatest number of errors in children and adults with intellectual disabilities compared with other question types. These findings reinforce the notion that the onus is on interviewers – particularly when interviewing vulnerable witnesses – to avoid leading questions that presume information that may not be true.

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.

Souvenirs of the senses

Words and things: souvenirs of over-site/over-sight for place-making

This paper addresses the problem of making things in a given place (Qatar), and asks how anticipations and memories of place contribute to practice-based manoeuvres of place-making. Flying across time zones and travelling through sites suggests aspects of place-making that would draw upon both a notion of meteorites coming to earth and an awareness of the sensory consequences of global travelling. What this experience also suggests is an ‘over-sight’ (‘over-site’) in how travellers remember a place for themselves, and how they re-member it for others in the form of souvenirs. Going to a place might often default to an envisioning of pre-emptive or imaginary souvenirs in anticipation of the destination; thinking about what a place might be like is hard to separate from what we think we will eventually take away from it. Thus, the idea to be explored is how we might ‘make in to place’ as much as we ‘make something in-place,’ which perhaps results in ‘making some thing into a place’. Etymologically, souvenir already suggests this in its derivation from Old French: ‘to remember, come to mind.’ How does one ‘come to remembering’ in a place that, like all planetary places, will always be both global and local? Perhaps it depends on how one lands in a place…. Meteoroids remain in orbit around a place: nascent souvenirs always above the horizon, un-made place-makings. Meteors come closer to landing but still, by definition, burn up in the atmospheres of the new place. Meteorites, though, land: they suggest what we mean by the human element of ‘makings in-/to place.’ Travelling from somewhere, to somewhere yet to be fully determined, meteorites (people and/or words and/or senses) reflect the dispersion and compression of sensory (thing-based) and word-based experiences of place. Drawing on the work of Paul Hopper, Paul Carter, Gilles Deleuze and Félix Guattari, Michel Serres, William Desmond and Julia Kristeva, the paper concludes that words evoke a place in which the present might take place, and that the senses evoke a present in which place might take place.

Whose culture, where and why? – Identity, culture and artistic expression

This research addresses how the visual and artistic expression represents my cultures and gendered identities. My journey mapped cultural inheritances, ancestry and postcolonial influences from home country, my childhood memories, life experiences and migration transitions to Australia. A series of my artworks represent cultural markers, a sense of belonging, nostalgia and challenges of relocation. Findings support how art expression can forge ‘affective links’ and develop pedagogies for intercultural understanding through Art Education.

The man who mistook Marat for Sade: 'living' memory and the video archive

Digital video archives, which are growing at an exponential rate, will become increasingly important to Theatre History and Performance Studies, and questions of how scholars negotiate the relationships between memory, technology and performance events in theoretical and practical terms will become crucial. Indeed, there is already a considerable body of scholarly material on this topic. This article considers these questions with specific reference to the relationship between video records deposited in digital archives and human memory. First and foremost, this article raises questions about the authority of the archive and the ways in which archival technologies, in the words of Maaike Bleeker, 'transform how we remember, how our and others' memories are entangled in the here-and-now, and, in the end, even how we think and imagine'.

Uniting the perspectival subject: two approaches

Visual forms of episodic memory and anticipatory imagination involve images that, by virtue of their perspectival organization, imply a “notional subject” of experience. But they contain no inbuilt reference to the “actual subject,” the person actually doing the remembering or imagining. This poses the problem of what (if anything) connects these two perspectival subjects and what differentiates cases of genuine memory and anticipation from mere “imagined seeing.” I consider two approaches to this problem. The first, exemplified by Wollheim and Velleman, claims that genuinely reflexive memories and anticipations are phenomenally “unselfconscious,” with the co-identity of the notional and actual subjects secured by a determinate causal history. The second approach posits some distinctive phenomenal property that attaches to genuinely reflexive memories and anticipations and serves to experientially conflate the notional and actual subject. I consider a version of the second approach, derived from Kierkegaard’s discussions of phenomenal “contemporaneity,” and argue that this approach can better account for the possibility of affective alienation from the selves we were and will be: the way in which our sense of self and awareness of our causal history can sometimes come apart.

Spaced repetition tool for improving long-term memory retention and recall of collected personal experiences

A variety of electronic displays available for home use creates opportunities for intelligent applications. This paper presents a semi-passive photo reviewing tool for consolidating memories of experiences utilizing personal picture libraries. A form of spaced repetition algorithm is used to create visual journeys which link photos together around a user-chosen central theme. Systematically reviewing images from positive personal experiences can be useful to remember significant events, as well as to balance out stressful events in our lives. The design exploits existing digital home displays and aims to improve usage of media collections

Gendered experiences of industry change and the effects of neoliberalism

In a time of dramatic and rapid change in the global media industry and when technological advances and media concentration are shaping the way news is produced and consumed, little research has focused on how the producers of news are affected by such change. This paper explores narratives of confidence and cynicism as told to me by Australian print news media journalists. I am interested in journalists’ memories and experiences of personal change that arise from an intensified workplace and how neoliberal discourses affect newsroom culture. How do the journalists I interview experience and speak of changes in the newsroom? In what ways is being a journalist different now to when they entered the industry? In effect, how have journalists changed as a result of journalism's changes? The interviews with 17 print media journalists contain rich narratives with which to explore how participants remember and make sense of industry changes. This paper finds that the intensification of work practices, ethical constraints and gender bias, underpinned by neoliberalism, have aided in creating a cynicism among many of the journalists interviewed. Nevertheless, the majority of interviewees suggest that a career in journalism has increased their personal and/or professional confidence. There are, however, gendered differences in this experience.

Sensing the story: structure and improvisation in writing for performance.

This article discusses the process of writing through devising in performance. It takes as a case study Apart of and A Part From in which muscle and sense memory – touch, smell, taste, sound and sight – were the points of departure for a contemporary performance piece on migration and identity. This was a practice-as-research project aimed to better understand the artist’s body (myself) in improvisation with memory fragments. Working from a non-verbal frame the writing experience began as actions in space, then new memories in my body, to maps on paper, to key word and some staging patterns, to systematic capturing of the textual, rhythmic and spatial structures in the emerging 30-minute performance. Various objects were incorporated to give aesthetic coherence of the piece. The article reports on the processes of writing in action, the writing and performing as lived experience and how the writing emerged from the spaces in between – self and other, self and object, self and space, present self and past self.

Bygones

'Bygones' takes an interest in the way that processes of association inform our experience of sexuality. As it unpicks fragments from the past, the narrative enacts a present that is infiltrated by the triggers and channels of remembering. A hen party sex quiz leads to memories of times bygone and yet omnipresent.