From the private to the public : a pilgrimage of symbols and metaphors

The marks and imagery that visual artists use to form images often consist of, or incorporate, elements of a visual symbolic language. When the artist's personal set of symbols aligns with that of the society in which the artist works it would be anticipated that the works produced could be readily interpreted and appreciated by that audience or society.

House for Heraclitus

Notions of Australian identity are still being constructed. In landscape painting, problematic differences of possession, ownership, spirituality and ethnicity are frequently highlighted against perceptions of what landscape looks like and how we might begin to imagine our relationships to where we live. This thesis has explored strategies employed in landscape construction. It has involved establishing connections between landscape painting and alternate disciplines that investigate landscape values, many of which aspire to the successful habitation of our environments into the future.

What can Australia learn from the Europeans about public participation? Article 6 of the Aarhus Convention and environmental impact statements

The United Nations Economic Commission for Europe Convention on Access to Information, Public Participation in Decision-Making and Access to Justice in Environmental Matters (Aarhus Convention) is the only international convention that is exclusively devoted to public participation in environmental matters. Although it is European in origin, much of the detail of the Convention draws upon national environmental legislation, including aspects of the Australian environmental legal system. This article compares the public review provisions relating to environmental impact statements in Australia with Art 6 of the Convention governing "Public Participation in Decisions on Specific Activities". The article finds that much of the Australian laws with some exceptions satisfy the minimum requirements of public participation in Art 6.

Framing everyday experience

This practice-based research involved two blogs created within different contexts: one in the small Western Australian town of Kellerberrin, the other in the Sydney suburb of Petersham. Blogging was developed as an artform: to deepen social connection within small geographical areas; to reveal new knowledge about these specific localities; and to extend and critique traditions of socially-engaged and "relational" art practice.

Seeing as believing – or is it?

This article explores aspects of the life and art of the Australian artist Arnold Shore, the subject of my recently published book Arnold Shore – Pioneer Modernist, Macmillan Art Publishing, 2009. The pantheon of Australian art history celebrates particular artists and their visual output. These designated artists become the celebrated and orthodox names, who are seen as defining specific cultural and historical moments. Arnold Shore is cursorily acknowledged in many Australian art history accounts, most often for his teaching at the modernist school he co-founded in 1932, The Bell – Shore School. Much about his art and life remains hidden with the National Gallery of Victoria owning thirteen of his works, none of which are on display. Whilst suggesting there are specific reasons for Shore`s place in art history not being fully acknowledged, the article further investigates why some artists are consigned to a peripheral role, only for their significance and importance to be re-discovered at a later date after historical revisionism. Why is this so? Who are the tastemakers and gatekeepers that actively suppress artists stories and their contributions from receiving wider currency? What factors potentially conspire to obscure or push aside one group to the detriment of others? These questions are increasingly prescient in the twenty-first century as globalisation and spectacle capitalism, compete with representative historical perspectives; issues raised in the latter part of the article.

Chora-challenging maternal space

This thesis is an argument for the restoration of how the female body is perceived and experienced in the world. It argues for valuing and rediscovering female subjectivity as well as elucidating the identity of the feminine body. My artistic creations operate as agitation, discipline, observation, power and desire as a means of rediscovering the lived experiences of women's bodies.

Feminine hero body project

Working within painting's conventions, yet breaking from the tradition of rendering the female form according to social codes, allows the affect of everyday experiences to enter the activity of painting. This enables reading and interpretation of artwork that is not confined to social or cultural stereotypes from which feminine identity is often formed.

Realising policy : the who and how of policy production

This paper identifies a number of strategies employed by policy actors in the production of Australian higher education entry policy during the period 1987 to 1996, with a particular focus on the production of Queensland higher education entry policy text in 1990 (Viviani, 1990, The Review of Tertiary Entrance in Queensland, 1990 , Department of Education, Queensland). The paper begins from the premise that while policy is often intended to be read as if spoken with a single voice, suggesting rational debate and (then) consensus among policy producers, it is more cogently understood as the product of struggle and conflict. Informed by 27 semi-structured interviews with politicians, political advisers, bureaucrats, academics, institutional administrators and independent authorities, the paper addresses the temporary settling of these actors' struggles and conflicts in contexts of policy making through strategies of negotiation. Rather than providing a sequential account of higher education policy that weaves its way through these negotiations, as grand narrative, the paper is more sporadic in its representations of strategies, identifying them in 'local' and specific knowledges and practices. Drawing on Foucault, what emerges is both an archaeology and genealogy of policy production (Gale, 2001, Journal of Education Policy , 16(5), pp. 379-393).

Library of the seven selves

Jarvis’s thesis is a study of libraries as they are represented in art and literature. It analyses the way libraries serve to control and direct knowledge, while also considering the extent to which the creative imagination, in building habitable spaces within which poetic moments can occur, offers resistance.

Framework for the relational analysis of texts : theory and practice.

This workshop is useful for academic researchers and postgraduate students who wish to explore relational approaches to the examination of the organisation of academic texts.
The first part of the workshop introduces the theory and premises of the framework for the rhetorical analysis of the structure of texts (FARS). FARS provides a functional account of the structure of text in terms of the strategies employed by writers to achieve their communicative purposes. Its coherence relations obtain from the level of text as a whole to the clausal level. The discourse parts at all levels except the bottom level constitute relational schemata. FARS relational taxonomy includes the following relational clusters: Elaboration, List, Causal, Adversative, Facilitation, Assessing and Digression. The second part of the workshopl provides opportunity to practice relational analyses of selected texts within this framework.

Dance interrogations

A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.

Dance interrogations

A site-specific solo dance work created and performed by Dianne Reid. The work interacts directly with the audience who must move in and around the dance action in intimate and non-traditional performance locations. The dancer creates the performance in real-time, improvising her movement and text in response to the location and the particular audience members she encounters there. The work also incorporates projected video imagery using the skin as projection screen, and a unique soundscape is created for each performance drawn from the music and effects library of SA composer Stuart Day.

Dossier Chris Marker : the suffering image

Dossier Chris Marker: The Suffering Image is a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of French artist and filmmaker, Chris Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural. Consistent with the classical figure of concordia discors, these irreducible warring aspects of life experience are, in fact, resolved in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as “mask” or “screen” for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. A topological “knot,” or ontological “problem,” it is this very conflict that animates all of Marker’s extensive works – filmic and otherwise.

A qualitative analysis of the Taiyi Jinhua Zongzhi

The Taiyi Jinhua Zongzhi (太一金華宗旨) is an important Daoist text, in particular to the Longmen branch of the Quanzhen movement. It is attributed to Lü Dongbin and describes a form of meditation called huiguang (回光 – turning around or reversing the light). The text was popularized in the West through a commentary by Carl Jung on Richard Wilhelm’s translation. However, the accuracy of both Jung’s commentary (e.g., Cott & Rock, 2009) and Wilhelm’s translation (e.g., Cleary, 1991) have been questioned. While the Taiyi Jinhua Zongzhi tends to express its message in much clearer language than many Daoist texts, it is still may not be immediately accessible to most readers on first viewing. Thus, the results presented herein are intended to clearly present the main messages of the Taiyi Jinhua Zongzhi for those unfamiliar with the text, while attempting to avoid committing the same errors as, for example, Jung. To do this, the present analysis extracted all the prominent constructs discussed in the text, descriptions of their nature, and the relationships between them. This resulted in five overarching themes, two of which describe the general process of turning the light around, and a further three that describe a stage-like progression resulting from this general process. The constructs and relationships that constitute each theme are discussed in detail with the aid of diagrammatic representations, as are the relationships between the five themes.
It is hoped that this analysis will make the general teachings of the Taiyi Jinhua Zongzhi more accessible to psychologists wishing to pursue studies in the area of Daoism.