How to have a conversation about backpacks

In a Reykjavík hostel dorm room, a conversation about backpacks occurred. There is no accompanying audio record of this conversation. Instead, the conversation (re)emerges through the movements of the body and the backpack. The dimensions of the backpack are estimated, traced. The motions of the hands, more-than gestures, attempt to pinpoint these delicate moments when backpacks and bodies come together in action. This conversation is performative, yet is an actual lived event. It employs aesthetics, but not in an artistic manner. In four steps, this video outlines instructions for how to have a conversation about backpacks.

Rationalism and tradition: The Popper–Oakeshott conversation

In 1948 Karl Popper sent a copy of his paper, ‘Utopia and Violence’, to Michael Oakeshott. Popper had recently read Oakeshott’s essay ‘Rationalism in Politics’, appreciating its relevance to views he had expressed in The Open Society. Oakeshott wrote to Popper at some length, explaining his thoughts about reason, tradition and kindred matters, to which Popper responded. This paper reproduces these letters and discusses them with reference to pertinent writings of Popper and Oakeshott. While showing there was much common ground between the two men and that they significantly influenced each other, the writings reveal important differences over the role of reason and tradition in social and political life.

Ethics and reflective practice : continuing the conversation

This paper is a response to the question asked by Tony Ghaye in Reflective Practice Volume 8, Number 2, 2007, ‘Is reflective practice ethical?’. My response is to re‐consider the pervasive idea in reflective practice that experience is always private and personal. This common understanding of experience leads to a reluctance when writing for the purpose of assessment and to a type of writing that tends towards the confessional. Contrary to that notion of experience, I suggest that a return to Charles Sanders Peirce enables the acknowledgement that experience is not personally owned but rather a conversation between the self and that which is not‐yet known. This conversation is precipitated by the element of surprise, thus making the study of surprise a central feature of reflective practice. This argument is illustrated through examining a dramatic moment in Friedrich Nietzsche’s philosophical novel Thus spake Zarathustra (1887) in which Zarathustra’s teaching techniques are challenged and rendered different. Eschewing the belief that experience is ‘personal’ offers a version of reflective practice as the attempt to continually engage in conversations precipitated by the Other

Conversation pieces

This exhibition presented works by Australian artists Agatha Gothe-Snape, Alex Martinis Roe and Hannah Raisin and collaborative works by Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange, exploring subjectivity, humour and intimacy in performance and installation artworks. These works are generated by physical, verbal or textual dialogues between collaborators, participants or the artist and audience; and spark a conversation about feminist art practice today.

Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez

‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research.

A conversation about choreographic thinking tools

This article aims to draw the reader into an interdisciplinary conversation between the co-authors about the use of imagery in dance creation placed under very different disciplinary lenses. The conversation has two points of departure. First, for nearly a decade the choreographer Wayne McGregor has engaged in an interdisciplinary collaborative research with cognitive scientists with the aim to develop new understandings of the choreographic process. A large percentage of this research has focused on imagery in creativity and has resulted in the development of the Choreographic Thinking Tools, currently in use by McGregor and his dance company. One third of this article is dedicated to a description of these developments combined with figures that illustrate the scientific theory lying behind them. The second point of departure and second third of this article brings these ideas into conjunction with somatic practices, as reflected in the writing of an expert practitioner invited to introduce somatics to McGregor's dance company in the framework of the Choreographic Thinking Tools. The final section that concludes the article reintroduces scientific theory with the goal to articulate some of the contrasts and overlaps between the different approaches represented in this conversation

Genetic research in Aboriginal and Torres Strait Islander communities : continuing the conversation

Genetics is at the forefront of medical research, but it is rarely used in Indigenous health research projects. This discussion paper is the outcome of the first ever national discussion of the conduct of genetic research in Indigenous communities in Australia convened by the Lowitja Institute in 2010. It reviews the ethical issues relevant to genetic research in an Australian Indigenous context; existing guidelines for genetic research in indigenous communities internationally; and literature on genetic literacy in Indigenous contexts. Finally, the discussion paper presents a summary of the productive and challenging conversations at the round table.

Conversation

 'Conversation' was part of Melbourne Urban Screens Festival at Federation Square from 3 - 5 Oct. 2008 and Rotterdam International Film Festival (38th : 2009 : Rotterdam, The Netherlands) from 21 Jan. - 1 Feb. 2009. Both events curated by Mirjam Struppek

A contribution to the history of assessment: how a conversation simulator redeems Socratic method

Assessment in education is a recent phenomenon. Although there were counterparts in former epochs, the term assessment only began to be spoken about in education after the Second World War; and, since that time, views, strategies and concerns over assessment have proliferated according to an uncomfortable dynamic. We fear that, increasingly, education is assessment-led rather than learning-led and ‘counter to what is desired’ in an ugly judgemental spirit whose moral underpinnings deserve scrutiny. In this article, we seek to historicise assessment and the anxieties of credentialising students. Through this longer history, we present a philosophy of assessment which underlies the development of a new method in assessment-as-learning. We hope that our development of a conversation simulator helps restore the innocence of education as learning-led, while still delivering on the incumbencies of assessment.

Extended conversation pieces

Extended Conversation Pieces brings together conversations about art, and conversation as art. The exhibition features collaborative works by six Brisbane emerging artists, Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange; exploring subjectivity, humour and intimacy in performance and installation works. Extended Conversation Pieces showcases the distinctive approach to contemporary practice at Boxcopy, an artist run initiative focused on supporting and commissioning new experimental works by Australian artists, and engaging with collaborative processes and practices.

Understanding the emerging contemporary public intellectual: Online academic persona and The Conversation

At its core, the power of the public intellectual is the capacity to make ideas move through a culture. This article looks at what kind of academic persona – that is, what kind of public self whose original status comes from intellectual work and thinking – navigates effectively through online culture and communicates ideas in the contemporary moment. Part of the article reports on a research project that has studied academic personas online and explores what can be described as ‘registers of online performance’ that they inhabit through their online selves. The research reveals that public intellectuals have to interpret effectively that online culture privileges what is identified as ‘presentational media’: the individual as opposed to the media is the channel through which information moves and is exchanged online, and it is essentially a presentation of the self that has to be integrated into the ideas and messages. From this initial analysis/categorisation of academic persona online, the article investigates the online magazine The Conversation, which blends journalism with academic expertise in its production of news stories. The article concludes with some of the key elements that are part of the power of the public intellectual online.

David Cross in conversation with Cameron Bishop

We live in denial of the foreigner within due to the (often feigned) dexterous self-regard we bring to our social and spatial encounters. You, as the literal foreign body in your own work, inviting the participant to pump, breath, hold, slide or catch, deny that self-assurance, not only to the viewer but also to yourself. Framed at a psychosocial level the denial of the foreigner within plays out in all kinds of ways in our treatment of those others who are seen to breach our borders, at a personal, political and national level. The work you create, in this context, may be seen as an interrogation of the western subject’s conventional experience of territories, from the body, to the museum and to the nation. As you suggest, the physical and cognitive thresholds you give to the participant invite the unguarded moment, the other side of which prompts the viewer to ponder their physical relations to others, as fragmented, fragile beings. But key to this is you, the artist, who presents as partial and foreign inside these objects. How are these objects extensions of your own body, and your own athleticism?