Investigating 'indecent, obscene or pornographic' art : lessons from the Bill Henson controversy

This article considers the manner in which police in Australia investigate art that is putatively indecent, obscene or pornographic. It does so by examining the recent Bill Henson controversy and other similar instances where art and the criminal law have collided. This analysis will demonstrate that under Australian law there is little or no chance of a successful criminal prosecution for obscenity, indecency or pornography. Consequently, it is argued that police investigative procedures must take account of this legal reality. To this end a reform proposal is offered: upon receiving a complaint of this nature, police must — as a matter of internal procedure or law — immediately refer the impugned artwork to the Classification Board for a classification decision before they commence a formal investigation.

Strengthening the law prohibiting mailing of obscene matter ... : report [to accompany H.R. 4383]

Submitted by Mr. Beckworth, and ordered to be printed, August 7, 1958.

Evolutionary algorithms for sustainable building design

This approach to sustainable design explores the possibility of creating an architectural design process which can iteratively produce optimised and sustainable design solutions. Driven by an evolution process based on genetic algorithms, the system allows the designer to “design the building design generator” rather than to “designs the building”. The design concept is abstracted into a digital design schema, which allows transfer of the human creative vision into the rational language of a computer. The schema is then elaborated into the use of genetic algorithms to evolve innovative, performative and sustainable design solutions. The prioritisation of the project’s constraints and the subsequent design solutions synthesised during design generation are expected to resolve most of the major conflicts in the evaluation and optimisation phases. Mosques are used as the example building typology to ground the research activity. The spatial organisations of various mosque typologies are graphically represented by adjacency constraints between spaces. Each configuration is represented by a planar graph which is then translated into a non-orthogonal dual graph and fed into the genetic algorithm system with fixed constraints and expected performance criteria set to govern evolution. The resultant Hierarchical Evolutionary Algorithmic Design System is developed by linking the evaluation process with environmental assessment tools to rank the candidate designs. The proposed system generates the concept, the seed, and the schema, and has environmental performance as one of the main criteria in driving optimisation.

Toothless tiger, sleeping dragon : implied freedoms, internet filters and the growing culture of internet censorship in Australia

The internet by its very nature challenges an individual’s notions of propriety, moral acuity and social correctness. A tension will always exist between the censorship of obscene and sensitive information and the freedom to publish and/or access such information. Freedom of expression and communication on the internet is not a static concept: ‘Its continual regeneration is the product of particular combinations of political, legal, cultural and philosophical conditions’.

Cyclists' experiences of harassment from motorists : findings from a survey of cyclists in Queensland, Australia

Objective Harassment from motorists is a major constraint on cycling that has been under-researched. We examined incidence and correlates of harassment of cyclists. Methods Cyclists in Queensland, Australia were surveyed in 2009 about their experiences of harassment while cycling, from motor vehicle occupants. Respondents also indicated the forms of harassment they experienced. Logistic regression modeling was used to examine gender and other correlates of harassment. Results Of 1830 respondents, 76% of men and 72% of women reported harassment in the previous 12 months. The most reported forms of harassment were driving too close (66%), shouting abuse (63%), and making obscene gestures/sexual harassment (45%). Older age, overweight/obesity, less cycling experience (< 2 years) and less frequent cycling (< 3 days/week) were associated with less likelihood of harassment, while living in highly advantaged areas (SEIFA deciles 8 or 9), cycling for recreation, and cycling for competition were associated with increased likelihood of harassment. Gender was not associated with reports of harassment. Conclusions Efforts to decrease harassment should include a closer examination of the circumstances that give rise to harassment, as well as fostering road environments and driver attitudes and behaviors that recognize that cyclists are legitimate road users.

Imagens interditas? : limites e rupturas em representações explícitas do sexo no pós-25 de Abril

Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

Postdramatisme et esthétique de l’indécidabilité dans Cleansed et Phaedra’s Love de Sarah Kane

Face à l’opacité interprétative et la faillite du langage auxquelles nous nous heurtons dans l’analyse des œuvres-chocs de Sarah Kane, quelle approche nous permettrait de commenter exhaustivement les formes et les moyens mis en œuvre par la dramaturge pour imprimer sa marque dans l’esprit du spectateur contemporain? Le théâtre postdramatique, paradigme élaboré par Hans-Thies Lehmann, présenterait a priori un dispositif pertinent pour faire lumière sur des problématiques contemporaines cruciales en jeu dans l’œuvre de Kane. Aucunement univoque, car soumis à l’interprétation et à l’engagement du spectateur, le caractère politique des pièces, pourtant spectral, s’avère ici essentiel. Ce spectre politique se laisse percevoir à travers le prisme de la violence et la nécessité du choc semble être son parti pris pour redéfinir le rôle du théâtre dans nos sociétés modernes caractérisées par la circulation massive des images à travers les nouveaux médias. Un lien de coresponsabilité de l’artiste et du spectateur se crée: l’œuvre nous interroge, spectateur/lecteur, sur la part mystérieuse de ce fond de cruauté humaine et sur notre complicité dans l’omniprésence de la violence à travers la consommation de ses produits. Mettant en relief les caractères transgressifs venant bousculer nos affects à travers des références à la « culture d’en bas » et un exercice des limites du spectaculaire centré sur l’obscène et le détournement des codes de la pornographie, cette lecture postdramatique de Cleansed et de Phaedra’s love entend restituer à l’œuvre de Kane son énergie pour un changement qui passe par un éveil des sens.

Ethical discriminations? Representing the reprehensible

This paper reflects upon the ‘goodness’ or ‘ethics’ of Critical Management/ Critical Organisation Studies (COS) research practices. I argue that academic representations of others entail an ethical responsibility to the researched, a responsibility that COS is, as yet, insufficiently exploring. Reflecting upon my own research with those who have colluded in discrimination and Stanley and Wise’s (1979) research on obscene telephone callers, I explore the nature and limits of responsibility when researching those who have acted reprehensibly. I end by arguing that COS “owe(s) some responsibility to ‘the researched’ of all kinds, whether we morally approve of them or not” (Stanley and Wise 1993:177).

Vocabulário erótico-obsceno dos orgãos sexuais masculino e feminino em português e italiano

Pós-graduação em Estudos Linguísticos - IBILCE

Epigramas de Marcial traduzidos por José Feliciano de Castilho: edição, notas e comentários

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Estilo S.M: a poética do obsceno em A hora da estrela

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Metáforas do universo lexical português e italiano das zonas erógenas: ânus, nádegas, pênis, seios, testículos e vulva

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)