How did we do anything without it?: Indigenous art and craft micro-enterprise use and perception of new media technology

The degree of new media technologies that are broadly available has changed considerably ill nearly two decades since they emerged. How do Indigenous art and craft micro-enterprises use these technologies today? What are their perceptions of it? There is a lack of current data about use of computer technology by Indigenous-owned art and craft enterprises. A current snapshot is needed of the use and consequences of new media technologies in these organisations. This paper reports on results from a 2006 survey of small Indigenous-owned arts enterprises across Australia, including for-profit and non-profit enterprises, those from metropolitan, regional and remote areas, and including both art centres and other types of arts enterprises. The data suggest a major change over the previous decade in the degree that small Indigenous art and craft organisations use and perceive new media technology.

Great adaptations : China's creative clusters and the new social contract

The transformation of China's urban landscape has witnessed a boom in cultural adaptation, namely the adaptation of a Western idea, the creative cluster. This chapter examines the formatting of hundreds of creative clusters-art centres, animation bases, cultural zones, and incubators. The cluster has important implications for how we understand China going forward into the second decade of the 21st century. The cluster phenomenon has resulted in to a substantive remaking of the social contract, between officials, entrepreneurs, local residents, academics-and most significantly cultural producers. However, these processes of adaption are mostly driven by real estate developers working in partnership with local government officials. Cut and paste design is the fast road to completion. In this sense, the description 'creative' may well be redundant.

New Perspectives on the Role of Cultural Intermediaries in Social Inclusion in the UK

Based on interviews with arts administrators responsible for addressing targeted groups labelled “socially excluded,” this paper highlights new understandings of the term “cultural intermediary” (Featherstone 1991; Bourdieu 2000) within art galleries and art centres. It considers the unique role of such figures in crossing the exclusion/inclusion boundary within the arts and developing more personal approaches to marketing activities in their institutions through relationship building. While it is acknowledged here that such workers find themselves in a privileged position in being able to shape questions of taste and particular consumerist dispositions to understanding the art world, little, if not no, effort has been made to understand this process. As such, there remains a void between the cultural policy‐oriented conception of social inclusion, which implies a version of repairing the “flawed consumer” (Bauman 2005), and the way in which such policy is played out on the ground.

Resuming the dialogue: rhizomic actualisations

Since 1996, we have organised conferences on the discourse of the arts. The conferences have, in turn, led to a journal entitled Double Dialogues, the first of which was in hard copy under the sole editorship of Ann McCulloch and has been distributed internationally. After innumerable obstacles, we decided to situate articles, essays, exhibitions, and the like, from both these conferences and contributions related to our themes from interested parties, on-line. This refereed electronic journal deals with the discourse and practice of the arts, ranging across the visual arts, film, multi-media, dance, music, creative writing and theatre. Our decision to do this is manifold, but one of the reasons has been determined by our wish to become part of a global debate. We recognise that our interests are ones that are being experienced within academic institutions and art-centres world-wide. Before exploring the central theme of this Issue, perhaps we ought to contextualise it in terms of a journey over the last six years and into the future.

I'm here to save you : a case study of the arts and managerialism in Australia

Managerialism has been adopted with alacrity by Australian government agencies across multiple sectors. A few studies of managerialism in concept and practice have been undertaken in some public sectors. Here we challenge the appropriateness and effectiveness of new managerialism generally, and for the arts in particular, through an analysis of conflict between an artistic director, the general manager(s), and the board of directors in a community arts organization. We outline the implications of the implementation of managerialism for the organization generally and the implications specifically for the workplace rights of some of the artistic and administrative staff. We call for further research into the appropriateness of management theory and practice for the arts, and we seek new ways of managing our cultural capital.

Formica

The title of the work, Formica, speaks both to the work’s insect motif – formica is Latin for ant - but also to the 2-dimensional nature of the projection screen – Formica is also a kind of decorative laminate surface. This is Grennan’s second video installation work commissioned specifically for the Kingston Art Centre’s Bridge Space. Following on from the first project - which transformed a dilapidated 3rd story pedestrian corridor into a virtual swimming pool - this work continues to explore the residual meanings of the corridor as a liminal, in-between, or non-space. The new work seeks to again reply aesthetically and poetically to the site’s external setting dominated as it is by the heavy commuter traffic along the Nepean Highway. Scale is central to the work. In Formica, Grennan constructs a scaled-down Perspex replica of the walk-bridge, and with the help of Patrick Honan and Museum Victoria (where Patrick, an entomologist, is head of live exhibits), he populates the corridor with live Bull Ants. The work records these colossal ants as they negotiate the non-space of the corridor and fulfil their metaphorical roles as standardised commuters. With nowhere to go, however, the ants subvert this assigned role and exhibit far more nuanced and individuated behaviour as they investigate, probe, prevaricate, dawdle, or preen idly as though performing some insectile version of Waiting for Godot.

Art museums and the global tourist: Experience centres in experience-scapes

In the experience economy, the role of art museums has evolved so as to cater to global cultural tourists. These institutions were traditionally dedicated to didactic functions, and served cognoscenti with elite cultural tastes that were aligned with the avant-garde’s autonomous stance towards mass culture. In a post-avant-garde era however museums have focused on appealing to a broad clientele that often has little or no knowledge of historical or contemporary art. Many of these tourists want art to provide entertaining and novel experiences, rather than receiving pedagogical ‘training’. In response, art museums are turning into ‘experience venues’ and are being informed by ideas associated with new museology, as well as business approaches like Customer Experience Management. This has led to the provision of populist entertainment modes, such as blockbuster exhibitions, participatory art events, jazz nights, and wine tasting, and reveals that such museums recognize that today’s cultural tourist is part of an increasingly diverse and populous demographic, which shares many languages and value systems. As art museums have shifted attention to global tourists, they have come to play a greater role in gentrification projects and cultural precincts. The art museum now seems ideally suited to tourist-centric environments that offer a variety of immersive sensory experiences and combine museums (often designed by star-architects), international hotels, restaurants, high-end shopping zones, and other leisure forums. These include sites such as Port Maravilha urban waterfront development in Rio de Janiero, the Museum of Old and New Art in Hobart, and the Chateau La Coste winery and hotel complex in Provence. It can be argued that in a global experience economy, art museums have become experience centres in experience-scapes. This paper will examine the nature of the tourist experience in relation to the new art museum, and the latter’s increasingly important role in attracting tourists to urban and regional cultural precincts.

Printmaking as an expanding field in contemporary art practice : a case study of Japan, Australia and Thailand

This thesis proposes that contemporary printmaking, at its most significant, marks the present through reconstructing pasts and anticipating futures. It argues this through examples in the field, occurring in contexts beyond the Euramerican (Europe and North America). The arguments revolve around how the practice of a number of significant artists in Japan, Australia and Thailand has generated conceptual and formal innovations in printmaking that transcend local histories and conventions, whilst paradoxically, also building upon them and creating new meanings. The arguments do not portray the relations between contemporary and traditional art as necessarily antagonistic but rather, as productively dialectical. Furthermore, the case studies demonstrate that, in the 1980s and 1990s particularly, the studio practice of these printmakers was informed by other visual arts disciplines and reflected postmodern concerns. Departures from convention witnessed in these countries within the Asia-Pacific region shifted the field of the print into a heterogeneous and hybrid realm. The practitioners concerned (especially in Thailand) produced work that was more readily equated with performance and installation art than with printmaking per se. In Japan, the incursion of photography interrupted the decorative cast of printmaking and delivered it from a straightforward, craft-based aesthetic. In Australia, fixed notions of national identity were challenged by print practitioners through deliberate cultural rapprochements and technical contradictions (speaking across old and new languages).However time-honoured print methods were not jettisoned by any case study artists. Their re-alignment of the fundamental attributes of printmaking, in line with materialist formalism, is a core consideration of my arguments. The artists selected for in-depth analysis from these three countries are all innovators whose geographical circumstances and creative praxis drew on local traditions whilst absorbing international trends. In their radical revisionism, they acknowledged the specificity of history and place, conditions of contingency and forces of globalisation. The transformational nature of their work during the late twentieth century connects it to the postmodern ethos and to a broader artistic and cultural nexus than has hitherto been recognised in literature on the print. Emerging from former guild-based practices, they ambitiously conceived their work to be part of a continually evolving visual arts vocabulary. I argue in this thesis that artists from the Asia-Pacific region have historically broken with the hermetic and Euramerican focus that has generally characterised the field. Inadequate documentation and access to print activity outside the dominant centres of critical discourse imply that readings of postmodernism have been too limited in their scope of inquiry. Other locations offer complexities of artistic practice where re-alignments of customary boundaries are often the norm. By addressing innovative activity in Japan, Australia and Thailand, this thesis exposes the need for a more inclusive theoretical framework and wider global reach than currently exists for ‘printmaking’.

From the margin to the centre : towards an art strategy for the ethnic enclaves in the city

Sunnybank represents a distinctly Australian take on the classic ‘Chinatown’ – or indeed other ethic community enclaves such as ‘little Italy’, ‘little Bombay’, ‘little Athens’ and so on. In the Northern Hemisphere these tended to grow up in the dense working class neighbourhoods of industrial cities, especially in port cities like Liverpool, London, New York and San Francisco. The existing Chinatowns of Sydney and Melbourne, and to some extent Brisbane’s Fortitude Valley, are of this variety. In the late 1970s, with the growth of suburbanisation and the de-industrialisation and consequent dereliction of the ‘inner city’, these ethnic communities were one of the few signs of life in the city. Apart from the daily commute into the CBD, business with the city council or a trip to the big shopping streets these areas were one of the few reasons for visiting city centres stigmatised by urban decay and petty crime.

headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

Prediction of the Indian summer monsoon rainfall using a state-of-the-art coupled ocean-atmosphere model

A state-of-the-art model of the coupled ocean-atmosphere system, the climate forecast system (CFS), from the National Centres for Environmental Prediction (NCEP), USA, has been ported onto the PARAM Padma parallel computing system at the Centre for Development of Advanced Computing (CDAC), Bangalore and retrospective predictions for the summer monsoon (June-September) season of 2009 have been generated, using five initial conditions for the atmosphere and one initial condition for the ocean for May 2009. Whereas a large deficit in the Indian summer monsoon rainfall (ISMR; June-September) was experienced over the Indian region (with the all-India rainfall deficit by 22% of the average), the ensemble average prediction was for above-average rainfall during the summer monsoon. The retrospective predictions of ISMR with CFS from NCEP for 1981-2008 have been analysed. The retrospective predictions from NCEP for the summer monsoon of 1994 and that from CDAC for 2009 have been compared with the simulations for each of the seasons with the stand-alone atmospheric component of the model, the global forecast system (GFS), and observations. It has been shown that the simulation with GFS for 2009 showed deficit rainfall as observed. The large error in the prediction for the monsoon of 2009 can be attributed to a positive Indian Ocean Dipole event seen in the prediction from July onwards, which was not present in the observations. This suggests that the error could be reduced with improvement of the ocean model over the equatorial Indian Ocean.

Neurology and psychiatry: waking up to opportunities of sleep. State of the art and clinical/research priorities for the next decade.

In recent years, evidence has emerged for a bidirectional relationship between sleep and neurological and psychiatric disorders. First, sleep-wake disorders (SWDs) are very common and may be the first/main manifestation of underlying neurological and psychiatric disorders. Secondly, SWDs may represent an independent risk factor for neuropsychiatric morbidities. Thirdly, sleep-wake function (SWF) may influence the course and outcome of neurological and psychiatric disorders. This review summarizes the most important research and clinical findings in the fields of neuropsychiatric sleep and circadian research and medicine, and discusses the promise they bear for the next decade. The findings herein summarize discussions conducted in a workshop with 26 European experts in these fields, and formulate specific future priorities for clinical practice and translational research. More generally, the conclusion emerging from this workshop is the recognition of a tremendous opportunity offered by our knowledge of SWF and SWDs that has unfortunately not yet entered as an important key factor in clinical practice, particularly in Europe. Strengthening pre-graduate and postgraduate teaching, creating academic multidisciplinary sleep-wake centres and simplifying diagnostic approaches of SWDs coupled with targeted treatment strategies yield enormous clinical benefits for these diseases.

Art and Architecture of Ireland Volume Four:Architecture: 1600-2000

Three Entries: Peacelines; Public Housing in Northern Ireland in the Twentieth Century; Interpretive Centres, NI Peacelines, NI Social Housing

The idea, the machine, and the art: word and image in the 21st century

Taking in recent advances in neuroscience and digital technology, Gander and Garland assess the state of the inter-arts in America and the Western world, exploring and questioning the primacy of affect in an increasingly hypertextual everyday environment. In this analysis they signal a move beyond W. J. T. Mitchell’s coinage of the ‘imagetext’ to an approach that centres the reader-viewer in a recognition, after John Dewey, of ‘art as experience’. New thinking in cognitive and computer sciences about the relationship between the body and the mind challenges any established definitions of ‘embodiment’, ‘materiality’, ‘virtuality’ and even ‘intelligence, they argue, whilst ‘Extended Mind Theory’, they note, marries our cognitive processes with the material forms with which we engage, confirming and complicating Marshall McLuhan’s insight, decades ago, that ‘all media are “extensions of man”’. In this chapter, Gander and Garland open paths and suggest directions into understandings and critical interpretations of new and emerging imagetext worlds and experiences.