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In 2011, something surprising happened in terms of Australian feminist cultural memory: a celebratory feminism arrived in the shape of the hugely popular ABC television mini-series, Paper Giants: The Birth of Cleo. Eschewing dour social realism for a stylish and ludic narrative, Paper Giants uses the story of the women's magazine Cleo to tell the story of Australian women's liberation. This essay analyses the components of the mini-series' celebratory feminist aesthetics, examining the ways in which it mobilises feminist tropes to speak an intelligible feminist language in postfeminist times. Further, I detail how women's liberation becomes central to the national historical narrative underpinning the programme. [ABSTRACT FROM AUTHOR]

This paper takes up Howard's (1999) suggestion that sentimentality can be a lens on self-world relations. It focuses on human-bird relations in a Facebook site dedicated to Australian wild birds: Birds in Backyards (Australia). We argue that the traditional ideal of intellectual and affective distance through which critiques of sentimentality are still so often couched is not very useful in understanding and valuing the dynamic, interactive and immersive forms of social media. A study of Birds in Backyards suggests that there quite different ways that the love of wild birds can manifest and that sentimentality is not inimical to the generation of a community of care for, and celebration of, birds. Moreover, an older assumption that sentimentality might be the opposite of, or an impediment to, practical action seems hard to justify in the discursively and emotionally complex milieux of the digital age. Today, there is no place for an opposition between feeling and doing, and scientific action often requires and mobilizes emotion. [ABSTRACT FROM AUTHOR]

'Trash, dirt, glitch' offers an introduction to a cluster devoted to trash, dirt and glitch – concepts that, in aesthetic and artistic domains, firmly merit joint exploration. In fashion and urban design, music, art and other aesthetic practices, the trashy, the dirty and the glitchy interconnect in complex choreographies, in discourses and practices where they are framed as benefit rather than bother. For this cluster, the authors asked four scholars in media, design and fashion to examine the interconnections between trash, dirt and glitch as affirmatively charged categories. They do so through in-depth studies of 'dirt(y)' and glitch-based sound-making practices and media art in Australia (Caleb Kelly); German electronic and glitch music (Jakko Kemper); dirt and trash aesthetics in sneaker fashion and (especially but not only) US-based grunge subcultures (Ekaterina Kulinicheva); and discourses of dirt and disorder in the creative industry in Russia (Margarita Kuleva). This introduction contextualizes their findings and offers tools to theorize the present-day interest in dirt-, trash-, and glitch-based aesthetics as an imperfect turn. This turn we envision not as an unprecedented shift, but as the latest in a series of socio-technologically motivated historical imperfect turns. The imperfect turn that we witness today is not without its flaws – but, as we argue below, it can facilitate important social interventions. [ABSTRACT FROM AUTHOR]

Aesthetic responses to landscape may be emotional, sensory, or experiential, or a combination; it is a difficult value to identify and assess. This paper considers changing perceptions of the aesthetic values of the Yarra Valley landscape using a heritage methodology that involves examining artistic, creative, and published sources accounting for a lengthy period of changing land use. Scenic quality mapping, where available, is used as a support, and extensive reference is made to Australian impressionist art. Artworks for Yarra Valley landscapes may be considered as being among the cultural heritage indicators of significance and there is a new aesthetic of land art in private venues for the visiting public. The paper also illustrates how aesthetic values have been more broadly recognised in the post- World War II era and become the domain of planning authorities as well as artists. It is for regional planners to be aware of and maintain these aesthetic values in the landscape. [ABSTRACT FROM AUTHOR]

Harvey N. and Dew, R.E.C. 2016. Coastal Impacts of Onshore Wind Farms in Australia In: Vila-Concejo, A.; Bruce, E.; Kennedy, D.M., and McCarroll, R.J. (eds.), Proceedings of the 14th International Coastal Symposium (Sydney, Australia). Journal of Coastal Research, Special Issue, No. 75, pp. 992 - 996. Coconut Creek (Florida), ISSN 0749-0208. The global expansion of wind-generated power has resulted in a rapid proliferation of both onshore and offshore wind farms, particularly in Europe. Australia like the rest of the world has experienced a rapid increase in wind power over the last decade but unlike Europe, its coastal wind farms are all located onshore mostly in the southern part of the country where wind energy resources are high. Around half of the wind farms are located in rural coastal locations. This paper discusses the various environmental, social and political issues associated with coastal wind farm development in Australia by assessing the coastal impact of wind farms and the adequacy of coastal management strategies for dealing with such impacts. The paper concludes that the technological pace of coastal wind farm development has outstripped the development control process, which has resulted in a largely unforeseen cumulative impact on the Australian coast. [ABSTRACT FROM AUTHOR]

This paper problematises embedded notions of masculine and feminine embodiment within the contexts of contemporary Australian mainstream popular culture. Drawing on Bourdieu's (1990:56) theory of `habitus' as non-consciously performed practices'… internalised as second nature and so forgotten'; personal reflections as artist, choreographer and teacher; and a brief analysis of the male body in the television program, So You Think You Can Dance Australia (TEN Network, 2008), the author questions and considers the development of habitual ways of perceiving particular forms of male embodiment as aesthetic and attractive, and other forms as un-aesthetic. Further, the impact of the author's own experiences as actor! dancer and choreographer are considered in relation to his work as a director and choreographer of `the bodies of male and female students' in school productions. Through this paper, the author conjectures about the potential for the drama classroom to be a site in which embodied gender inequities may be challenged and deconstructed. Jack Migdalek [ABSTRACT FROM AUTHOR]

For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997). [ABSTRACT FROM AUTHOR]

Aim Anthropogenic introductions of Australian Acacia spp. that become classed as alien invasive species have consequences besides the physical, spatial and ecological: there are also cultural, ethical and political considerations that demand attention from scholars in the humanities and social sciences. As practitioners in these disciplines, our aim is to reflect upon some of the social and conceptual ideas and attitudes relating to the spread of Australian Acacia spp. around the world. We therefore provide a longer-term historical and philosophical perspective using South Africa as a key example. We explain some of the cultural aspects of Australian acacias, relating them to history, philosophy and societal ideas that were once, or indeed remain, important, either regarding their exportation from Australia or their importation into other countries. Focussing principally on South Africa and Australia but including brief references to other locations, we augment the literature by making connections between acacia introductions and environmental ethics and aesthetics, national and environmental history and symbolic and other discourses. We evaluate a number of the cultural and philosophical dimensions of invasion biology as a societal response and explicate the interesting contradiction of Australian acacia introductions as simultaneously economically valuable and environmentally transformative in South Africa. Location South Africa, Australia, with references to other parts of the world. Methods This paper has been written by an interdisciplinary team (two historians, two geographers, a philosopher and an ecologist) and is conceptual and historical, conforming in language and structure to the humanities style. It relies on published and unpublished literature from this disciplinary domain and the critical evaluation of these sources. Results Many Acacia spp. from Australia have been introduced around the world, generally guided in different eras by a variety of overarching mindsets, including the colonial ethos of 'improvement' (1800s to mid 1900s), an economically driven mindset of 'national development' (1900s), by a people-centred frame combining concerns of environment and livelihood in 'sustainable development' (1980s onwards), and an aesthetic ethos of ornamental planting that surfaces in all periods. The newest ethos of controlling or managing alien invasive species, a normative attitude deriving from the burgeoning of invasion biology, has more recently shaped the ideology of these plant exchanges and sharpened the focus on species that may be simultaneously both weeds and commercially valuable crops. Our perspective from the humanities and social sciences calls for a more transparent approach that clearly acknowledges such contradictions. Main conclusions We conclude that the global experiment of human-mediated Australian acacia introductions raises a number of issues that reflect changing societal concerns and demand attention from scholars in disciplines apart from the natural sciences. Here we highlight the impact of historical context in plant exchanges, the history and philosophy of science as it relates to invasion biology, and changing - sometimes divisive - societal priorities in terms of aesthetic, economic and conservation values. In particular, the case of Acacia spp. in South Africa highlights the contradictory aspects of introductions in that some species are both commercially important and environment-altering invasive plants. We argue that the contribution of disciplines beyond ecology to the debates about the invasive status of acacias enlarges our understanding and provides useful insights for botanists, foresters, managers and policy makers. [ABSTRACT FROM AUTHOR]

This paper explores the reasons behind the omission of historic acoustic values from heritage assessments in Australia. Best practice dictates that all cultural heritage values associated with significant places should be assessed in order to make informed conservation and management decisions. However, the multi-sensory nature of aesthetics has been reframed in guidance documentation in ways that run counter to the primary frame. Conventions that have developed around the way places are assessed also work against comprehensive identification of values. As a result, the consideration of aesthetics in cultural heritage is limited to contemporary visual qualities. Furthermore, because the assessment of historic value takes a diachronic rather than synchronic approach, we have little knowledge of the places past communities valued for the sounds they experienced there. Research into landscape preference and acoustic ecology highlights the importance of identifying the inherent acoustic dimension of places and the role sound plays in developing a sense of place. Two landscape areas in Western Australia's south-west with historic acoustic values, the Boranup Sand Patch and the Lower Reaches of the Blackwood River, illustrate how historic soundscapes can provide insightful contrasts and resonances with contemporary values, and how vulnerable such places are when the sound of place is overlooked in land management policies. [ABSTRACT FROM AUTHOR]

This paper develops discourse analysis of Australian press representations of dying during the operation of the Northern Territory of Australia's Rights of the Terminally Ill Act 1995 (McInerney 2006). Operating in tandem, the discourses of aesthetics and embodiment constructed contemporary dying as an intolerable corporeal state. The body in disarray is attractive to media imperatives of drama and crisis, and dominated press reports during the analysed period. Such images functioned as absolute justification for a medicallyinduced requested death. Modern equating of physical integrity and personal dignity supports such responses to dying. The requested death interventions of euthanasia and physician-assisted suicide were depicted as halting the physical deteriorations associated with terminal illness and thereby redeeming the dying person, by providing them with the opportunity to reclaim the social status lost via their progressive corporeal decline. [ABSTRACT FROM AUTHOR]