Search

This paper reports on the findings of a visual text analysis of selected infographics and data visualisations used in news websites during the COVID-19 pandemic in Sydney, Australia. Infographics and data visualisations used in news website articles disseminated and communicated local and national information to the public about the COVID-19 pandemic and related social implications. For the first time live data, animation and interaction were used in reporting health and societal information to a general news readership, contributing to the knowledge base and visual literacy of the public. The information presented was not only clear but also aesthetically appealing. This paper examines the styles of news digital infographics and data visualisation of three longitudinal studies using lessons learned from Grainger "et al." (2016), Dick (2020) and Tufte (2001) and contextualises the context, narrative, aesthetics, communication, data, functionality and examines the collaboration between communication designers, journalists and the development team. The implications for communication design education are explored in the context of skills, tools and teamwork needed for future communication design students.

Presenting research findings outside of the form of a traditional research report requires different modes of making and communicating. This paper offers an account of how "The #FEAS Report," a satirical news video, was made to communicate the findings from interviews and a survey as part of the mixed-methods study, "Sexism, Higher Education, and COVID-19: The Australian Perspective" to a wider public. Three creative tactics for research communication were used: "DIY aesthetics," "humour," and "situated bodies." These communication tactics enabled the researchers to think differently about what research findings mean, and how to articulate them in ways that are intelligible. The paper shows how these tactics worked to bring findings to audiences beyond the academy and ask audiences within the academy to think differently about research reporting and knowledge communication. The paper considers how performing research in this way generates different conversations that compliment those started by more common ways of presenting research findings, and most importantly, how crucial it is for feminist researchers to make space for the creative within contemporary higher education.

In this paper, we show how children's creativity manifests in literary aesthetics and how they explore moral subjects as a result. Literary aesthetics involve a range of artistic elements or expressions within a textual work. Writers may use aesthetic properties to express individual appreciation or how people view the world, often in relation to moral values. This paper takes an interdisciplinary approach to understanding the relation between aesthetics and moral value in children's writing. First, we situate our discussion within the context of reflexivity theory, which framed the larger study from which these data are drawn. Second, we apply appraisal theory within the lens of reflexivity to analyse children's writing samples for their aesthetic representations of moral qualities. As a result of our study, we show how teachers may improve and complicate the way children practice literary aesthetics in their writing. We argue it is important for students to learn about aesthetics in writing as aesthetics are a key quality of literary expression and may educate readers on the perception and moral values of others.

Academic underachievement of students from disadvantaged backgrounds is an ongoing and unresolved problem. Schools serving vulnerable communities often fail to meaningfully engage their students who are often exposed to significant family and environmental adversities. However, where the educational landscape is overwhelmed with neoliberal processes of accountability and testing, education generally comes to be understood as a cognitive process with little attention to the bodily or affective dimensions of learning. This paper draws on new theoretical ideas in affect and embodiment to build a case for an embodied, affective and creative pedagogy for students who live with poverty and adversity. Specifically, I report on research that investigates how two teachers utilised "Creative and Body-based" (CBL) provocations to redesign curriculum for disadvantaged students in their sites. In utilising the analysis of two narrative portraits, I highlight examples of bodily affectivity as well as affective pedagogical practices that impact on students' capacity to learn and teachers' capacity to teach. Analysis suggests that embodied and creative approaches enable new forms of communication and learner identities through bodies, senses and imaginings. Such approaches provide much needed affective conditions that 'hook' students in, encourage dialogue and help them to realise their potential as learners. Outcomes of this work signal an epistemological and pedagogical shift toward understanding bodies and creativity as agents of learning and knowledge production. By engaging with notions of a 'learning body' potential exists to challenge neoliberal practices in complex classrooms and support young people to foster stronger connections, hope and a re-inspired aspiration to learn.

How do we dwell tenderly in the ruins of the modern university? This paper engages a hopeful, collaborative, and sensory methodology to imagine possibilities for research and researcher. As academic women navigating the decay of the neoliberal university amid the shadowy spectre of the 'ideal' academic, we explore our lived experiences, identities, and questions. For us, managing modernity's disorientation and dislocation means showing up differently, with new tools, new theoretical frames, and new ways of relating. From our experiential and aesthetic inquiry, tendrils of possibility for what research does, has been, is, and could be, are emerging. Our dwelling together (co-sensing in radical tenderness) helps us see beyond the thicket of institutional requirements towards a more hopeful and collective existence -- for if the sense of separation instilled by modernity is a social disease, healing must be a communal endeavour.

Global policy development in schooling often looks to solutions that embrace technology and articulate a 'what works' approach to practice. This paper takes as a case study the Australian Government's "Through Growth to Achievement" report on achieving school excellence. It analyses the report through the lens of 'sublimes', which provide insight into the way certain policy rhetoric can become reified. "Through Growth to Achievement" emphasises technological solutions which align with and reify an aesthetic notion of good teaching that draws on the 'what works' literature. This analysis argues that certain assumptions about technology, teacher practice and the 'evidence' for good policy are based on these reifications. A sublimes analysis makes these unspoken assumptions explicit and reveals the way they reinforce globalised policy approaches and foreclose others.

This paper develops a cosmopolitical approach to multi-species inquiry in environmental education and its associated research. Drawing on Isabelle Stengers' concepts of "etho-ecology" and an "ecology of practices", the paper explores ethical and political questions of what it means to think-with nonhuman animals as sentient creatures who participate (often unwillingly) in environmental science studies. The author argues that ecology as a scientific practice cannot be disentangled from a process of becoming-ecological in the field, including the affective concerns and ethico-esthetic values produced through encounters amongst people, nonhuman animals, technologies, and their associated milieus. This conceptual work is extended through etho-ecological accounts of a three-day field excursion with environmental science students and their lecturers in the intertidal zones of Bundjalung National Park in NSW, Australia.

This paper reports on a case study that was undertaken to discover not only the belief and intent behind the everyday opportunities that four exemplary teachers offered their high performing students but what activities they incorporated into their everyday lessons in an attempt to make sense of how aesthetic experiences may enhance learning. The paper explores the importance of understanding the effects of practical aesthetic experiences on learning as identified by pragmatist philosopher and educator John Dewey. It is assumed here that every classroom experience is an aesthetic experience that may be positive (i.e. educative), negative (i.e. miseducative) or benign; it will affect the students in some way. This recognition is crucial to avoid unintended miseducative practices and alternatively embrace positive aesthetic learning practices and rituals. Adopting an aesthetic pedagogy in the classroom does imply taking the "scenic route" of learning but it does not necessarily compromise or work against the current dominant practice of high-stakes testing and measured outcomes. It alternatively claims to positively enhance these compulsory and measured outcomes for students in that they can critically engage with these practices.

In this paper, we analyse results from one classroom session within an 8-week program in which Year 10 students constructed 'trash' puppets of endangered Australian animals. In making the puppets and using them as part of a 'theatre in a suitcase' performance at Melbourne Zoo, students were expected to integrate both scientific and artistic goals to demonstrate knowledge of specific endangered species. In this process, students needed to learn how their more immediate, everyday positive and negative aesthetic responses could be made continuous with a scientific aesthetic to produce both a coherent puppet and an advocacy performance. Through micro-ethnographic practical epistemology analysis of video data of this session, we demonstrate how this mix of everyday and subject-specific aesthetic responses, judgements and intentions interacted to shape and promote students' learning in science. In addressing this multimodal and multi-purpose task, students learnt and applied science knowledge to a real-world issue of species endangerment.

A critical/creative paradigm in contemporary English carries with it an imperative that students should be given opportunities for deep engagement with texts relevant to what matters in their everyday lives. In this paper, I argue that the materiality of everyday life includes the physical and geographic places where we live. When students live in areas that are habitually disparaged, there is an additional argument on social justice grounds for enabling students to examine and contest representations of (their) place in texts. Aesthetic and literary texts--poetry, fiction, drama, visual images--provide potent opportunities for students to write themselves into the world. Close study of place-based aesthetic texts provides students with essential knowledge of language forms and features to experiment with in their own imaginative rewriting of place. In this paper, I use extracts from fiction and poetry and related writing activities from the "Writing western Sydney" project to demonstrate how teachers and students can be supported to make the "crucial move ... from critique to creation" (Sawyer, 2008, p. 61). I conclude with an outline of how this approach can be taken up and adapted by teachers in any location.

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 uses a Gwen Harwood poem to open up questions of "knowing" around the teaching of Literature. Following our own brief reading of the poem, we particularly discuss ways in which questions of knowing/knowledge have been considered in Literature teaching historically, such as: - the binary of "knowledge" and "experience" - the role of the cognitive in teaching/studying Literature - forms of knowing that include the aesthetic and affect - how knowledge might be "made" in the Literature classroom: the role of pedagogy and the question of "producing culture" The article concludes with a discussion of how such issues have arisen in a set of interviews with a small number of teachers in Australia and England. Their views on the teaching of Literature help us reflect on the knowledge issues opened up earlier in the article.

This paper examines Chinese migrant young people's lifestyles and physical activity experiences in relation to the values and cultural investments of their families in Australia. The data in this paper were taken from a larger-scale study underpinned by a critical and interpretive ethnographic method conducted in two school sites. The young people's lives were significantly shaped by dominant Chinese cultural norms and traditional notions of gender. Bourdieuian concepts are drawn upon to explain the (re)production of the Chinese young people's habitus cultivated at home. Based on the young people's pursuit of cultural capital as a consequence of familial values, discussion also focuses on the agency of these young people in relation to their lifestyle choices. Dominant discourses in the "talk" of these young people included their notions of excelling, hyper-investment in academic success and, especially for the girls, skin colour and safety. Traditional Chinese family power relations limited the choices these young people had regarding physical activity which was complicated by the cultural and social fluidity of their lived experiences. The inter-generational flow of habitus and capital of these Chinese migrant young people's families tended to privilege a particular set of discourses based on gender, race, social class and hierarchical practices that resonated with traditional Confucian philosophy.

This paper explores how aligned arts and play experiences can extend child and family engagement in a public outdoor space. The importance of outdoor play for children is strongly advocated and in response local governments provide playgrounds and recreational open spaces. To extend further the experiences afforded in such spaces some local governments now employ "play workers," whose role is to prompt exploration and facilitate connections. With the intention of animating an uninviting and underused outdoor public space, the ArtPlay Backyard program presented a series of artist-facilitated experiences that encouraged children and families to explore, interact and transform. Research into this program, undertaken through observations and in-situ interviews, mapped the views and actions of children, parents, early childhood professionals and artists. The study concluded that the program was highly engaging to families who were animated by "artful play": experiences guided by artists, who, acting like "play workers," stimulated imaginative, aesthetic, creative and social encounters with people, place, and materials.

Researchers navigating the ontological turn in educational research have increasingly looked to art as an alternative to conventional modes of qualitative inquiry. However, the rapprochement between art and post-qualitative research remains problematic. While some see this turn coinciding with established genealogies in arts-based research, others suggest that existing models of arts-based inquiry are largely incompatible with the radical onto-epistemological orientations associated with post-qualitative research. This paper argues that the integration of art into the social sciences is far from settled, while also offering a series of speculative propositions for an inhuman aesthetics that is responsive to the ontological turn. This inhuman theory of art is elaborated through Deleuze and Guattari's philosophy, and extended through an analysis of collaborative artworks produced by undergraduate visual art students. This leads to a consideration of how post-qualitative approaches might enable mutual activations among art, philosophy, and social research.

The purpose of this paper is to examine nine Australian young women's embodied experiences of dance. The young women were all amateur dancers involved in weekly jazz, tap, and ballet dance classes at the same dance studio. In this paper, embodiment is defined as multidimensional (Burkitt 1999). The authors explore the ways the corporeal and the discursive converage to make possible particular experiences in dance and particular gendered selves. The analysis highlights the dominance of traditional notions of femininity and beauty in shaping the embodied experiences of these young women dancers. This paper discusses the need for conceptualizing the body's role in the production of gendered selves. Teachers can encourage students to question and challenge the dominant gendered discourse, while also recognizing the importance of the bodily investments of individuals in particular gendered identities.

Research with young people who "do not fit the mould" requires innovative and unconventional methods, but what are the implications of such methods for scholarly representation? This paper reports on the development of such a method with students diagnosed Attention Deficit Hyperactivity Disorder and offers one view of the borderland spaces and tensions between critical theory and narrative inquiry. In particular, the paper defines the methodology that underpins the "critical cover narratives" method, describes the application of this approach within a doctoral study, and identifies resultant issues of representation when combining narrative and critical approaches. The paper then details the use of a tapestry metaphor to reconcile these issues. The central premise of the paper is that differing methods produce different knowledge, which demands different forms of representation. In making this case, the paper discusses the importance of a balance between the epistemological and aesthetic within scholarly representations of narrative inquiry. (Contains 1 figure and 5 notes.)

The paper provides a review of some of the terminologies and definitions of applied theatre, critiques the "transformative principle" argued for by some applied researchers, and extends this to a discussion on the complex relationship between donor agendas and the politics of intention that contribute to the shaping of applied discourse (Taylor 2003, 1). The paper goes on to propose a theatre of "little changes" which eschews big claims of social efficacy, and suggests the need for a discourse which can better articulate an interdependence between the aesthetic imperatives and the possibilities of social engagement.

This paper reviews three pieces of contemporary theatre which feature learning-disabled actors. It identifies particularities of a context which has remained critically under-represented. The paper identifies such practice as transitional: from the margins of disability politics to the mainstream of the paying audience. The overarching question is: by what criteria should the work of learning-disabled artists be judged? It examines what is meant by "good" in a context which has been assessed more often by therapeutic or social outcome than artistic achievement. The paper opens a debate on the aesthetic properties of the work. (Contains 1 note.)

This paper examines the meaning of ability in the context of dance education, in part, via the lens of aesthetic education, a reasonably well-developed body of ideas, and asks what it means to be "aesthetically able". While aesthetic education tends to focus on aesthetic appreciation, it does also deal with a person's capacity to respond to the world in aesthetic ways. But as well as trying to clarify what ability might mean from an aesthetic point of view, this paper also engages with Evans' (2004) agenda setting paper in which he challenges the field of physical education to refocus discussion on the ways we conceptualise ability and, by extension, how our educational practices are shaped by our ideas about ability. For aesthetics and dance, I take this as a challenge to think about whether "aesthetic ability" is valued in physical education and what kinds of abilities or (as Evans might say) "capital" are privileged in different approaches to teaching dance and physical education.

This paper explores the teaching of beauty therapy in the Australian Vocational Education and Training (VET) sector. It uses the theoretical concept of bio-power to examine how the body is compliant with intimate treatments in the name of beauty. Bio-power makes visible the anatomical and biological transformation and re-formation of the human body. Bio-power constructs and is in turn constructed by the work of beauty therapy teachers in the practice of transforming the body, regulating the physical functions of the body and disciplining the choices of teachers working with training packages. Through this conceptual framework, a unit of competency is analysed to determine the association of bio-power with two training packages when teaching beauty therapy. It will show that working intimately with the human body from the inner mechanisms at the cellular level to managing the therapist/client relationship is both physically and emotionally laborious. Consequently, the two training packages that are meant to frame and conceptualise this work may not provide adequate explanations of its complexity.

The driving premise of this paper is that students should be schooled in built and natural environments that afford them ways of understanding of how their daily physical actions and social choices affect the earth. Views of prominent philosophers and scholars in support of this premise are described. Next, four cases illustrate how schools can provide students with opportunities to develop ecological mindfulness through practical activities that are enhanced by natural and built environments. The examples--from Canada, the United States, and Australia--span the primary, secondary, and tertiary levels of education. It is concluded that schools and curricula that focus on a sense of place are able to support the practical activities that lead to meaningful relationships between members of the community, and between people and the land.

Introduction: Why was the study undertaken? What was the research question, the tested hypothesis or the purpose of the research? The research question is: What are the implications of disciplinary aesthetics when marine science meets art in educational research? Children in schools from Victoria, Australia were engaged in a series of marine science fieldtrips, workshops and lessons based on the Great Southern Reef, a temperate marine environment of Australia. They created drawings based on provocations, to depict their knowledge of marine species, before and after these education experiences. Methods: When, where, and how was the study done? What materials were used or who was included in the study groups (patients, etc.)? This paper shares the mixed methodology used by focusing on the qualitative methods used, that arose out of a need to understand the role of aesthetics in this research project. This paper documents the analysis of data that included children's drawings and dialogue between researchers and children from interviews. We discuss insights into the role of aesthetics that were revealed in the visual and narrative data from perspectives of children's learning and how the researchers were able to understand this. These findings are discussed considering the teaching intentions and procedures used, the importance of this multimodal approach to research that revealed aesthetics of science, visual art and language in education. Results: What answer was found to the research question; what did the study find? Was the tested hypothesis true? The research reveals the important role drawing has when trying to understand the students' varying degrees of understanding marine science education. Variables include: their prior experience with marine environments, students' drawing abilities, stylistic elements (that can render an image 'confident' or 'sketchy'), compositional devices and use of perspective that their drawings depict (looking at a pier from underwater or through snorkel goggles). It also includes interpretations and explanations of their drawings and other uses of language such as the use of written labels to reinforce or clarify parts of their drawings. Discussion: What might the answer imply and why does it matter? How does it fit in with what other researchers have found? What are the perspectives for future research? This research reveals the important role of multi-modal approaches in science learning and the significant and dependent role of visual art and words, for students to communicate their learnt content knowledge. It highlights the aesthetic experiences that must be taken into consideration when teaching, learning and when understanding what has been learnt. [ABSTRACT FROM AUTHOR]

We have a responsibility as science educators to work with young people to enact education that enables collective rebalancing of relationships between humans and more-than-humans that are disturbed by human-induced climate change. However, to date, climate change education has not been prioritized in school science at a policy, curricula, classroom and community level, due to an aesthetic which does not sufficiently value climate science or recognize the social impacts of science as part of the discipline. We argue in this conceptual research paper from a pragmatist perspective that an aesthetic shift is required to include science as part of climate change education as a transdisciplinary endeavor that focuses on addressing socio-ecological challenges through student agency and community action. We explore the synergy between science education aesthetics and climate change aesthetics as we advocate for a transformative aesthetics of climate change education. We do so through a process of reflection on and conceptualization of our stories of climate change education in Australia. We propose that such an aesthetic (how we ought to value) should not be considered in isolation but rather that it forms the basis for the ethics (how we ought to conduct ourselves) and logic (how we ought to think) of young people being with us in a community of inquiry in the Anthropocene. We argue that we (teachers and students) ought to conduct ourselves in loving ways toward human and more-than-human kin that necessitates that we think as a community of inquiry to address the challenges of the Anthropocene. In doing so we suggest that we can realize a radical pragmatist meliorism for climate change education that is underpinned by the three normative sciences, the most foundational of which is aesthetics [ABSTRACT FROM AUTHOR]

In this paper, I use an ecologies approach to present reflections on the history of disability and deaf theatre in Australia, in light of the distinctive local policy, industry, and production frameworks that have supported or failed to support its development in particular directions. After tracing and categorising developments in the field to date, I signal specific policy changes in the local landscape and specific impacts these policy changes could have on the way we conceive, categorise, and fund different types of disability theatre in Australia in the years to come.

Purpose: Employee satisfaction is critical in any workplace. Research suggests that the environment that people work in can contribute greatly to levels of satisfaction as well as productivity. Limited research exists, however, on how the aesthetics of a workplace impact both employee satisfaction and well-being. This paper aims to identify whether the aesthetics in a workplace environment at one university influences employee satisfaction and well-being. Design/methodology/approach: This paper shares data from a survey that determined whether the workplace environment at one university in Queensland, Australia supports its workers' job satisfaction and well-being. The survey was distributed amongst all staff at three campuses with a total of 73 usable responses. Findings: Findings showed that there is a strong need for an aesthetically pleasing workplace and its positive impacts on employees. In addition, an aesthetically pleasing workplace was perceived to have a positive impact on the respondents' likelihood of spending more time at work, hence, a greater sense of satisfaction. The respondents indicated a moderate level of satisfaction with the aesthetics of their workspace and environment including feeling safe. Research limitations/implications: Implications show that further improvements could be attained in the workplace through the addition of natural lighting, plants and artwork. The employees also indicated they would like more control over the aesthetics of the work environment. Originality/value: This research is original as it was not known whether aesthetics in the workplace influenced worker satisfaction and/or well-being. [ABSTRACT FROM AUTHOR]

This paper investigates the language of the 2009 NSW Stage 6 English Syllabus. I argue that the language of the syllabus aims to create two distinct subjects: Subject English, that is, what students learn; and the subject position of its students, that is, what students are expected to become. Analysis reveals themes of personal development and moral regulation are deeply embedded within the subject and have an important influence on how the subject positions itself and its students. Systemic Functional Linguistics is used to examine six pages of the Syllabus, focusing in particular on the document's Rationale section. A "transitivity" and "appraisal" analysis reveal that the syllabus document assigns the subject a difficult set of goals; ranging from developing communicative competence and literary knowledge, to creating a sensitive, aesthetically appreciative, reflective individual. An analysis of Commands within the syllabus shows that the language places much of the responsibility with the students. The implications of this analysis for teaching and learning are then discussed; in particular, the need for teachers of English to cognisant of the values and aims that are embedded within the syllabus and the subject.

This paper furthers a discussion about the ways in which idealised versions of gender permeate the aesthetic presentation and impression management strategies of elite private schools. Specifically, we consider how the written text, layout and images used in 12 Australian private girls school prospectuses function in constructing discourses of "natural" femininity. Far from being merely factual sources of information, we see school prospectuses as strategic texts that idealise and commodify gendered subjectivities that are likely to appeal to the perceived clientele of a particular school. Drawing on feminist and poststructuralist theoretical frames and utilising social semiotic techniques, we analyse how these promotional texts align the feminine subject with nature and the natural world. This alignment serves the dual function of constituting femininity as naturally beautiful, fragile, passive and vulnerably at-risk, while at the same time ameliorating such risk through more empowered (yet constrained) notions of interconnectedness. The tensions between such contradictory discourses of traditional and neoliberal femininity create impossible subject positions for girls, as in order to succeed with one version of femininity, they must simultaneously fail at another. (Contains 1 note.)

Drawing on Thomas, Whybrow and Scharber's four participatory perspectives, this paper describes and complicates endeavours to move beyond utilitarian perspectives of infant participation in participatory research. It proposes that film-mediated encounters between researchers and infants have the potential to be more than sites that privilege researchers' representations of infants' experiences and subjectivities.

Gunther Kress's call for a curriculum based on textual creation in a global era of instability is particularly appropriate to the present historical moment. Here I argue the need for a notion of creativity as the basis for a national curriculum in English. The kind of creativity envisaged issues out of a systems theory approach which sees creativity not in terms of individual genius, but as part of the context of a discipline. I emphasise in particular Pope's view of creation as re-creation, with students creating alongside the authors/filmmakers etc whom they read and view--a view of creativity with a respectable history in Australian classrooms. Three key recent paradigms of the subject--rhetoric, a renewed aesthetic and design--are brought together to centre this approach to creativity on the notion of form. I argue that the national curriculum needs to look not only at the necessary in curriculum design, but also at the sufficient, and that a focus on creativity will assist that move.

In his paper in "English in Australia" in 2002, Bill Green called for a literacy project of our own, and for the need to think again, and think newly about the place of literary literacy within contemporary curriculum. But what does literary literacy mean in curriculum that recognises a wide diversity of texts and literacies? If literature and close attention to the aesthetic and imaginative dimensions remain important, what kinds of texts should we value, and how should we attend to them? This article considers how such matters might be taken up with multimodal texts of different kinds.

This paper reports on one strand of a research project conducted with prominent writers who are also English teachers from around Australia. It asks what were the conditions which led these writers to come to writing and what conditions have they created in their own work with high school students that establish and promote an enabling pedagogy for writing in their classes. It incorporates a consideration of questions of aesthetics and ethics in writing and English and concludes with some suggestions of writing pedagogies and understandings emerging from this research that might be taken up and incorporated into English classes in schools. (Contains 3 notes.)

This paper speaks from a poetic voice and briefly discusses the untamed nature of metaphor and narrative. Then the story is shared. The tale relates to how healing of identity, after eons of racism, sexism, homophobia and other forms of social isolation and internalised sorrow, requires deep abiding patience. Situated in transpersonal or spiritual space, the story suggests how Indigenous narrative crosses thresholds between reality and fiction. These are united in an "ontopoetics" of soul, a uniquely postmodern Indigenous sensibility that is also nothing terribly new. The story of Shieldwolf and the Shadow is a contemporary Indigenous tale of the place where transformation is undertaken, without fear, and with every intention that life itself will change beyond our reckoning. It may be possible that past bloodlines can be cleansed and our future restored to justice and peace--at least in some personal and contingent way. What we see in contemporary story is a potential for transformation that has eluded us for generations, and this is an echo of the wisdom of our elders.

This paper examines the ways in which young children construct and negotiate musical meaning as song-makers in a post-modern consumerist musical world. A critical analysis of the presentation of music in two popular Australian children's television programmes (Play School and Hi-5) and the ways in which such media impact upon children's constructions of music and musical understanding is presented. This analysis provides a context for the examination of tensions that exist between a modernist account of what constitutes musical understanding in the young child, and an account that is cognisant of post-modern aesthetics. The implications of this concerning views of children's musical development and curriculum decision making are discussed and a view of the child as an active agent in the construction of her musical worlds is illustrated through an examination of the musical narratives of a 4-year-old child. (Contains 6 notes.)

The world of classical music, says the writer, has always been international, and has now become truly global. Opera is perhaps traditionally, and most conspicuously, global. At any performance of the Metropolitan Opera of New York, for example, one encounters several different nationalities on stage, back stage, and in the orchestra pit. But the same is true of the plastic, dramatic, and literary arts nowadays, very different from the days when Henry James, Robert Frost, T. S. Eliot, Ernest Hemingway and Gertrude Stein, fled to Europe to find the stimulation and recognition they could not find at home. Meantime, Americans are exposed to a vast array of artistic productions from many countries and cultures: from Asia, India, the Caribbean, Eastern Europe, and Australia. Even as American artists have found their place on the world stage, so also have artists from around the world found theirs. In the aggregate they form a kind of global citizenry of the arts as reflected in the currency of their works, international conferences, critical recognition, and access to them in print, films, exhibitions, recordings, and live performances. This serves as background for a reconsideration of the controversy over government funding for the arts in the United States as the author introduces the concept of global citizenship into the debate over government support for the arts. (Contains 11 notes.)

Ralph Balson (1890–1964) was an English plumber and house painter who emigrated to Australia in 1913 and subsequently became a key member of Sydney’s artistic avant-garde. He is credited with having the first solo exhibition of purely abstract painting in Australia in 1941. Despite his role in developing Australian non-objective painting, Balson remained principally a house painter, working on his art practice at weekends. In 1955 he retired on a state pension and became a full-time artist. Balson’s artistic education and methods were critically shaped by his working-class background. He did not travel abroad until 1960 and was an avid auto-didact. His materials, palette, techniques and compositional strategies were likewise informed by his trade. Balson’s profession as a painterdecorator made him conspicuous within the predominantly middle-class Sydney art scene, though his painting partner Grace Crowley considered it an advantage in their pursuit of constructive painting. This paper explores the impact of Balson’s trade on his trajectory towards pure abstraction. While his art was at odds with the predominantly figurative mode of class-conscious art in Australian Modernism, we argue that it is embedded in the experience of class through its creative adaptation of labour into aesthetics. [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]

In the early years of the discovery of Indigenous bark paintings in Australia, anthropologists regarded this artform as part of a static and unchanging tradition. Inspired by the images of Arnhem Land rock art and ceremonial body design, the bark paintings were innovatively adapted by Indigenous Australians for the bark medium. Today, this art is recognised for its dynamism and sophistication, offering a window into how the artists engaged with the world. Within the context of recent art and anthropological scholarship, the paiFntings are understood as artefacts of Indigenous 'agency'. They are products of the intentional action of artists through which power is enacted and from which change has followed. This paper reveals how the paintings were influential to their audiences and the discourses arising from their display through the agency of the artists who made them, and the curators who selected them. It underlines how Indigenous agency associated with the aesthetic and semantics values of bark painting has been and continues to be a powerful mechanism for instigating cultural, social, economic and political change. As such, it points to the wealth of Indigenous agency yet to be documented in the other collections of bark painting that are held in institutions in Australia and throughout the world. [ABSTRACT FROM AUTHOR]

This paper considers the professionalization of literary studies in Australian universities. It traces ways in which its interdisciplinary formations have been shaped not only by the cultural contexts of colonialism and postcolonialism, but also by institutional factors and budgetary pressures. Nevertheless, it argues this framework has also created intellectual opportunities for positively reshaping the subject so as to bring it into discursive conversation with cognate fields. It suggests that the repositioning of Australian literature and literary studies in relation to World Literature may offer the prospect of opening up the field for the benefit of scholars the world over. [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]

The proposition that the urban built environment can, and indeed should, be made more visually attractive is a long-standing feature of the governance of Australian cities. In this vein, this paper examines how 'good design' in terms of visual aesthetics is currently pursued including through the development assessment process and thework of government architects. The paper begins by tracing the background of contemporary regulatory practice from longstanding ideas around beauty and its value through to the urban design movement of today. Next, it considers in more detail various rationales for aesthetic governance and what might be better forms of regulatory practice. In short, it will be argued that while there can be scope for regulation to deliver superior outcomes, this practice must be sensitive to a high degree of contingency in what the public values and that deliberate empirical inquiry into the latter is desirable. [ABSTRACT FROM AUTHOR]

This paper takes up Todd McGowan's rethinking of psychoanalytic film theory to consider what such approaches might disclose in the work of a national cinema. I focus on Australia's national cinema where it is caught, I argue, between the Imaginary gaze of an aestheticized nationalism and a traumatic 'Real' gaze that disturbs the field of cultural vision. I show how Ted Kotcheff's 1971 Wake in Fright introduces the Real gaze to Australia's cinematic vocabulary where it is taken up in the film Renaissance and disturbs the aesthetic inquiry into nationalism with the traumatic Real frequently repressed in national discourses. Here I suggest that if a national cinema can be seen to function as a form of 'public dreaming,' this Real gaze functions as a national symptom that, as in the psychoanalytic clinic, troubles the story the subject tells about itself. After mapping the emergence of this Real gaze in Wake in Fright, I consider where this visual trope is reworked in more recent Gothic landscape films, such as Joel Anderson's Lake Mungo (2008), before considering how post-Mabo history films reverse the terms of this gaze such that what haunts the national Imaginary is put before the viewer without relent. [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]

This paper examines how culturally displaced brand owners help construct imagined worlds with their selection and use of brand visual aesthetics (BVA). Using the theoretical lens of habitus, we focus on the role of owners' design-related decisions in this process and use brand owners of Middle Eastern origin as the research context. Through a multiple-case study with five distinct small-to-medium-sized enterprises in Australia, our research finds how habitus shapes an owner's selection and use of BVA to help construct an imagined Middle Eastern identity through dimensions of autobiography, heritage, and aesthetic sensibility. These BVA dimensions are represented on a continuum of incremental and radical innovation in relation to the owner's cultural origin. This research contributes to research on brands constructing imagined worlds by helping us better appreciate the role of a brand owner's cultural origin in designing connections to markets and spaces with visual aesthetics in a brand. [ABSTRACT FROM AUTHOR]

Our Ancestors, Our History, Our Lost Culture was a devised theatre performance that I developed with women inside Brisbane Women's Correctional Centre (BWCC) Australia in 2017. The performance was based on a memoir from the Stolen Generations: the thousands of Aboriginal and Torres Strait Islander children who were forcibly removed from tribal homelands and separated from family in Australia throughout the early nineteenth century up until the 1970s. The intergenerational trauma of these forced removals continues, as do the wider structural inequalities brought about by the colonial project, including the crisis of Indigenous over-incarceration. Indigenous leaders refer to this as the "torment of powerlessness" (Referendum Council, 2017) and believe that there must first be a process of truth-telling before healing and reconciliation can occur. An example of Applied Theatre as Research (ATAR), the purpose of the project was to investigate how a group of incarcerated women would engage aesthetically in representing a story from the Stolen Generations; and how applied theatre in this contemporary carceral context might be used as a mode of truth-telling. This paper describes how the project reflected an aesthetics of truthtelling, where Indigenous and non-Indigenous women came together to interpret and represent the complexities of this troubling history, and to gain a deeper understanding of its place in contemporary Australian culture. [ABSTRACT FROM AUTHOR]

Purpose – The purpose of this paper is to report on the results of research focusing on the relationship between aesthetics and spirituality in the Australian services sector. Design/methodology/approach – The research employs an interpretive mixed-method approach. The data were collected using an online survey developed from a range of existing research tools. The population of interest is employees in the Australian services sector. The results were analysed using quantitative and qualitative data analysis techniques. Findings – The results of the analysis suggest that people who work in the Australian services sector tend to consider themselves "spiritual", but it is a spirituality that is not necessarily religious, it might more likely be derived from aesthetics. Research limitations/implications – The main limitation of this study is the small sample size, which limits the inferences that can be drawn. Despite this limitation, this study has important implications in that it illuminates and attempts to resolve some of the conceptual confusion and contradictions in the existing literature relating to aesthetics and spirituality. It is proposed that aesthetics be equated with an expressed spirituality that has no connection with religiosity and spirituality be equated with expressed religious beliefs. Originality/value – This paper presents an investigation of the relatively neglected area of spirituality and aesthetics in the context of the Australian business environment and stimulates the debate about spirituality and aesthetics in the workplace. [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]

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 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]