The Duyfken: An Exploration of the Roles of a Replica Ship

On 11 January 2012, in a press release headed '''Little Dove''' to return home to WA', Western Australia's Deputy Premier and Minister for Tourism, Kim Hames, announced that the Duyfken 1606 Replica Foundation would receive government support to bring the Duyfken replica back to the state. The release went on to say that the support would take the form of a $263,000 grant for the Duyfken to sail from Sydney to Perth, with an additional$125,000 per annum (indexed) for 10 years for it to be home ported in Perth. Two state government staff members would also be provided to assist with managing the project. Dr Hames said the funding would provide the Duyfken with a permanent home, while also creating a new tourism attraction and educational experience for West Australians and visitors

Advancing Understanding of Knowledge\u27s Role in Lay Risk Perception

Emphasizing how knowledge affects lay Risk perception, summarizing studies and suggesting further research, the author differentiates between knowledge production, knowledge dissemination and information processing as affected by, e.g., heuristics and Risk aversion. He also suggests that better understanding of lay knowledge can also illuminate experts\u27 hazard knowledge

Reading the cultural landscape in suburban Boorloo/Perth: A visual inquiry

In suburban spaces, front yards are meaningful sites to examine settler understandings of, and responsibilities toward place. This exegesis and accompanying visual inquiry forms a creative critique of settler practices that have impacted Noongar people, their culture and Country. Using decolonising and alter-political perspectives alongside a practice-led methodology, the current state of domestic land practices, as evidenced by front yards in Boorloo/Perth, have been interrogated through site- specific research. Settler-Australians, the non-Indigenous descendants of colonial arrivals and subsequent migrants, have benefitted from colonisation and the commodification of Indigenous land. Urban sprawl and the development of suburban housing estates has involved the destruction of Indigenous flora and damage to Country. The cultivation of exotic species, and adherence to imported garden aesthetics in urban and suburban landscapes, are common ways in which Noongar boodja * is aggressively devalued. Front yards exhibit clues about the occupiers’ cultural identities, and collectively reflect the societal values of a contemporary culture. The power of these suburban sites to inform, and transform culture, is examined using the interconnected themes of phenomenology and place. Insights gained through creative practice will navigate and convey the sensitive topics of cultural loss, and ideas of home through a contemporary rendering of the landscape genre. Generated artworks seek to reframe the current gardening practices of settler-Australians, and address settler-Australian responsibilities toward Country

Postfeminist Whiteness

Kendra Marston interrogates representations of melancholic white femininity in contemporary Hollywood cinema, arguing that the ‘melancholic white woman’ serves as a vehicle through which to explore the excesses of late capitalism and a crisis of faith in the American dream

The Prometheus Challenge

Degas, Manet, Picasso, Dali and Lipchitz produced works of art exemplifying a seeming impossibility: Not only combining incompatible attributes but doing so consistently with aesthetic strictures Horace formulated in Ars Poetica. The article explains how these artists were able to do this, achieving what some critics have called ‘a new art,’ ‘a miracle,’ and ‘a new metaphor.’ The article also argues that the author achieved the same result in sculpture by means of philosophical analysis – probably a first in the history of art

The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture

One of the most important stimuli for the imaginations of modern artists in the twentieth century was the concept of a higher, unseen fourth dimension of space. An outgrowth of the n-dimensional geometries developed in the nineteenth century, the concept predated the definition of time as the fourth dimension by Minkowski and Einstein in relativity theory. Only the popularization of relativity theory after 1919 brought an end to the widespread public fascination with the supra-sensible fourth dimension between the 1880s and 1920s. initially popularized by figures such as E. A. Abbott, Charles Howard Hinton, Claude Bragdon, and R D. Ouspensky (as well as science-fiction writers), the fourth dimension was a multivalent term with associations ranging from science, including X-rays and the ether of space, to idealist philosophy and mystical "cosmic consciousness." This essay focuses on the differing approaches to higher spatial dimensions in the cubism of Pablo Picasso and Juan Gris, the suprematism of Kazimir Malevich, and The Large Glass project of Marcel Duchamp in the early twentieth century. It concludes by examining contemporary artist Tony Bobbin's thirty-year engagement with the mathematics of four-dimensional geometry and computer graphics, as well as his current work with knot theorist Scott Carter.Art Histor

Mind wandering "Ahas" versus mindful reasoning: alternative routes to creative solutions.

Based on mixed results linking both mindfulness and its opposing construct mind wandering to enhanced creativity, we predicted that the relationship between mindfulness and creativity might depend on whether creative problems are approached through analytic strategy or through "insight" (i.e., sudden awareness of a solution). Study 1 investigated the relationship between trait mindfulness and compound remote associates problem solving as a function of participants' self-reported approach to each problem. The results revealed a negative relationship between mindfulness and problem-solving overall. However, more detailed analysis revealed that mindfulness was associated with impaired problem solving when approaching problems with insight, but increased problem solving when using analysis. In Study 2, we manipulated participants' problem-solving approach through instructions. We again found a negative relationship between mindfulness and creative performance in general, however, more mindful participants again performed better when instructed to approach problems analytically

Damocles and the Plucked: Audience Participation and Risk in Half Cut

This article looks to identify a political mode of audience engagement in the ‘one-on-one’ performance, Half Cut. In response to recent economic turbulence in the UK and abroad, I draw on Hans-Thies Lehmann’s appeal for an ‘aesthetics of risk’ in the theatre: an aesthetics which I suggest might begin at the level of audience reception. This marks a turn away from the more prevalent application of risk to artistic production. Couched in the sociological context of Ulrich Beck’s ‘risk society’, I compare risk-taking in contemporary financial markets with the apparently trivial and seemingly ‘risky’ act of paying to pluck a single hair from another’s body as a participant in Half Cut. I consider how affective responses such as embarrassment and awkwardness in one-on-one theatre (which might be felt as ‘risks’) function either as something masochistically consumed within the experience industry, or as positive values subversively premised on loss – such as loss of dignity and self-assuredness – provided that risk is not something passively submitted to, but actively committed to. The argument centres on an economically defined power dynamic operating between performer and participant, paying close attention to how the successful operation of this dynamic within the aesthetic space of Half Cut might lift an otherwise fetishised relationship into something felt through affectation. I suggest that a triadic relationship between risk, agency and responsibility – which is perhaps broken in financial markets – is forged through a ‘dialogic intimacy’ between performer and participant, opening space for a radical engagement with risk beginning at the level of an existential queasiness

\u27Youth Ventures Into the Unknown\u27 developing an individual style of dance making

As a new emerging dancer and artist who is highly interested in the form of choreography, the search for knowledge and understanding of where choreography has come from as well as how to generate works have been at the forefront of my personal journey in dance. My thesis looks at and asks how the formal choreographic elements and approaches can assist new choreographers in developing an individual style of dance making? This question leads to the various approaches and elements taken from famous choreographers over time, and assesses how new emerging artists can draw from these examples as a way to learn and develop their own style of dance making. I have taken onboard this knowledge both academically and practically. \u27Youth ventures into the unknown\u27 is a new choreographic work that has taken onboard two particular approaches to choreography drawn from Trisha Brown and Merce Cunningham. As a movement study it has allowed me to see how these approaches and elements can assist me in creating a work, ultimately impacting upon my individual style of dance making