Border Heterotopias

This thesis seeks to understand how borders operate and what subjectivities, spaces, narratives, relations, connections, conflicts and transformations they perform. It aims to unsettle critical readings of contemporary state borders as simply exclusive and violent biopolitical places which enact bare lives. It opens up the border into alternative imaginations by conceptualising it as a heterotopia. Drawing on a Deleuzo-Guattarian ontology of becoming and Tim Ingold’s notion of lines, it defines heterotopia as a fluid meshwork space constituted by and constitutive of ever-shifting transformative movements of three lines: molar lines, molecular lines, and lines of flight. The central argument is that, understood as a heterotopia, the border does not have a static structure; it is not a natural or a fixed entity with a stable identity. On the border all these lines co-exist, working in a continuum, and in their entanglements they alter one another. These three types of lines constantly mutate depending on the discursive and corporeal practices constituting them. It is the ever-shifting, contradictory and uncertain movements of these lines that transform a border into a heterotopia. Heterotopia is in constant transformation. The colonising structures and dominant moral codes of molar lines may temporarily capture this space, while molecular lines may destabilise the operation of established power structures offering the first signals of positive transformations, and thus alternative political imaginations. In this sense, the border does not exhibit a final structure, it is always at the state of uncertainty; it is always on the threshold. Nothing is stable on this space. The border moves in every direction in response to and in anticipation of the different lines that enable its construction, preservation, disruption and transformation. As such, the border never settles, it re-begins each time with the ever-shifting entangled movement of its multiple lines. This is where the positive force of border heterotopias lies. Their constant movement is their potential to activate a new form of ethics that is cultivated by the politics of becoming-other

Georges River Blues

The lower Georges River, on Dharawal and Dharug lands, was a place of fishing grounds, swimming holes and picnics in the early twentieth century. But this all changed after World War II, when rapidly expanding industry and increasing population fell heaviest on this river, polluting its waters and destroying its bush. Local people campaigned to defend their river. They battled municipal councils, who were themselves struggling against an explosion of garbage as population and economy changed. In these blues (an Australian term for conflict), it was mangroves and swamps that became the focus of the fight. Mangroves were expanding because of increasing pollution and early climate change. Councils wanted to solve their garbage problems by bulldozing mangroves and bushland, dumping garbage and, eventually, building playing fields. So they attacked mangroves as useless swamps that harboured disease. Residents defended mangroves by mobilising ecological science to show that these plants nurtured immature fish and protected the river's health. These suburban resident action campaigns have been ignored by histories of the Australian environmental movement, which have instead focused on campaigns to save distant 'wilderness’ or inner-city built environments. The Georges River environmental conflicts may have been less theatrical, but they were fought out just as bitterly. And local Georges River campaigners – men, women and often children – were just as tenacious. They struggled to ‘keep bushland in our suburbs’, laying the foundation for today’s widespread urban environmental consciousness

Georges River Blues

The lower Georges River, on Dharawal and Dharug lands, was a place of fishing grounds, swimming holes and picnics in the early twentieth century. But this all changed after World War II, when rapidly expanding industry and increasing population fell heaviest on this river, polluting its waters and destroying its bush. Local people campaigned to defend their river. They battled municipal councils, who were themselves struggling against an explosion of garbage as population and economy changed. In these blues (an Australian term for conflict), it was mangroves and swamps that became the focus of the fight. Mangroves were expanding because of increasing pollution and early climate change. Councils wanted to solve their garbage problems by bulldozing mangroves and bushland, dumping garbage and, eventually, building playing fields. So they attacked mangroves as useless swamps that harboured disease. Residents defended mangroves by mobilising ecological science to show that these plants nurtured immature fish and protected the river's health. These suburban resident action campaigns have been ignored by histories of the Australian environmental movement, which have instead focused on campaigns to save distant 'wilderness’ or inner-city built environments. The Georges River environmental conflicts may have been less theatrical, but they were fought out just as bitterly. And local Georges River campaigners – men, women and often children – were just as tenacious. They struggled to ‘keep bushland in our suburbs’, laying the foundation for today’s widespread urban environmental consciousness

Integrative Sonic Urbanism: Artist-Led Strategies for Urban Sound Design in the Contemporary City

This doctoral research advances the fields of urban sound design and acoustic planning, presenting new ways of exploring the interrelationship between individual and collective sonic experience, the dynamic potential of the urban sound environment and the complex evolution of the contemporary cityscape. It links urban sound art practices with larger urban design processes, revealing how sound contributes to the production of urban space. The research progresses by crafting a dynamic, integrative methodology that activates contrasting sonic perspectives to critically reassess the role of sound in the public realm. As it discloses this methodology, the research navigates the tension between new modes of urban sound design guided by critical artistic practice and more conventional strategies rooted in the paradigm of environmental noise. Efforts to address urban sonic conditions through quantifiable metrics are contextualised within a wider transition in which urban form is increasingly influenced by data capture, analysis and governance. Within this transition, the critical potential of sound as an active component of urban space is obscured by remedial strategies established to improve what are construed as unfavourable conditions. This research analyses the relationship between these remedial strategies, the emergence of the ISO soundscape standard and the concepts of urban ambiances, urban atmospheres and acoustic territories. It postulates that these centralising conceptual models can serve to limit as well as to advance the critical potential of this field, pursuing instead a more tactical, performative and pluralistic methodology. The articulation of this methodology is substantiated through the exposition of three major public artworks developed by the author, including: Continuous Drift (2015–), a permanent sound installation in a public urban square; The Manual for Acoustic Planning and Urban Sound Design (2013–2020), an artist placement exploring the role of the acoustic planner within a local authority; and The Office for Common Sound (2016–), a project space that fosters dialogue concerning sound within specific regional and institutional contexts. These projects expand the role of artistic practice within the context of urban design and spatial planning by activating the field of urban sound design within diverse spatial, administrative and social contexts. These projects extend established methodologies drawn from sound art, site-specific art and sound installation practices with tactics inherited from public, participatory and socially engaged art, demonstrating how artist-led strategies for urban sound design can advance new forms of spatial production through collaboration with diverse urban actors

Packaging curiosities : towards a grammar of three-dimensional space

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people's emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space

Packaging curiosities : towards a grammar of three-dimensional space

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people's emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space

'Bulwark against Asia': Zionist Exclusivism and Palestinian Responses

This thesis offers a consideration of how the ideological foundations of Zionism determine the movement’s exclusive relationship with an outside world that is posited at large and the native Palestinian population specifically. Contesting Israel’s exceptionalist security narrative, it identifies, through an extensive examination of the writings of Theodor Herzl, the overlapping settler colonialist and ethno-nationalist roots of Zionism. In doing so, it contextualises Herzl’s movement as a hegemonic political force that embraced the dominant European discourses of the late nineteenth and early twentieth centuries, including anti-Semitism. The thesis is also concerned with the ways in which these ideological foundations came to bear on the Palestinian and broader Ottoman contexts. A closer consideration of Ottoman Palestine reveals a hidden history of imperial inclusivity that stands in stark contrast to the Zionist settler colonial model. The thesis explores the effects of the Zionist project on Palestine’s native population, highlighting early reactions to the marginalisation and exclusion suffered, as well as emerging strategies of resistance that locate an alternative, non-nationalist vision for the future of the region in the collective reappropriation of a pre-colonial past. The question is broached about the role that Palestinian literature can play within the context of such reclaiming efforts. More precisely, it debates whether Palestinian life writing emanating from the occupied territories contributes, in its recording of personal history, to the project of re-writing national history in opposition to the attempted Israeli erasure. Finally, by drawing a direct line from original Zionist thought to the politics and policies of the state of Israel today, the thesis suggests an on-going settler colonial structure that has become increasingly visible through the state’s use of spatially restrictive measures in order to finally conclude its settlement project. Israel’s obsessive ‘walling’ is discussed in that context as the physical escalation of Zionism’s founding ideological tenets