New Service Development in Small and Medium Accounting Practice Firms. The Italian Case.

This chapter focuses on the Australian Centre for the Moving Image (ACMI) as a case study for the emergence of hybrid subjectivities within the new museum. Fueled by an optimistic idealism about how technology might transform everyday life, ACMI was conceived as a catalyst for new forms of cultural consciousness. The chapter casts ACMI's initial willingness to experiment with innovative representational technology as a strategic attempt to position itself as a pioneering new media institution, and to engage in alternative forms of cultural citizenship. Its early public exhibitions, for example, often eschewed chronological histories of the moving image in favor of phenomenological displays of visual knowledge and embodied new media “experiences.” In tracking ACMI's changing curatorial, architectural, and experiential directives, this chapter foregrounds the significance of the museum as a producer rather than distributor of stories, experiences, and objects. The argument proceeds with close reference to empirical audience experience research data collected from ACMI visitors, and is situated in relation to historical transformations of pedagogy as a driver for museological display. The concept of “ambient aesthetics” is, finally, proposed as a key conceptual framework for evaluating how contemporary museums might articulate a new kind of “flexible” citizenship in a transnational public sphere

Robert Smithson: Time Crystals

Curated by Amelia Barikin and Chris McAuliffe, Robert Smithson: Time Crystals was the first exhibition in Australia dedicated to the work of American artist Robert Smithson (1938–1973). Best known for his radical land art of the 1960s and early 1970s, Smithson is now widely recognised as one of the most influential artists of the twentieth century. Based on intensive archival research, the project generated a new understanding of Smithson’s approach to time that challenged the dominance of entropy in existing scholarship on his practice. Presented at UQAM and MUMA with the support of the Terra Foundation for the Arts and the Holt/Smithson Foundation

Making worlds in art and science fiction

Why do some artists make worlds while others make works? This article considers the renewed attention to world-making as a key trope in contemporary artistic practice in relation to the world-making tactics of science fiction. Nelson Goodman's 1978 book Ways of Worldmaking provides the entry point for this enquiry