Racist Ideology & Hashtag activism: The Collision of Art, Brand and Law in Peter Drew’s Aussie Folk Hero, Monga Khan

Racist ideology is reproduced in daily communications and in art. Racism is also challenged. In this essay I explore the way ideology is present in Peter Drew’s ‘Monga Khan’ posters — artwork designed to provoke critical reflection about representations of race and Australian identity. Part I discusses the ideological engagement Peter Drew anticipated arising from his art ‘hactivism’ and critical reception of the work. I compare Drew’s oeuvre to 1970–80s protest posters, showing the effects of greater exposure to intellectual property constructs, marketing, and commercial branding on the ambition of art activism. Part II shows how attribution practices in the art world and media connect the politics of hactivist art with commodification. I discuss how ‘Blackness’, represented by Drew in the form of challenge to racialized ideas of Australian identity, functions as Drew’s ‘second skin’, or brand identity. Subaltern voices also challenge the authority of white artists to speak for the ‘Other’, but due to the way today we attribute ownership to image and voice, these protests metamorphise into a passing parade of objectified cultural difference. Part III draws out the implications for law, addressing the socio-legal reproduction of ideology, outside of relations normally identified with the lived experience of law

David Unaipon, Inventor

Unaipon descendant, Kym Kropinyeri, had promised to Unaipon and other Ngarrindjeri elders that he would pass on their history, including accounts of what happened to them at Point McLeay mission. This article addresses the Unaipon inventions. We provide a comprehensive account of Unaipon’s patent applications and the Protection-era restrictions that impacted Aboriginal inventors. The fate of Unaipon’s much celebrated 1909 shearing patent is fully explored. Exploitation of this invention is contextualised with reference to the patent activities of one of the most successful twentieth-century agricultural conglomerates that sold shearing handpieces, Cooper Engineering Ltd (Aust). Unaipon’s claim he was ripped off is considered in light of the demands made on him by the Chief Protector, politicians, religious groups, museum staff, and harassment by mission superintendents and police. All these factors impacted the capacity of Unaipon to pursue his scientific interests and delivered him into poverty

Decolonising Aboriginal and Torres Strait Islander Research

There is an important but unwieldy research policy infrastructure designed to engage with Aboriginal and Torres Strait Islander research and researchers. This framework links the key performance indicators and policies of funders and institutions to researchers and communities. In this article, we explain the relevant policies and targets, with a view to showing how sector regulation interconnects in practice and identifying ways to strengthen institutional commitments to meaningful engagement with, and implementation of, Aboriginal and Torres Strait Islander research policy. We suggest next steps that are needed to help researchers comply with funder and institution-mandated obligations and to empower Indigenous Peoples to make informed decisions about the benefits of research collaboration with universities

Disney in Spain (1930–1935)

This article looks at the ways in which the global brand par excellence – Mickey Mouse – spread throughout Spain in the early 1930s. In tracing the creative and commercial interplay with the Mickey character we show how the Disney Company failed to obtain any significant intellectual property rights in its own name or obtain a sympathetic hearing by Spanish patent and trademark officials. Yet this was undoubtedly a period of significant global development of the Disney brand. With the attempt to explain such an apparent contradictory situation, this article highlights the importance of the management of particular struggles in the flux of desires, appropriation and investments that contributed to the emergence of the elusive ‘merchandising right’

Rip, Mix, Burn: The Politics of Peer to Peer and Copyright Law

Rip, Mix, Burn: The Politics of Peer to Peer an