Authorship,Authenticity, and Intellectual Property in Australian Aboriginal Art

This article analyzes research and legal cases about authorship, authenticity, and intellectual property in Aboriginal art. The concepts of Aboriginality, authenticity, and ownership are used to show the complexities of Aboriginal law, legal copyright, and the moral rights framework. The clan ownership of Dreaming makes Aboriginal artists' relationship different to other artists' individual ownership of their work. Research on this topic by members of the Faculty of Business and Law unit of the Centre for Leisure Management Research at Deakin University was undertaken for the Australian Institute of Aboriginal and Torres Strait Islander Studies. This article provides significant contextual analyses of major issues leading to Commonwealth Government inquiries and legislation in Australia during 2006-8.     

应对数字艺术公共安全隐患的立法策略研究

当下数字艺术的产生和迅速崛起从根本上改变了原子艺术长期以来建构起来的艺术生态和艺术秩序,引发了某些引起人们重大关切的公共安全问题,其中突出的有网瘾问题、网络文化低俗化问题、数字谣言问题以及数字艺术知识产权保护问题等。这些问题不同于原子艺术公共安全隐患发生学上的外生性、随机性和个别性,而是呈现为内生性、公共性、流行性和危害性特征。一条比较可行的防控策略是在对数字艺术实施事前立法规范的同时,对数字艺术公共安全机制同步实施事后追溯监管。此外,加强数字艺术公共安全性及其应对机制的科研攻关和科普宣传,尽快提高全社会对数字艺术特殊规律及其公共安全性的认识和了解也是当务之急。     

广西农村居民科普的现状及对策--来自2003年广西公众科学素养的调查

由于经济发展滞后,科普体系不健全,文化水平偏低,广西农村居民的科学素养不高,科普教育形势较为严峻。必须采取相应措施,提高广西农村居民的科学素养,为建设农村和谐社会打下坚实基础。     

Asymmetric bargaining between Myanmar and China in the Myitsone Dam controversy: social opposition akin to David's stone against Goliath

The Myitsone Dam suspension is an asymmetric negotiation between Naypyitaw and Beijing. The bilateral agreement of the hydropower project was concluded in 2009. However, Myanmar's civil society started to oppose the dam when political opportunities expanded in 2011. The quasi-civilian government in Myanmar was caught in an ‘audience cost dilemma': either to disappoint domestic constituents by fulfilling international obligations, or to compensate the Chinese dam developer for breaching the contract. In September 2011, Myanmar President Thein Sein declared the suspension of the dam throughout his tenure. Unexpectedly, China's state-owned dam company did not sue Naypyidaw. Moreover, Beijing even engaged with societal actors in Myanmar to seek their support for the project. How could Naypyitaw defy Beijing in this Myitsone Dam case? Drawing from 35 interviews with anti-dam campaigners and other stakeholders, as well as secondary data, this article argues that the rise of civil society successfully conditioned Naypyitaw's diplomatic options in the controversy. The change of Beijing's diplomatic strategy confirms that domestic constraint in Myanmar is not rhetorical. The Myitsone Dam case is an example that shows bilateral agreement without domestic endorsement can become China's business risk. Presumably, the dispute has wider implications for other Chinese overseas projects outside Myanmar.     

‘The dead are coming’: acts of citizenship at Europe’s borders

This article combines the research agenda of the acts of citizenship literature with reflections on emancipatory theatre. I examine the Centre for Political Beauty’s activity-based artwork ‘The dead are coming’ which problematizes the cruelties of the European border regime in symbolically charged spaces in the German public. Focusing particularly on the roles available to ‘actors’ and ‘spectators’, and the directionality of the message conveyed through the artwork, I examine how the performance subverts the ‘sites’ and ‘scales’ of citizenship. My analysis indicates that the artwork’s subversive potential emerges not only from the political vision conveyed by the artist collective, but also from the way in which others become involved in the performance. Acts of political beauty thus most extensively challenge instituted citizenship’s orientalist anchoring, reverse status-based role allocations and subvert the structural violence of borders when the performance enables the enactment of novel forms of political agency and solidarity.     

Reflexivity,participatory art,and the failures of monist representation

ABSTRACT

This essay engages in a dual-disciplinary theorizing of reflexivity as response to crises of democratic representation. We trace this crises through the parallel lenses of democratic theory and art history. As political theorists explore alternative representations of ‘the people,’ contemporary artists have developed their own responses to the crisis of monist representation. In both state institutions and in participatory art – and in the theorizing of both – we find the rejection of monist representations of ‘the people’ and the embracement of pluralist, partial, and proximate representations. These public reflexive spaces give voice to new, partial publics, and call attention to past and present exclusions.     

Movement decision-making in violence prevention and peace practices

Studying parallels between movement behaviour and violent actions can help understand interdisciplinary possibilities for prevention, intervention, mediation and post-conflict healing. This article explores the role of unconscious and conscious movement decision-making in violent/peaceful interactions. Thematic analysis of interviews was conducted with trainers in dance/movement peace practices working in fourteen countries. The doctoral research sociologically analysed shared beliefs and a framework that was previously applied to work in schools, expanding its potential for new settings and peace contexts. The framework illustrates five stages of decision-making (Flow/Tension, Attention, Intention, Action and Reflection/Evaluation) based on Warren Lamb’s and Rudolph Laban’s systems of movement analysis. Flow/Tension refers to physiological responses to conflict and the regulation of tension, discomfort and breath. Attention involves the development of spatial awareness and awareness of our immediate environment. The Intention stage fosters the capacity for self-evaluation, assertively addressing needs and mitigating ethical pressure. The Action stage involves understanding impulses, commitment and non-action. Reflection/Evaluation promote reflexivity in practitioners and participants and a dynamic evaluation of peace practices. By analysing contributions of dance/movement to peacebuilding, this article introduces a much-needed focus on the body in conflict and inform interpersonal and intergroup conflict interventions by educators, therapists and peace practitioners of all fields.     

Black geographies of struggle and pleasure in Nona Faustine’s White Shoes

In Nona Faustine’s photo series of self-portraits, White Shoes, the artist’s body becomes the agent in exposing the instability of racialized historical geography. Faustine revisits New York City’s landmarks to address what is missing or made invisible: a slave ship, a fugitive woman’s rebirth, or African burial grounds. Making herself visible where she is supposed to remain invisible, she highlights the unacknowledged connection between national wealth, nationalism, geography, and black labor. She discloses the topography of her travels as a changeable terrain, where one slips from the national iconic to ambiguous and finally, to the sacred. I suggest that Faustine doesn’t seek to democratize the extant historical maps, but to shift the terms of reading the city’s geography. She lifts the boundaries between the polarized pathways of knowing – the secularized and the sacred, the living and the dead, the verifiable and the missing. This shift is also made possible by the medium of photography and a feminist turn towards pleasures in one’s body. As Faustine comes to terms with the psychic and cultural inheritance of the diaspora, she moves from the collective body of pain towards black women’s pleasure in their own bodies without purging the history of sexual trauma.     

Dis-Assembly Lines: gestures,situations, and surveillances

In “Americanism and Fordism,” Antonio Gramsci offers a brief meditation on the gestural performances of assembly-line workers who, rather than become subordinate to the disciplinary flow of the machine, cultivate perfectly timed gestures that allow workers to hide in plain sight: or, in other words, to inhabit the scene of management otherwise. Rather than extend Gramsci's investment in virtuosic, masterful performances of gesture, this article considers the potentiality of gesture through Lucille Ball's and Tehching Hsieh's performances of bad timing. As different as these performances are in terms of genre and historical situation, each uses gesture as a technique to performatively divide the labor process, producing fleeting temporalities of waste within rhythms marshaled toward production and accumulation. While it tracks the effects of these itinerant gestures, this article reconsiders the oppositions between productive and reproductive work, rationality and emotionality, and work and home that sustain Gramsci's theory, as well as how the collapse of such oppositions introduces alternative historical and artistic trajectories into theories of precariousness.