[dash]topia exhibition

[dash]topia

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[dash]topia Catalogue of the Twenty-fifth Faculty of Arts & Design Staff Art Exhibition ANCA Gallery, Dickson, 31 October – 17 November 2019 Curator: Jordan Williams Catalogue layout: Samuel Byrnand Cover texture: Designed by anastock / Freepik Published by the Centre for Creative & Cultural Research, Faculty of Arts & Design, University of Canberra www.canberra.edu.au/centres/cccr ISBN: 978-1-74088-489-1 © Copyright 2019 2

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[dash]topia ‘-topia, from the Greek, a place with specified characteristics.’

The vagueness of the definition takes on more precision when we consider how the concept of topia is put to work. Utopia and its other half, dystopia, are probably the best known of ‘places with specified characteristics’ — ­ all joy for the first, all disaster for the second. But the idea of a topos is gaining traction in recent decades, and heterotopia, ecotopia, technotopia and other combinations that arise from the artist’s specification of place are all appearing in the literature and in artist statements.

This group exhibition brings together works by staff and affiliates of the Faculty of Arts and Design at the University of Canberra.

The 25th University of Canberra Faculty of Arts & Design Staff Exhibition ANCA Gallery, 1 Rosevear Place, Dickson ACT, 30 October – 17 November, 2019 Find past exhibition catalogues at: http://www.canberra.edu.au/research/faculty-research-centres/cccr/resources

Monica Andrew Tessa Bell Story Ground Collective Louise Curham Dianne Firth Caren Florance UK Frederick Katie Hayne Paul Hetherington Tracy Ireland Paul Munden Denise Thwaites Jen Webb John White Jordan Williams Claire Rosslyn Wilson Short biographies References

Monica Andrew Plastic Ocean Polyester fabrics, 100 cm x 50 cm, 2019 Artist statement Plastic does not belong in waterways and oceans but is increasingly being found in both in the form of bottles, straws and fibres from polyester clothing. Polyester is the most common material now used in clothing and microfibres are released into waterways as a result of laundry processes. The plastic particles are then consumed by fish, which in turn are consumed by humans. How much plastic can be absorbed by humans and fish? What are the impacts of plastic consumption? ‘Plastic Ocean’ raises awareness of these questions through the depiction of fish made entirely from discarded polyester fabrics sourced from my own stash and charity shops.

Research statement In the past, clothing was a valuable resource, cared for, mended, altered and used in a variety of roles — from Sunday Best through daily wear before ending up as cleaning rags. However, clothing is now very cheap and regarded by some as disposable — with garments worn only seven times on average before being discarded. Needlecraft skills, which were an essential part of clothing maintenance in the past, have also declined in recent decades.

My research explores clothing and textile sustainability, particularly the role of needlecraft skills, in reducing over-consumption and the depletion of natural resources through a weekly Repair Café at the University of Canberra to assist visitors with clothing and textile repairs, while also collecting data on clothing acquisition and disposal habits. Activities at the Repair Café include working out how best to repair damaged items and then showing or teaching the garment owner how to carry out the necessary repair work.

Photo credit: the artist

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Tessa Bell & Tracy Ireland Greetings from the Pointcloud Digital video, 1 min; inkjet prints, 14.8 x 10.5 cm (each), 2019 Artists’ statement Greetings from the Pointcloud is a series of videos and printed works that reflects a playful practice of 3D documentation of heritage places. It takes up invitations to explore heritage objects and sites digitally visualised ‘in 3D’ using high fidelity imaging methods, drawing on the trope of the postcard as an affective trace of movement through place, mementos of an embodied engagement. We have experimented with generating digital objects or ‘toggleable’ representations of layered places, leading us to understand our interactions with these imagethings as encounters with heterotopia/s, remediations of material texture and tension nested within our ‘lived world’. The postcards presented here alongside corresponding video of 3D visualisations, transmit something of our experience of these curious assemblages — of time collapsed or folded in an emergent digital fabric.

Research statement ‘Reality capture’ methods such as laser scanning and digital photogrammetry are currently considered the pre-eminent form of non-contact preservation.

With exactitude, technical power and prowess, the world’s cultural heritage can be recorded, re-materialised, rescued from the forces that threaten it. In our practice-led research, we have aimed to explore this realm of visual data as a parallel ethnographic fieldsite, a digital practice that captures the traces and tracks of our movement and vision, the weather and environment in their affective meshworks (Pink, 2015). Our research speculates on re-encounter with our digitally re-cast ruins, attentive to the human presence and pasts that lurk, out of frame, in the products of processes such as digital photogrammetry (Hamilakis and Ifantidis, 2016). This work addresses contemporary modes of access to and experience of heritage materialities, exploring how the material is embedded in new artefact forms, and also the notion of preservation as it is often evoked in archaeological digital visualisation projects.

Photo credit: the artists

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Story Ground Collective Walking with water, sleeping without Mixed media: Super8 film and digital video, photographs, voice recording, acrylic on canvas, poetry and prose in printed booklet, 2017–2019.

Artists’ Statement Barkindji people named her Barka, whitefellas call her the Darling River. Over two years writers and artists of the Story Ground collective made visits to Barka and Barkindji Country, and to Ngemba Country, where Barka becomes Barwon.

‘Walking with water, sleeping without’ engages with several sites.

Gundabooka — homeland and corroborree ground. Eight language groups gathered here to dance, share law and culture. On the cave walls, paintings by those language groups remain, the paint fresh and alive. The artists’ presence can be felt on the breeze and in the quiet. Gundabooka is visible in the Super8 footage.

On the banks of Barka — the birthing tree still ready to receive life, language, story. Bent at the correct angle for bearing down, the tree opening the site of birth for Barkindji babies for millenia. This was the site for the discussion of life and love.

The sounds of the birthing site can be heard in the voice recording.

At North Bourke — we walk across a dry riverbed where the spirit dog Moondagutta slept. Where does Moondagutta sleep now? North Bourke is visible in the digital video footage.

Brewarrina — Ngemba word meaning tall trees. The place of Ngunnhu, the fishtraps of Baiame’s feast. Eight language groups gathered to tend the fishtraps, to share law and culture, a sharing designed to ensure collaboration. The acrylic on canvas painting ‘Mayan Galay’ (Wayne Applebee) depicts the journey from Kamilaroi Country to the Ngunnhu by grandfather, father and son.

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Research Statement The Story Ground project (funded 2017–2019 by UC and the Commonwealth Indigenous Languages and Arts Program) investigates the intersection of Indigenous Australian Story and the teaching of creative writing. In this artwork the research spills into an interdisciplinary creative practice comprising film, photography, voice recordings, prose and poetry.

In asking what we may draw on and be informed by in Indigenous story practice, it became important for us to go to Barkindji Country, where we were connected to country through Paul as traditional owner, story keeper and speaker, family member.

In Story About Feeling Bill Neidjie reminds us that feeling is fundamental to knowing and passing on story.

When you read…

Exactly right and you can feel yourself, anyone.

That way I feeling myself putting this story.

You’ve got to feel. (121) We wanted to feel what effect Barka and the Barkindji country would have upon our selves and our makings.

We asked ourselves if we might see, through a Barkindji lens, this waterway and surrounding country, and in the process share feeling and talk country.

That’s pedagogy.

Image credit: Traditional painters of the Gundabooka site

Louise Curham When words fail me Acrylic, polyester, silk, compost, each box 50 x 50 x 50 cm, 2019 Artist statement Dementia seems terrifying. Recently I encountered a case of a family dispute about a dementia diagnosis. In response, I made a ‘dementia bag’. I lined my compost bin with a cloth bag, filled it and let it rest until it became rich, dark, fragrant soil. The bag sits quietly like the threatening rocks in the children’s story Marianne Dreams — rocks that she draws that seem to come to life. The bag is decayed yet alive with microbes and insects. In the words of a participant in this case: How do you stay nice and assert your wishes? (Being irritable is a sign of dementia. Being ‘unreasonable’ is a sign of dementia.) How do you break the poor interpersonal dynamics of 30+ years? And convince them that your memory’s never been great shakes and you were never any good at counting backwards in 7s? Have you noticed how bad your recall can be when you’re tired, stressed or depressed? Don’t insult those who really have got the various dementia diseases by consigning those who do some meandering at 80+ to that camp.

The bag reflects our ambivalent reactions to dementia. It is purposefully busy in the composting process, valiantly generating humous, treasure for a future time. As sentinel, its failings frighten us. It observes but cannot act.

Research statement Michael Polanyi’s concept of tacit knowledge stands as the go to reference when ‘we know more than we can say’. Polanyi formulated it in his effort to explicate how science began in a situation of ‘freedom’. In my PhD, my role as researcher/creative practitioner has emerged as one of tacit knowledge gatherer, attempting to bring words and representation where there are struggles to speak.

The bags reflect an extraordinary experience of speechlessness that I encountered. Words failed that speaker. When it really counts, must the tacit stay down there, subterranean? Action and performance are essential to Polanyi’s idea that you can only know the tacit in a ‘from to’ way, known only through action. But the action of these bags is restricted to non-performance. Fred Moten examines non-performance as a powerful form (2015). Productive failure, a kind of nonperformance or mis-performance, is an essential part of my creative activity. This project extends these ideas asking what happens when tacit meets non-performance. Moten would suggest it’s radical.

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Dianne Firth A city not like any other Textile. 5 works each 80cm x 80cm, 2015 Artist Statement Walter Burley Griffin, winner of the international competition to design Canberra, declared in 1912 that he had ‘planned a city not like any other city in the world ... an ideal city …’. It would be a city in and of the landscape. How would he start?

Griffin’s design process started with an analysis of the physical features of the site — the background mountain ranges, local mountains, hills and spurs, valleys and the flood plain — and how they would be incorporated into his design. My artwork focuses on these five site characteristics.

The selection of materials is symbolic. Felt is used to symbolise the solidness of earth and the opaqueness of cloud, while net is used to symbolise the transparency of air and water. The colours of orange, grey and black reference earth, air and water.

Research statement Very few cities are designed from scratch. Canberra, Australia’s national capital is one of them.

When the Commonwealth of Australia was proclaimed in 1901 the requirement for a new city was enshrined in section 125 of the Constitution. It was imagined as an ideal city, free from the problems of past cities. It ‘... should be a beautiful city, occupying a commanding position, with extensive views and embracing distinctive features which will lend themselves to the evolution of a design worthy of the object, not only for the present but for all time ...’.

Once the Canberra site was chosen an international competition was called in 1911 to obtain a design. It was won by Grifffin and his unacknowledged collaborator on the project, his wife Marion Mahoney Griffin.

Griffin noted in the report accompanying their design, that the peculiar advantages of Canberra lay principally in five site characteristics: the mountain ranges for background; local mounts for aspect and prospect; hills and spurs as the termini of avenues and for the most important structures; valleys for habitation and industry; and the Molonglo River and flood basin for architectural effect, recreation and for the improvement of the climate. This analysis of topography was the starting point for his layout of the city and became the inspiration for my artwork.

Photo credit: the artist

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Caren Florance in collaboration with Dr Tim Brook Bad Keys Altered keyboard, screen, code, dimensions variable, 2019 Artist statement Please sit down and type: this work is not connected to the internet, nor is it being recorded.

You can tell it anything. Suggestion: tell it your fears; the words that pull you down; labels that you have carried through the years; things that you have never shared with anyone. See if this helps.

Bad Keys is an ephemeral participatory drawing program that absorbs confessional impulses without judgement. It is one iteration of a larger project to explore ways to subvert and convert the hurt we carry after encountering word attacks. As one person types, their words are translated into drawings, performing the text for others. No matter the content, each offering simultaneously builds onto and threads into the previous participant’s drawing, emphasising our connectedness.

Research statement Bad Keys continues my work on material translation and the idea of transcreation as discussed by de Campos and Gibson (2007 (1963)) and Bernstein (2003) as an ethical and political way to move ideas between languages. They argue that the act of translation is re-creation, a making of something new from the original both as acknowledgment of the impossibility of complete accuracy and as resistance to a political reduction of the original work. In this case, while input and output are text, one of them is visually abstracted; if it were recorded and assessed, it could be read according to the system behind the coding, but here it is active and ephemeral and creates something new that the audience can encounter on their own terms.

This is a relational iteration of the earlier presentation of the work in the exhibition Line Work (Tuggerangong Arts Centre, July 2019). In that version, the person at the keyboard watched themselves create a drawing and onlookers had to view over their shoulder. Here, the typist is alone, concentrating on the fall of their fingers. They will not see what they have created unless someone else records or photographs the image, or if they have time to look before the next drawing overwrites it. The former is an act of collaboration.

Image credit: the artists

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Katie Hayne & UK Frederick Where are we going?

Inkjet print on tyvek; 116 x 80 cm, 2019 Artists’ statement In 2015, after a fight from the ACT Heritage Council, it was announced that most of Canberra’s inner-city public housing precincts were to be demolished. Resident Phil Brown wrote an article in the Canberra Times stating: Since the Northbourne redevelopments were announced, our homes have been called eyesores, ghettos and drug-infested crime dens that should have been knocked down years ago; the people within called scumbags, drug addicts, dole bludgers, criminals and paedophiles among the many insults.

Mr Brown’s comments indicate the extent to which public housing in Canberra had become stigmatised.

The original vision of the housing precincts was based on modernist utopian ideals, with an emphasis on rational and functional design. They aimed to offer a more egalitarian style of dwelling. However, by the early 21st century, the ACT Government claimed the housing was ageing, expensive to maintain and had created large concentrations of disadvantage.

Yeti urges us to question the impact of urban renewal projects and gentrification in our cities, and continues to ask what it means to be human, what it means to belong, where we are going, and what have we become?

Research statement The car-seat-cover being we refer to as Yeti was first conceived by UK Frederick during her creativepractice PhD research into mobilities and car cultures. In this context the Yeti was intended to represent an ambiguous sentient post-humanist figure: part-non-human animal, part-human, part-machine.

This iteration relates to Katie Hayne’s current research project documenting the Northbourne Public Housing precincts as they undergo renewal. Here, Yeti remains an unfamiliar sight and appears in Canberra’s rapidly changing urban landscape representing a fear of the unknown ‘other’. Architectural theorists, urban planners and human geographers, have written much about the ‘failure’ of large housing estates. Dutch social geographer and urban planner Frank Wassenberg argues that rather than addressing the issues, large housing estates have too quickly been the target of demolition and development. This work responds to concerns about the subsequent dislocation of people from services, as well as potential increase in property prices, which is likely to worsen housing affordability and homelessness in cities.

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Denise Thwaites with contributions from Baden Pailthorpe and terra0 (Paul Kolling, Paul Seidler and Max Hampshire)

Blocumenta – Remnants Dimensions variable, moving image and engraved stone, 2016 and 2019.

Assemblage by Denise Thwaites.

Artist statement From Bitchcoin and CryptoKitties to distributed ledgers for nuclear nonproliferation, feverish adoption and experimentation with Blockchain technologies are matched only by the promissory hype that accompany them. Does it have the capacity to enable concrete cultural and economic change? Or will the ambitions of this technology fizzle like Y2K? Research statement Blocumenta is an on-going and multifaceted arts project initiated by Denise Thwaites and Baden Pailthorpe. Since July 2019 it has comprised an on-site exhibition, participatory event (both Artspace, Sydney), performance lecture (Sydney Contemporary, Carriageworks) and online interventions (as part of Osaka Blockchain Week and Haig Park Experiments). Blocumenta – Remnants is an assemblage of artefacts produced through these events, featuring a landmark stone by terra0’s self-owned forest, an appropriated motivational speech by Shia le Boeuf and digital poem. Together, this collection highlights the tension between an energetic drive for change, and the persistent constraints that limit it.

Photo credit: the artists

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Jen Webb & John White When children could fly Full-sized store dummy, suspended from ceiling, 2019 Artists’ statement The past is a foreign country, with its own topos. For many adults, their own past includes a point of time where they thought they could float, or fly; where some of them experienced the sense of flight. This installation highlights our uncertainties in dealing with the reality of the past: what is true, and what is not?

Research statement Gordon, Tilly and Prakash open their edited volume, Utopia/Dystopia: Conditions of Historical Possibility, with the statement that ‘Utopias and dystopias are histories of the present’ and go on to present a very precise definition of each. Dystopia, they insist, is not ‘the opposite of utopia’, but rather ‘a utopia that has gone wrong’ (2010: 1). This is where we start: with the utopian dream of childhood, when anything seems possible; the dystopian present of the adult, where all our capacities seem delimited.

Biologists Humberto Maturana and Francisco Varela (1980) note that as soon as cognition enters a system, the system is changed because it is now adjusting to its contexts. This installation aims to illuminate how thought, observation and mere life contribute to the creative shaping of conceptions of the world, metaphorically laying down fresh pathways for thought, memory and practice. The object and its appendages are clearly part of the world of childhood fantasy, or adult nostalgia, but aim to interrogate received knowledge, and consider how imagined pasts can encourage ways of understanding the present beyond the delimitation of dystopian or utopian paradigms.

Photo credit: the artists

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Jen Webb, Paul Hetherington & Paul Munden Anatopia Typecase c.120cm x 30cm x 3.5cm, handmade body-oriented objects, handmade books of poetry, 2019 Artists’ statement Writer Barbara Ehrenreich describes scientific understandings of the body as being ‘torn between two paradigms’ — the first, a utopian view of the body as well-oiled machine, all structure, order and harmony; and next, a dystopian view that characterises the body as a system in constant conflict. In the 21st century, perhaps this has particular resonance because of the combination of Instaculture with its imperative to present a perfect self in a perfect life, awareness of environmental depredations and their effects on health and wellbeing, and frequent bombardments from health officials about the duty each citizen has to deliver care of the self. This installation considers both u- and dys- views of the topos that is human anatomy, and responds in poetry, and with handmade objects, to the affordances and tensions, of being embodied.

Research statement There is a tradition in science that represents the body as a machine, each of whose parts has a task, duty or responsibility (Harvey): a type of instrumental determinism that sees design rather than chance, functionalism rather than superfluity (Burt & Trivers). The thinking behind this perspective is oriented toward perfectability — which is a problem, given that even the most ideal bodies are gradually wearing out. It also conceives of body as a self-contained whole that works well until an external agent enters and attacks it (Burnet). This sets up a neat alignment between Self as utopia, Other as dystopia, which is played out in the twin anxieties that mark our culture: the impossible demands of the Perfect Life (no sickness, no aging, no bad days) as performed on social media; and the aggressive politics in Australia’s attitudes toward ‘outsiders’. This project considers the analogy of body as self under threat from other, and as a trope through which to engage with notions of utopia and dystopia.

We aim to offer a space for thinking that rejects the Hegelian Self/Other in favour of a more modest, more collaborative logic, one able to treat both the complex conflicted self, and failed social polity.

Photo credit: the artists

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Jordan Williams Doing my bit is killing me man.

Digital poem, Instagram account, plant-dyed linen, machine sewn, dimensions variable, 2019 Artist statement The planet is in dire trouble and I am striving to understand what ‘doing my bit’ looks like. Doing my bit is killing me man comprises a digital poem, an Instagram account (#emergencydisasterendoftheworld), and a graph/dress. They combine to question the discourse around the ‘eco-mom’ , an idealised woman represented in media, marketing materials and in the accounts of Instagram influencers. The fate of the world is on her/ my shoulders. She/I must consume, but only sustainably. Our domestic labor must be harnessed to make our own clothes, beeswax wraps, vegan cheese and on and on. Only thus will overconsumption and eco-disaster be avoided. This burden is added to others, including carving out and sustaining a career. The total effort is, ironically, unsustainable.

This graph/dress is made of linen: the yellow linen is dyed with six months-worth of the papery outer skins of onions collected in my kitchen; the grey linen is dyed with fallen eucalypt leaves collected at my workplace. The proportions of the dress are informed by the shares of domestic work done by women and by men.

Research statement We know that the burden of domestic labor falls as heavily on women now when they comprise 47 per cent of all people employed in Australia as it did when working outside the home was not as common. Women spend a substantially greater percentage of their week in unpaid domestic labour compared with men. It comes as no surprise then to know that recent research has shown that the burden of sustainable practices in the home fall predominantly on women. This work is situated in a research focus on vulnerability and isolation and how these are experienced by women (which is not to say that they are not experienced by all on the gender continuum, only to say that I can speak to them from my own experience). The work also employs methods and research practice (a graph dress) which questions the logocentric and masculinist traditions of documentation of research. A feminised form of data viz.

Photo credit: the artist

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Claire Rosslyn Wilson Residence A suite of videopoems: Shifting Sands (3:53 mins, 2018); Leave Your Shoes Here (2:10 mins, 2018); Hand Prints (3:19 mins, 2019); A Way Through (3:21 mins, 2019); Double Glazed (1:37 mins, 2019).

Artist statement Poetry’s capacity to explore the everyday moments and jump between experiences and places is particularly suited to translocal understandings (Ramazani, 2009) and these videopoems investigate the ways in which the instability and change of cultural adaptation can be negotiated. Incorporating images, ambient sounds and poems from Barcelona, Australia, Singapore and Chiang Mai (Thailand), the suite of videopoems examines the various forms of defamiliarisation (Shklovsky, 1991 [1917]). These multiple perceptions of place, neither home nor foreign but some other place that slides between the two, reflect the migrant experience of maintaining an awareness of multiple localities, sometimes simultaneously (Bricknell and Datta, 2011). The characteristics of a specific place merge and mutate, questioning the way we experience multiple localities. The videopoems seek to echo the oscillation between the familiar and the unfamiliar, examining ways of managing change and instability while creating a sense of feeling settled in a place.

Research statement Poetry’s capacity to explore the everyday moments and jump between experiences and places is particularly suited to translocal understandings (Ramazani, 2009) and this research investigates the ways in which the instability and change of cultural adaptation can be negotiated through a poetry writing practice. The suite of videopoems specifically investigates the various forms of defamiliarisation: the experience of an unfamiliar culture, the making strange of everyday objects that can be taken for granted in daily life and the poetic techniques of defamiliarisation. The videopoems remove ‘objects from the automatism of perceptions’ (Shklovsky 1991 [1917]) by recontextualising them through techniques of layering and the juxtaposition of places. They seek to echo the oscillation between the familiar and the unfamiliar in the migrant experience, examining ways of managing change and instability while creating a sense of feeling settled.

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short biographies Monica Andrew has had a lifelong interest in clothing and textiles, having made her own clothes from an early age and subsequently embraced embroidery and associated textile practices. She spent many years working in the public service before retiring to focus on textiles and undertake a PhD, researching clothing and textile sustainability.

Tessa Bell is a doctoral candidate at the University of Canberra who is interested in thinking about the cultural practice of digital heritage object production, and encounter with material forms in digital contexts.

Story Ground Collective: Artists who have contributed to this work include Paul Collis, Wayne Knight, Kevin Knight, Wayne Applebee, Paul Magee, Valerie Caron, Zach Caron, Emma Adams, Rebecca Gosch, Jen Crawford, Kerry Nelson, Donna Hanson, Louise Curham, Gerty Dorrigo, Margaret Knight, Jen Webb and traditional painters of the Gundabooka site.

Louise Curham is an archivist and experimental filmmaker. A member of the Teaching and Learning Cinema collective, she is also completing her PhD in Arts and Design at the University of Canberra.

Dianne Firth is a Registered Landscape Architect and Adjunct Associate Professor with the Centre for Creative and Cultural Research at the University of Canberra. The focus of her research is the designed landscape of Canberra and she provides advice to ACT and Commonwealth Governments. Her textile art is inspired by her landscape work and can be found in major collections around the world.

Caren Florance is a typo-bibliographic artist. Her recent practice-led doctorate from the University of Canberra (UC) explored the overlaps of visual poetry, text art and artist books through material collaboration with poets and artists. A sessional lecturer, she works in Visual Communications and Cultural Heritage at UC, and in Printmedia at the ANU School of Art & Design. Her latest work is Lost in Case (Cordite Publishing, 2019). You can find out more at www.carenflorance.com UK Frederick is an artist based in Canberra and an ARC Discovery Early Career Researcher at the ANU. She is currently undertaking a three-year interdisciplinary project examining the relationships between creative art practice, archaeology and heritage.

Katie Hayne is a research development officer at the University of Canberra and is currently studying a Masters of Philosophy at the ANU School of Art & Design.

Paul Hetherington is Professor of Writing, head of the International Poetry Studies Institute (IPSI), and founded the International Prose Poetry Group in 2014.

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Tracy Ireland is an archaeologist and heritage practitioner who is interested in thinking about archaeology and heritage conservation as creative practices and in exploring the relationship between the archaeological imagination and art. She is Professor of Cultural Heritage at the University of Canberra.

Paul Munden is an Adjunct Associate Professor at the University of Canberra, a Royal Literary Fund Fellow at the University of Leeds, and the current poetry editor of Westerly magazine.

Denise Thwaites is a contemporary art curator, researcher and writer. She is Assistant Professor of Digital Arts and Humanities at the University of Canberra. As an arts writer, she has produced work exploring the artistic deployment of VR and AR, publishing most recently on this area in Artlink and for the Museum of Contemporary Art. Monica Andrew: I have a lifelong interest in clothing and textiles, having made my own clothes from an early age and subsequently embraced embroidery and associated textile practices. I spent many years working in the public service before retiring to focus on textiles and start a PhD. Jen Webb is a poet and cultural theorist who works at the Faculty of Arts and Design, in the University of Canberra.

John White worked as a museum curator in Victoria and the ACT for several decades.

Jordan Williams is an academic, poet and textile artist exploring creativity and wellbeing. She works with people at vulnerable points in their lives to assist them to express their stories in creative forms.

Claire Rosslyn Wilson: Poet and researcher, is currently a PhD candidate at the University of Canberra where she is investigating poetry and cultural adjustment. In 2018 she developed a poetry-illustration collaboration with a Singapore-based illustrator Debasmita Dugupta and she’s been a visiting researcher at the University of Barcelona.

references Tessa Bell & Tracy Ireland Grosz, E. (2001). Architecture from the Outside: Essays on Virtual and Real Space. Cambridge, MA: MIT Press.

Hamilakis, Y. & Ifantidis, F. (2016). Camera Kalaureia: An archaeological photo-ethnography. Oxford: Archaeopress. http:// archaeopress.com/ArchaeopressShop/Public/displayProductDetail.asp?id={5795E01E-3C43-4204-8335-9F80F493023C} Pink, S. (2015). Going Forward Through the World: Thinking Theoretically About First Person Perspective Digital Ethnography. Integrative Psychological and Behavioral Science, 49(2), 239–252.

Louise Curham Moten, Fred. ‘Blackness and Nonperformance’ presented in Afterlives: The Persistence of Performance, Museum of Modern Art, New York, September 25, 2015.

Polanyi, Michael. (1964) Science, Faith and Society : A Searching Examination of the Meaning and Nature of Scientific Inquiry.

Chicago: University of Chicago Press.

Dianne Firth Griffin, Walter Burley. (1912). New York Times, 2 June.

Instructions given by Minister for Home Affairs, Hugh Mahon, to Surveyor General Scrivener, who was tasked with finding the site.

Caren Florance Bernstein, C. (2003). De Campos Thou Art Translated (Knot). Crosscurrents. http://epc.buffalo.edu/authors/bernstein/ essays/de-campos.html de Campos, H., & Gibson, D. (2007 (1963)). Translation as Creation and Criticism (D. Gibson, Trans.). In A. S. Bessa & O. Cisneros (Eds.), Novas: Selected Writings of Haroldo de Campos (pp. 312–326). Evanston: Northwestern University Press.

Katie Hayne & UK Frederick Brown, Phil. (2017). Why Do Canberrans Care More about Refugees than Public-Housing Tenants?, Canberra Times, April 6, https://www.canberratimes.com.au/opinion/why-do-canberrans-care-more-about-refugees-than-publichousingtenants-20170406-gvet8f.html.

ACT Government, Public Housing Renewal Taskforce,’ https://www.planning.act.gov.au/topics/public-housing-renewal/ about-the-program. Accessed September 29, 2019.

Wassenberg, Frank. (2013). Large Housing Estates: Ideas, Rise, Fall and Recovery: The Bijlmermeer and Beyond, IOS Press, 2013).

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Jen Webb & John White Gordin, Michael D., Helen Tilley, and Gyan Prakash (eds.) (2010). Utopia/Dystopia: Conditions of Historical Possibility, Princeton: Princeton University Press.

Maturana, Humberto and Francisco Varela (1980). Autopoiesis and Cognition: The Realization of the Living, Dordrecht: D Reidel.

Jordan Williams Barendregt, B., & Jaffe, R. (eds). (2014). Green Consumption: The Global Rise of Eco-Chic (1 edition). Bloomsbury Academic.

Workplace Gender Equality Agency. (n.d.). Australian Unpaid Care Report. https://www.wgea.gov.au/sites/ default/files/documents/australian-unpaid-care-work-and-the-labour-market.pdf

Claire Rosslyn Wilson Ian B., Kerr, J. & Rendall, J. (eds) 2001. The Unknown City: Contesting Architecture and Social Space. Cambridge and London: MIT Press, p. 108 Brickell, K. & Datta, A. (eds) (2011). Translocal Geographies Space, Places, Connections, Farnham and Burlington: Ashgate.

Ramazani, J. (2015). A Transnational Poetics, Chicago: University of Chicago Press.

Shklovsky, V. (1991). Art as Device. Theory Of Prose. Kalkey Archive Press.

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