Technologies of Memory and Affect One-Day Conference, Public Lecture and Visual Art Exhibition
Registration for conference: https://pay.flinders.edu.au/Trans/tran?tran-type=SOH030
Some bursaries are available to cover registration for postgrads and the unwaged.
Registration for (free) public lecture:
Friday 17th February - summary program
Venue: Flinders University City Campus, 182 Victoria Square, Level 1, room 2
Keynote – Deb Verhoeven – ‘Open Data in a Closing Down World:
Reproducibility, Contestability and Co-existence’
11.15-11.30 - break
11.30-1.15 – 4 x 15-20 min papers plus question time
1.15-1.45 – lunch
1.45-3.30 – 4 x 15-20 min papers plus question time
3.30-3.45 – break
3.45 – 4.45 – 3 x 15-20 min papers plus question time
Keynote/ Public Lecture– Romaine Moreton
“Interrogating Western Media Art Forms in One Billion Beats (2016)”
Chaired by Unbound Collective with a Welcome to Country by Uncle Lewis O’Brien
6.00 -8.00 Exhibition opening; drinks and nibbles (Foyer, ground floor, Flinders in the City)
With a performance by Unbound Collective
Abstracts and Bios (in order of presentation)
Keynote: Open Data in a Closing Down World: Reproducibility, Contestability and Co-existence
Professor Deb Verhoeven (Deakin University)
Bio: Deb Verhoeven is Professor of Media and Communication in the School of Communication and Creative Arts, Deakin University, Vice Chancellor's Library Fellow and Director of the Humanities Networked Infrastructure (HuNI) Project. She currently serves on the international Research Data Advisory Board for Elsevier. Her specific research interest lies in extending the limits of conventional film studies; exploring the intersection between cinema studies and other disciplines such as history, information management, geo-spatial science, statistics, urban studies and economics. In addition to scholarly publications and media appearances, she has focused on the development of online research resources such as the Cinema and Audiences Research Project (CAARP) database, an ongoing exploration of big cultural data (kinomatics) and The Ultimate Gig Guide (TUGG) an online archive of live music information.
Critical-Creative Praxis Toward Social Transformation: the work of Bound/Unbound Sovereign Acts
Unbound Collective (Flinders University)
Ali Gumillya Baker, Faye Rosas Blanch, Natalie Harkin, Simone Tur
We are your blind-spot
the invisible made visible
the absent made present
we are on Kaurna Land
- Sovereign Love Poem #10: Adelaide bus-shelter poster
Through a discussion of an experimental creative work, this presentation highlights how critical-creative research can seek to subvert and transform prevailing colonial narratives of history in ways that are currently unimagined. Bound/Unbound: Sovereign Acts explores complex ideas of being both bound and free; what we are bound to historically and what we choose to (un)bind ourselves to and from, both now and into the future. Themes that bind this work include: interrogations of State colonial archives; ethical practice and responsibility; enacting memory and storytelling; sovereign identity and (re)presentation.
Our interdisciplinary work informs our unique Indigenous praxis: critical race theory, and intersections between Indigenous, cultural and whiteness studies. Through strategic affect, this embodied work disrupts-shifts the colonial gaze through film, performance, projection, song, poetry, weaving, rap and intergenerational transmission of stories.
This ongoing work informs our scholarship to engage with, reframe and re-imagine complex relationships within the academy; toward social transformation.
The Bound/Unbound collective is a group of Aboriginal women academics: Mirning, Antikirinya/Yankunytjatjara, Yidinyji/MBararam, Narungga.
Traces of corporeality: Multi-modal documentation of Mary’s grief at the Cross in a research-led performance of Italian sacred music
Dr Daniela Kaleva (University of South Australia)
In baroque vocal music, there is a strong correlation between the emotive content which is encoded in the musical score and the visual and auditory elements that communicate dramatic narrative to an audience in performance. There is a discrepancy between the highly visual effulgence of baroque performances and performance spaces and the prevailing concert style of Italian religious baroque music contemporary performance practice. This paper traces documentation and embodiment processes pertaining to the Virgin Mary’s corporeality of grief within the research-led process of a recent performance titled Il pianto della Maddonna: Religious passions of the Italian baroque which took place on 13 August 2016 at the Trinity College Chapel in Melbourne. The works under scrutiny include Canzonnetta spirituale sopra alla nanna (Sacred song after a lullaby) by Tarquinio Merula and Il pianto della Madonna à voce sola sopra il Lamento d'Arianna (The Madonna’s Lament for solo voice after Lamento d’Arianna) from Selva morale e spirituale (1640–1641) by Claudio Monteverdi. The musical settings boast of a refined expression of words by the means of tones. There, Mary’s corporeality is referenced through her words, the actions that they imply and the gestures that shape the expression of her emotions. Potent word painting in the music coincides with iconic images of Mary’s wounded heart in the text. These visual imprints were once ever-present in the imagination of clergy, nobility or laity that attended religious rituals and listened to this music, yet the religious visual affect is mostly absent in a contemporary performance context away from the tradition of a strong Roman-catholic practice in both performers’ and audience’s imaginations. This paper examines the multi-modal documentation of historical and contemporary sources which informed the approach to text structure and understanding of baroque passions. It provides an analysis of the means of deploying archival still images in print and published in digital form on the internet as well as photographs of church statues, murals and altars taken as part of a research trip to Italy throughout the rehearsal process in order to gain an ‘outside in’ glimpse into the expression of Mary’s grief as prescribed and practiced by the Roman Catholic Church.
Bio: Dr Daniela Kaleva is a scholar who uses interdisciplinary and practice-led methods to study visuality in performance and knowledge transmission. Daniela is an expert in rhetorical gesture from the Baroque period and has produced, directed and performed in research-led. She has published on mélodrame in L. van Beethoven’s works for the stage and on rhetorical gesture in early opera recitative performance. Visual and cultural aspects of music publications curated by Australian Louise Hanson-Dyer of L'Oiseau-Lyre form a significant research focus, with several publications in Australian journals. Daniela is also interested in information management and has published on special collections and the sustainability of digital archives.
Digital Archaeology?: Delving into the digital past with Wayback Machine and Google Images
Emma Maguire (Flinders University)
As part of my research into digital autobiographical practices of girls and young women I am going back to the now outdated technology of the webcam to see how two pioneers of webcam technology, ‘camgirls’ Jennifer Ringley (the first lifecaster and Internet celebrity) and Ana Voog (who framed her lifecasting as artistic practice), used the form to experiment with self-mediation.
But the media texts engineered by these early camgirls are partially unavailable, deleted, and reformatted due to technological developments and the practices of the camgirls themselves. As a scholar situated in 2017, access to Voog and Ringley’s texts from the late nineties and early 2000s necessarily requires me to bridge a historical distance which has real effects on how I read, receive, and address these self-presentations. For example, Jennifer Ringley’s site is no longer available but incomplete versions of it are archived in the Wayback Machine, a digital archiving tool. Ana Voog’s material and many of her images are available, but not in the format her original audience would have received them and some of her images that would have required paid membership are freely available via Google Images.
In this paper, I address this historical (dis)connection and my (dis)location in relation to Voog and Ringley’s texts by interrogating elements of recovery and remembering within my methodology, and I consider the usefulness of the (contested) term ‘digital archaeology’ to describe and expose the elements of searching, interpretation, and archive-creation involved in my digital digging. In doing so I investigate the ethical, technological and practical aspects of recovering fragmented and displaced digital art from the past.
Bio: Emma Maguire is an Associate Lecturer in English and Creative Writing at Flinders University. She is currently working on a book about digital autobiography created by girls and young women. You can find out more about Emma’s work and research interests at emmamaguire.wordpress.com.
“In small things forgotten”: the cable tie as a case study in invisible technology
Alice Gorman (Flinders University)
One of the missions of the archaeology of the contemporary past – usually taken to mean after 1945 – has been to “presence absence” or “make the invisible visible”, particularly referring to artefacts and behaviours that are unremarked and inaccessible to us because we inhabit the ideological sphere that created them. Archaeological field techniques can reveal these ‘small things forgotten” and illuminate their role in the contemporary world. One such ‘small thing’ is the cable tie, an artefact which first came to my attention as I was conducting a survey of a decommissioned NASA satellite tracking station in the ACT. In the absence of the demolished above-ground infrastructure, I focused my attention firstly on surviving subterranean cables as proxies for missing technological installations. It was not until surveying an area around the former 26 m antenna, now a radio telescope at the Mt Pleasant observatory in Tasmania, that the absence of even cables highlighted the cable tie as an even deeper layer of technology. In this paper I explore the cable tie as an ephemeral artefact that escapes memory and yet reveals the forgotten actions and intentions that the archaeologist seeks.
Bio: Dr Alice Gorman is an internationally recognised leader in the emerging field of space archaeology. She is a Senior Lecturer in the Department of Archaeology at Flinders University, where she teaches the Archaeology of Modern Society. Her research focuses on the archaeology and heritage of space exploration, including space junk, planetary landing sites, off-earth mining, rocket launch pads and antennas. She is a member of the American Institute of Aeronautics and Astronautics, the Advisory Council of the Space Industry Association of Australia and the Australian Institute of Aboriginal and Torres Strait Islander Studies. Her writing has been selected three times for The Best Australian Science Writing anthology, and in 2016 she was shortlisted for the Bragg Prize in Science Writing. She tweets as @drspacejunk and blogs at Space Age Archaeology.
Queer Embodiment & Network-Based Media
Alex Degaris (University of South Australia)
Being closeted and coming out are both states and actions unique to the lived experience of being openly queer. Patriarchal and heteronormative power structures facilitate the existence of these states and actions and subsequently inform states of isolation. Consequently, connecting with representations within network-based media as a means of structuring identity is a common occurrence for queer individuals.
Through practice-based creative research that considers the intersections between gender, sexuality and network-based media, my practice intends to highlight contemporary queer subjectivity. The proposed presentation will consist of an overview of research and new media art works created during the past two years as well as their relevant theoretical and methodological frameworks.
The presentation will focus on works that investigate queer embodiment within network-based media and queer spaces facilitated by network-based media. Works presented utilize computer generated imagery, video, motion capture technology and interactivity to highlight queerness and its mediation through technology.
Bio: Alex Degaris is a Masters by research candidate in the School of Art, Architecture and Design at the University of South Australia. Degaris’ has exhibited nationally and their practice and research is situated within new media and visual arts, concerning the intersections between gender, sexuality and network-based media.
Micro-Minorities: The Emergence of New Sexual Subjectivities, Taxonomies and Surveillance Among Sexually-Diverse Young People Online
Rob Cover (University of Western Australia)
Co-creative digital media environments and their associated interactive cultural practices are recently playing a central role in fostering opportunities for sexually-diverse young adults to participate in the production of new, emergent discourses that are re-define, re-labelling and re-categorising new norms and counter-norms for gender and sexuality.
Recent figurations of sexuality and identity have emerged that present a widespread range of sexualities and genders beyond the more traditional hetero/homo dichotomy or LGBTI labels that help to describe a more specific self-identification of sexual practices. The emergent configuration includes terms such as heteroflexible, asexual, homoflexible, sapiosexual, demisexual and others, including multiples and combinations.
New practices of articulating, categorising and living sexualities and genders has some significant implications for young people, minority resilience, health practices, family law.
There are two available approaches to understanding the cultural framework through which these new terms and descriptors emerge, both in the context of the role of digital and interactive communication in curating, archiving, surveiling and re-producing the self: Firstly, as an articulation of “gender and sexual diversity” that rejects the labels of earlier generations and seeks to produce a specificity that more ‘accurately’ describes a set of deeply-felt attachments, desires and orientations, cited and performatively expressed principally in online settings that helps express a post-identity queer fluidity. Secondly, as a set of “micro-minoritisations” in which different labels compete on a ladder of greater-or-less oppression or exclusion, with borders and bounds highly policed through group surveillance of memorial accounts in online settings. Both of these approaches point to the limitations of minority descriptors and identity categories, albeit with different sets of ethics in their use and articulation.
This paper accounts for the digital emergence “micro-minority” taxonomies of sexual and gender identity, theorising nascent practices in terms of digital affordances, resistances to hetero/homo dichotomisation, while acknowledging the ways in which such labels produce new normativities, exclusions and marginalisations. The paper discusses these in the context of digital interactivity, queer theory and emergent cultural understandings of sexuality.
Bio: Rob Cover is Associate Professor and Head of Media and Communication at The University of Western Australia. He is a Chief Investigator on a current ARC Discovery Project examining the history, conditions and frameworks of youth sexuality support. He has published widely on topics related to digital media/communication in the context of identity, youth, wellbeing and resilience. His recent books include: Queer Youth Suicide, Culture and Identity: Unliveable Lives? (Ashgate 2012), Vulnerability and Exposure: Footballer Scandals, Masculinity and Ethics (UWAP Scholarly 2015) and Digital Identities: Creating and Communicating the Online Self (Elsevier 2016).
The Marching Dunstans: Performing Memory
Barbara Baird (Flinders University) & Rosslyn Prosser (University of Adelaide)
The Marching Dunstans were a group of over 100 people in the 2015 annual Pride March in Adelaide, South Australia (SA). They had responded to a call to ‘Don your suit’ on Facebook, on Postcards and via Word of Mouth. They commemorated the 40th anniversary of the decriminalisation of homosexuality in SA and remembered the inspiring political leadership of socially progressive South Australian Premier Don Dunstan, during whose term as premier decriminalisation was achieved. Dressed in either safaris suits or pink shorts and white t-shirts, Dunstan’s signature 1970s costumes, they marched, spontaneously generated chants and carried both provided and individually made placards. This invocation of memory of Dunstan and his political commitments through dress, placard holding, voice and marching generated a range of affects – including joy, solidarity and gratitude. The resulting spectacular and vocal celebration created a stand-out presence for onlookers and fellow Pride marchers. Photographic and video documentation has been archived and circulated via various means including social media.
The Marching Dunstans project was organised by Barbara Baird and Rosslyn Prosser as a ‘memory intervention’ into the local queer community. They were motivated by a desire to facilitate memory of the history and legacy of Dunstan’s leadership across many areas of social justice and to commemorate the 40th anniversary of the decriminalisation of homosexuality.
This article reflects on the importance of remembering history queerly. It theorises the role of the various elements of The Marching Dunstans– dress, placards, marching, voice, spectacle, as a ‘memory intervention’. It provides a case study to think through the significance of Katrina Schlunke’s claim that events where the past is ‘performatively embodied’ create safe spaces where we can ‘invest our collective desires’ and where ‘past space can become a passionate place of possibility’.
(Schlunke, 2006, in Unstable Ground)
Bios: Barbara Baird teaches in the Discipline of Women’s Studies at Flinders University. Her research concerns the history and cultural politics of sexual and reproduction in contemporary Australia. She is particularly interested in the ways that sexual and reproductive politics are shaped by discourse of race and nation. Rosslyn Prosser teaches Creative Writing at the University of Adelaide and writes and publishes in the areas of fictocriticism, life writing and queer memory.
Going Native in Gender-queer Time and Space: On Coherence, Credibility and the Asterisk
Son Vivienne (Flinders University)
In this paper I explore methods for curating collective narratives in ‘popular’ and ‘academic’ realms. I draw on a trans and gender-diverse (TGD) case study in social media storytelling, ‘Stories Beyond Gender’ and reflect upon the impact this project has had on me personally.
Methodologically speaking the ‘Stories Beyond Gender’ initiative has been open-ended and unstructured, guided as much by community impetus as my own engagement as an ethnographer/facilitator. In terms of measurable outputs participants have produced a range of visual and textual materials around themes of self-realisation, transformation, obstacles/haters, affirmation/allies and self-determination. However, the many negotiations they undertake with friends, family members, peers and colleagues, the affective labour (Chambers & Terranova, 2014; Gregg, 2009) that is (arguably) central to social change, is harder to quantify. Beyond quantitative measures of social change, my engagement with this research has also had a personal impact. As a shift away from both neoliberal obsessions with measurement and overly paternalistic concerns with protecting marginalised research participants, I argue that this ‘messy’ (Law, 2004) alignment between a) gender-fluidity as temporal embodied performance, b) online self-representation as fragmented and distributed digital trace, and c) research methods that entangle the individual with the collective and blur an objective stance with insider knowledge represents a unique opportunity to understand emergent post-digital (Alexenberg, 2011; Pepperell & Punt, 2000) post-gender (Nicholas, 2014) identities.
Bio: I am currently employed as a Lecturer in Digital Media at Flinders University of South Australia. I undertook my doctorate based at the ARC Centre of Excellence for Creative Industries and Innovation (CCi) at Queensland University of Technology, and published this research with Palgrave Macmillan in 2015 as ‘Digital Identity and Everyday Activism: Sharing Private Stories with Networked Publics’.
My scholarly work has made a valuable contribution in capturing experiences of social marginalisation and documenting the complex journeys people take towards acquiring agency. In years previous, I worked as writer/director/producer of drama and documentaries, tackling subjects as diverse as youth suicide; drug culture in Vietnamese communities; and lesbian personal columns. As creative principal of ‘Incite Stories’, I also produced and co-directed ‘Wadu Matyidi’, a kids’ animation and documentary package exploring the rejuvenation of the Adnyamathanha language and culture of the Flinders Ranges.
Step-Motherland: From Facebook to Book
Houman Zandizadeh (Flinders University)
After I moved to Australia in 2013, I was asked about my journey by many friends, relatives and strangers who intended to live overseas. I did not want my fellow Iranians to suffer from the same obstacles I encountered. I responded to them via emails and/or phone calls. The details discussed in the verbal and written communications gave me enough material to write publicly about the topic on my Facebook. The posts received positive feedback plus new questions from the readers. Therefore, in 2014 I started writing a book on immigration: Sarzamin-e Namadari: Pishnahadati dar Bab-e Mohajerat [Step-Motherland: Tips for Immigration] (2016). I conducted seventy interviews with Iranians from North America, Africa, Europe, Asia, and Australia. Facebook played the main role in finding and contacting the interviewees. I asked them to share ten major tips that they would communicate with a close friend who intends to live overseas. Those tips needed to apply to everyone regardless of his/her purpose, background, and his/her educational, emotional and financial situation. Step-Motherland focusses on immigration preparation, and handling the first year of settlement. Although it shares many stories and data from the interviewees, blogs, and articles, its main goal is to discuss immigration in a general way. Prior to the book’s publication, I published two articles, derived from my study, in one of the best-selling newspapers in Tehran to familiarise the readers with my forthcoming book. Due to emigration of many Iranian elites in recent years, the Ministry of Culture asked the newspaper to stop publishing articles on immigration. Although publishers need to obtain official permission from the government, in 2016 the book was published with no censorship in Iran. In fact, the same government made contradictory decisions on the same text. In this paper I briefly discuss how censorship ends in such situations. I also explain how Facebook became the main tool for this study.
Bio: Houman Zandizadeh has a background as a dramatist, poet and researcher. He was awarded the Akbar Radi Prize for the Best Young Dramatist of Iran in 2008 and 2009, and was shortlisted in 2010, 2011 and 2012. Before moving to Australia, he was the Head of Dramatic Literature Association of Iran’s House of University Theatre. He won the Arts Award Category among international students in South Australia in 2015, and finished runner-up in 2014. In 2015 he was shortlisted for the Postgraduate International Student of the Year Award in Australia. Houman has recently submitted a practice-led PhD in drama and adaptation at Flinders University.
Affect, Digitisation and Critical Infrastructure Studies
Tully Barnett (Flinders University)
The debates over the funding and defunding of national knowledge infrastructure projects like Trove reveal the ways we do and do not value culture, the humanities, and the shambolic lurching record of cultural production. Pandora and the Way Back Machine demonstrate that reinscribing truth and fact is a complicated and messy process and national and international digitisation projects raise questions about knowledge and culture, and their attendant materialities and immaterialities, interface from the singular to the infrastructural, databases as sites of both knowledge and culture formation towards what we might call “critical infrastructure studies” (Liu).
By using the term critical infrastructure studies, Alan Liu hopes to invest or reinvest the digital humanities with a level of critique that is frequently absent, especially in the toolbox approach to DH. I want to explore how critical infrastructure studies might assist us to “stay with the trouble” (to quote Haraway) and consider how the micro moments of cultural and knowledge production develop or broaden out into an infrastructure that constructs and is constructed by the millions of affective interactions going on within it.
Bio: Tully Barnett is a Research Fellow in the School of Humanities and Creative Arts at Flinders University for the ARC Linkage project Laboratory Adelaide: The Value of Culture. She is Associate Director of the Australasian Consortium of Humanities Research Centres. Her research centers around the technologies of reading such as Kindle social highlighting and Google Books marginalia. She has published "Social Reading: The Kindle's Social Highlighting Function and Emerging Reading Practices" in Australian Humanities Review (2014), “Remediating the Infected Body: Writing the Viral Self in Melinda Rackham’s carrier”, Biography Special Issue: (Post)Human Lives (2012), “Monstrous Agents: Cyberfeminist Media and Activism” (2014) and “The Human Trace in Google Books” (2016).
Restoring Dignity: Networked Knowledge for Repatriation Communities
Steve Hemming and Daryle Rigney (Flinders University)
The repatriation of Ancestral Remains is of great significance for Aboriginal and Torres Strait Islander peoples and many Indigenous groups worldwide. An extraordinary Indigenous achievement, repatriation has been the single most important agent of change in the relationship between Indigenous peoples, museums and the academy over the past 40 yrs.It has revealed subordinate histories, enabled new narratives and provides rich opportunity for understanding cross-cultural relations, reconciliation approaches and the work of Indigenous organisations and nations as they work to achieve social goals. Repatriation reinstates Indigenous authority and control, addresses past wrongs, and in doing so helps to enact and restore dignity for both Indigenous groups and museums.
Indigenous human remains were taken from the earliest days of colonisation and sent worldwide. Tracing where they are now and establishing their communities of origin is a complex international process that constitutes a major research challenge. Our ARC funded research (ANU lead university) continues the development of a unique digital facility which meets the diverse needs of a broad array of repatriation research communities. These extend from Indigenous practitioners and peak organisations working ‘on the ground’, to museum, government and university-based researchers undertaking applied and pure research in a range of disciplines. Part of the complexity in building the
infrastructure is developing functionality appropriate to its diverse user groups and ensuring in form and governance the ethical management of the culturally sensitive information that it contains.
Bios: Daryle Rigney is Professor and Dean of Indigenous Strategy and Engagement, Flinders University. Daryle is from the Ngarrindjeri Nation of the Lower River Murray, Coorong, Lakes and southern Fleurieu Peninsula, South Australia. For many years he has worked on nation-building with Ngarrindjeri leaders and Indigenous and non-Indigenous leaders in Australia, Canada, New Zealand and the United States. He is an affiliated Faculty member with the Indigenous People’s Law and Policy Program and the Native Nations Institute at the University of Arizona. Daryle chairs Ngarrindjeri Enterprises Pty Ltd (NEPL) the economic development company of the Ngarrindjeri Regional Authority (NRA), co-chairs Regional Authority’s Research, Policy and Planning Unit and is a former Director of the Australian Centre for Social Innovation (TACSI). In 2013 Daryle was acknowledged as NAIDOC South Australian Aboriginal person of the year.
Steve Hemming is Associate Dean – Research in the Office of Indigenous Strategy and Engagement at Flinders University where he lectures in Australian Studies, Indigenous Studies and Cultural Studies. He was a long-time curator in the South Australian Museum's Anthropology Division and has been working with Indigenous nations in South Australia for thirty years. He has worked for Indigenous organisations as a community researcher and native title anthropologist. More recently his research has focused on the colonial genealogies of cultural heritage and natural resource management and traditonalist understandings of Indigenous culture. He is also working on community development and governance programs with the Ngarrindjeri nation in South Australia.
Public Lecture and Keynote: Interrogating Western Media Art Forms in One Billion Beats (2016)
Romaine Moreton is Goenpul Jagara of Stradbroke Island and Bundjulung of northern New South Wales.
An internationally recognised writer of poetry, prose and film, she has published over 100 poems, prose and short stories, and three anthologies of her poetry. She has also written and directed two short films, the award winning The Farm (2009) and The Oysterman (2012), and is currently working on three feature films.
In this lecture she will discuss the historicising of Indigenous family storytelling and interrogation of western media art forms performed by her in her new transmedia project “One Billion Beats” - co-written and co-directed with Alana Valentine, music and sound design by Dr Lou Bennett, and visual artistry by Sean Bacon; staged earlier this year at Campbelltown Art Centre, NSW to sold out audiences.
One Billion Beats is a multi-disciplinary work for performance presentation. Combining spoken word poetry, contemporary theatre techniques, music, song, and audio visual imagery, it is an excavation of historical cinematic representation of Aboriginal people in Australian film, interlaced with an autobiographical reflection by Moreton on her experience of being both hostage to and liberated from the constraints of Western paradigms in relation to Indigenous identity. Using a Decolonising framework to interrogate Australian cinematic archive, One Billion Beats examines the colonial gaze and dissects colonial cinematic representations of the Indigenous body to assert new frames of understanding by engaging with works held at the Australian National Film and Sound Archive.
Bio: Romaine Moreton was Research Fellow/Filmmaker-in-Residence in the School of Media, Film and Journalism at Monash University from 2014-2016. She worked with Therese Davis (Monash) and Chris Healy (University of Melbourne) on the ARC-funded project: “Australian Film and Television: New Frames of Understanding.” She is also developing three feature film projects. Dr Moreton is co-director of Binung Boorigan Pty Ltd, an arts research and production company co-founded with Dr Lou Bennett, University of Melbourne.
Registration for conference: https://pay.flinders.edu.au/Trans/tran?tran-type=SOH030
Some bursaries are available to cover registration for postgrads and the unwaged.
Registration for public lecture is free but essential:
Info on parking, public transport and accommodation: