Law Commons^™

Biopolitical Correspondences: Settler Nationalism, Thanatopolitics, And The Perils Of Hybridity, Michael R. Griffiths

Faculty of Law, Humanities and the Arts - Papers (Archive)

'How does (post)colonial literary culture, so often annexed to nationalist concerns, interface with what Michel Foucalt called biopolitics? Biopolitics can be defined as the regularisation of a population according to the perceived insistence on norms. Indeed, biopolitics is crucially concerned with what is perceptible at the macroscopic level of an entire population - often rendering its operations blind to more singular, small, identitarian, or even communitarian representations and imaginaries. Unlike the diffuse, microscopic, governmental mechanisms of surveillance that identify the need for disciplinary interventions, biopolitics concerns itself with the regularisation of societies on a large scale, notably through demography. As …

Philippine Territorial Boundaries: Internal Tensions, Colonial Baggage, Ambivalent Conformity, Lowell Bautista

Faculty of Law, Humanities and the Arts - Papers (Archive)

The territorial boundaries of the Philippines, inherited from Spain and the United States in 1898, are disputed in international law. The boundaries of the Philippines are not recognised by the international community for two principal reasons: first, because of the fundamental position of the Philippines that the limits of its national territory are the boundaries laid down in the 1898 Treaty of Paris which ceded the Philippines from Spain to the United States; and second, is its claim that all the waters embraced within these imaginary lines are its territorial waters. The Philippine Government is not unaware of these issues …

Choreography Of War Reportage; Pathfinder Closing; Dream Weapon; Protean World - Works Of Art Exhibited In The Exhibition Ten Years Of Contemporary Art: The James C Sourris Collection, Madeleine T. Kelly

Faculty of Law, Humanities and the Arts - Papers (Archive)

Madeleine Kelly’s paintings present an inscrutable iconography, drawing on complex associations — from contemporary politics to classical mythology and the artist’s own concern with environmental degradation. While Kelly often engages topical issues, her work is never didactic.

These two paintings were created out of the artist’s concern with humanity’s dependence on fossil fuels and the devastating consequences this will have. Kelly says she ‘investigated the archaeological metaphor and its potential to create new meaning . . . to represent our relationship with the environment, both natural and artificial’. The end result is a persistent sense of foreboding.

Other Side Art: Trevor Nickolls, Ian Mclean

Faculty of Law, Humanities and the Arts - Papers (Archive)

In a review of Gordon Bennett's retrospective at the National Gallery of Victoria in 2007, Rex Butler claimed that there have been two revolutions in Australian art, the first at Papunya in 1971 and the second, an echo of the first, around 1990, when Bennett burst upon the scene.

Report On Remembering Forward Forum, Cologne, Ian Mclean

Faculty of Law, Humanities and the Arts - Papers (Archive)

Exhibiting Aboriginal art was a symposium organised by the Museum Ludwig, Cologne on 17-18 February 2011, in cooperation with the Institute of Art History of the University of Basel, as part of the exhibition Remembering Forward. Kasper König, Claus Volkenandt, Emily Evans and Frank Wolf organized the symposium. This article is based on closing remarks I gave at the seminar.

Hollow Mark, Madeleine T. Kelly

Faculty of Law, Humanities and the Arts - Papers (Archive)

At three metres in height, the figure of a man looms over the viewer. Painted on two fibreglass resin panels with a thin wash of paint in muted, sombre colours, the man is stretched and anamorphically distorted. His elongated legs seem to enable him to reach towards the sky, so it takes a moment to realize that this is a figure with no head or face, an anonymous figure burdened by two heavy bags of books that bend his back and drag his arms groundward.