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Journal articles on the topic 'Landscape painting, Austrian'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Śnieżyńska-Stolot, Ewa. "Maksymilian Cercha malarz Tatr. Z cyklu „Zapomniani mieszkańcy Krakowa”." Rocznik Biblioteki Naukowej PAU i PAN 65 (2020): 131–39. http://dx.doi.org/10.4467/25440500rbn.20.009.14168.

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Maksymilian Cercha a Painter of the Tatras. From the “Forgotten Citizens of Kraków” Series Maksymilian Cercha (1818–1907), whose life was linked to Kraków, was born in an assimilated Italian family and is known as a drawer, cataloguer of gravestones in the churches of Kraków and a co-author of a publication titled the Monuments of Kraków. In this paper however, his Tatra-themed paintings are discussed, which are yet to be included in the Art History. Cercha was Jan Nepomucen Głowacki’s student, who established Tatra mountains themed landscape painting in Kraków. In the summertime, he used to t

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Zhang, Chunyan. "“Civilizing Nature” in Australian Painting." Advances in Social Sciences Research Journal 9, no. 12 (2022): 328–38. http://dx.doi.org/10.14738/assrj.912.13639.

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In Australian paintings and literary works of the colonial period, the wilderness and the Aboriginal people were represented as natural hurdles to be crossed and overcome, elements to be struggled against by the colonists who were attempting to “appropriate the environment exclusively to a British agenda of ‘civilization’ .” [1] This is manifestation of the Darwinian evolutionary rhetoric, the idea that societies progress from hunter-gatherer to Western industrialism in a linear hierarchy. This theme is prevalent in paintings and literature. Establishing this narrative was of paramount importa

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Taylor, Ken. "A Symbolic Australian Landscape: Images in Writing and Painting." Landscape Journal 11, no. 2 (1992): 127–43. http://dx.doi.org/10.3368/lj.11.2.127.

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Diprose, Rosalyn. "The Art of Dreaming: Merleau-Ponty and Petyarre on Flesh Expressing a World." Cultural Studies Review 12, no. 1 (2013): 32–43. http://dx.doi.org/10.5130/csr.v12i1.3411.

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I do not understand painting very well, and especially not Australian Indigenous painting, the dot painting of Western and Central Desert artists such as Kathleen Petyarre. I grew up without art on the wall, among gum trees, red dirt, dying wattle, and ‘two thirds (blue) sky’. While this might suggest that I inhabit the same landscape as Petyarre, I also grew up without ‘the Dreaming’, the meaning that this dot painting is said to be about. How and why then can this painting have the impact on me that it does? And, given the history of colonisation in Australia, including the colonisation of I

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Myers, Fred. "Emplacement and Displacement: Perceiving the Landscape Through Aboriginal Australian Acrylic Painting." Ethnos 78, no. 4 (2013): 435–63. http://dx.doi.org/10.1080/00141844.2012.726635.

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Royo-Grasa, Pilar. "Painting the Australian Landscape with a South-Asian Brush: An Interview with Roanna Gonsalves." Le Simplegadi, no. 18 (November 2018): 283–93. http://dx.doi.org/10.17456/simple-119.

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Heckenberg, Kerry. "Conflicting Visions: The Life and Art of William George Wilson, Anglo-Australian Gentleman Painter." Queensland Review 13, no. 1 (2006): 1–21. http://dx.doi.org/10.1017/s1321816600004244.

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Research for this paper was prompted by the appearance of a group of nine small landscape paintings of the Darling Downs area of Queensland, displayed in the Seeing the Collection exhibition at the University Art Museum (UAM), University of Queensland from 10 July 2004 until 23 January 2005. Relatively new to the collection (they were purchased in 2002), they are charming, small works, and are of interest principally because they are late-colonial depictions of an area that was of great significance in the history of Queensland.

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Medynska-Gulij, Beata. "Who were cartographers of manuscript topographic maps in the Enlightenment?" Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-247-2019.

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<p><strong>Abstract.</strong> The most difficult challenge is to provide the name of the cartographer, i.e. the author of graphic picture of topography with the use of watermedia on paper, for each important European topographic work. Even though we know the names of chiefs of survey and the most important engineers in field mapping teams, it is not possible to precisely describe their role in creating graphic style for fair copy. The aim of this study was to identify several types of design authorship of manuscript topographic maps in the Enlightenment.</p><p>Wre

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Romanenkova, Julia V. "Archetypes of Boris Smotrov`s works as a tool for national self-identification of the individual in chaotic conditions of the turn of the 21st century." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 237–48. http://dx.doi.org/10.37816/2073-9567-2021-60-237-248.

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The paper discusses the works of Moscow artist Boris Smotrov. It provides a general analysis of the tools of his artistic style as well as the data on his main vectors of creative activity (painting, poster graphics). The author dwells on the master’s works in the field of painting, focusing on national themes. The study distinguishes dominant blocks of the painter's works (landscape, thematic painting), detects specifics of the artistic language, methods of working with color, his mastering of the line and pays attention to the interaction of painting and graphics in B. Smotrov’s creative bag

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Russo, Kathleen Lucey. "Elisabeth Vigée-LeBrun: Artist, Adventurer, Auto-Biographer." Paragone Past and Present 6, no. 1 (2025): 1–28. https://doi.org/10.1163/24761168-00601001.

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Abstract Elisabeth Vigée-LeBrun (1755–1842) was one of the most prolific and successful portrait painters in history. She was patronized by many powerful and aristocratic people of the age, most notably Queen Marie Antoinette, of whom she painted many portraits and with whom she had much in common. This included scandal for both of these women of the same age, particularly regarding rumored lovers. The Comte de Vaudreuil and the Comte de Calonne were two of these men painted by Vigée-LeBrun. Vigée-LeBrun also painted many beautiful self-portraits, including those with her daughter, Julie. Some

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Sillasoo, Ülle. "Landscapes, Vegetation, and Folklore in Late Medieval Art: An Iconographic Study Based on Selected Austrian and South German Panel Paintings." Landscape Research 39, no. 4 (2013): 455–79. http://dx.doi.org/10.1080/01426397.2012.761188.

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Davis, Susan. "Wildflowering culture: Kathleen McArthur and creating a popular wildflower consciousness." Australasian Journal of Popular Culture 9, no. 1 (2020): 67–82. http://dx.doi.org/10.1386/ajpc_00016_1.

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Changing people’s hearts and minds requires courage, conviction and creativity. To change attitudes and reach the public consciousness, a diverse range of communicative and cultural tools need to be employed. Australian artist and conservationist Kathleen McArthur rose to the challenge using all the forms that were available to her. Working with others such as renowned poet Judith Wright, she sought to change the way Australians regarded our native plants and landscapes. Kathleen understood that to protect the precious environments that remained would require reaching out to ordinary Australia

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Aires Franceschini, Marcele. "Idyllic Self in Africa (2000), by Ken Taylor and in Boy (2010), by Taika Waititi: a literary-cinematographic dialogue." Acta Scientiarum. Language and Culture 41, no. 2 (2019): e45306. http://dx.doi.org/10.4025/actascilangcult.v41i2.45306.

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The idyllic approach of this article deals with the dialogue between two distinct artworks: poems from the book Africa (Taylor, 2000), emphasizing the poem ‘Waikiki’, by the Australian poet, journalist and filmmaker Ken Taylor; and the movie Boy (Curtis, Gardiner, & Michael, 2010), directed by the New Zealander film-director, actor and writer Taika Waititi. The poems and the movie are connected by synesthetic perceptions, mostly related to painting, colorizing and shaping that are displayed in the described scenarios. Hereby, these aspects were theoretically reviewed by the following autho

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Porter, Glenn. "Out of the shadows: A photo-essay of antipodean colonisation, resistance and massacres." Crime, Media, Culture: An International Journal, January 9, 2025. https://doi.org/10.1177/17416590241312156.

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Landscape photography can be classic renditions of the natural environment within a picturesque tradition found in early English landscape paintings; however, culturally, it can also mean images of other types of environments involving humanity, including human interactions reminiscent of urbanscapes, industrial environments, cityscapes, sites of violent crime, engagement of war and others. Critically, landscape imagery within visual arts also functions within a rhetorical political context by forming concepts of national identity. While this photo-essay comprises of landscape images, the work

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Bywaters, Malcom, and Shaun Wilson. "The Land." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3022.

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One of the most important issues that surround human inhabitancy is our relationship and experience with land. No matter the territory, climate, or locality where lands prevail, our agency and very survival is dependent on the liveability of our own inhabitancy. Land therefore is a haven by which we dwell, move through, and exist to forge our experiences through geography. More so, though, land is an essence of how we communicate, feel, identify, and move through locality. If place describes the way we emotionally connect to our localities, then land itself become a necessary connection within

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Bywaters, Malcom. "Going Public." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3129.

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This article is developed for the purpose of exploring visual art as a case study of two landscape paintings as trauma management for the male cancer carer. Artists such as Louise Bourgeois, Tracey Emin, Marina Abramovic, and Anselm Kiefer have all worked with the concept of emotional suffering and its aftermath. Surgery, radiation, and chemotherapy can be effective in treating cancer, but these do not cure the mental health effects, which can be just as debilitating to the sufferer and primary carer. Resilience, financial difficulty, the presence of chronic diseases, and the severity of nause

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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer

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Lindenmayer, David, Chris Taylor, Elle Bowd, and Philip Zylstra. "What did it used to look like? A case study from tall, wet mainland Mountain Ash forests prior to British invasion." Austral Ecology 49, no. 4 (2024). http://dx.doi.org/10.1111/aec.13520.

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AbstractThere has been extensive commentary about historical First Nations' land management in Australia, including in tall, wet forests, and therefore their condition at the time of the British invasion in 1788. Popular texts have interpreted records kept by early British invaders to argue that extensive areas of tall, wet forest were kept open through frequent burning by the First Peoples. However, these interpretations conflict with historical and ecological evidence, which is rarely acknowledged in public discourse. Here, we present evidence about what Victorian Mountain Ash (Eucalyptus re

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Masson, Sophie Veronique. "Fairy Tale Transformation: The Pied Piper Theme in Australian Fiction." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1116.

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The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a pi

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Davis, Susan. "Wandering and Wildflowering: Walking with Women into Intimacy and Ecological Action." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1566.

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Hidden away at the ends of streets, behind suburban parks and community assets, there remain remnants of the coastal wallum heathlands that once stretched from Caloundra to Noosa, in Queensland, Australia. From late July to September, these areas explode with colour, a springtime wonderland of white wedding bush, delicate ground orchids, the pastels and brilliance of pink boronias, purple irises, and the diverse profusion of yellow bush peas. These gifts of nature are still relatively unknown and unappreciated, with most locals, and Australians at large, having little knowledge of the remarkab

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Moore, Kyle. "Painting the Town Blue and Green: Curating Street Art through Urban Mobile Gaming." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1010.

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Released in 2012 as an Android only open-beta, Ingress is an alternate-reality game for mobile devices. Developed by Niantic Labs, a subsidiary of Google, Ingress now has 7 million users worldwide (Ingress) on both Android and Apple operating systems. Players are aligned to one of two opposing factions, the Resistance (Blue) and the Enlightened (Green). Working on behalf of their faction, individual players interact with “portals” in order to establish dominance over material environments. Portals are located at places of educational or historical value, public artworks, “hyper-local” location

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Redden, Guy. "Packaging the Gifts of Nation." M/C Journal 2, no. 7 (1999). http://dx.doi.org/10.5204/mcj.1800.

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The contemporary supermarket is a work of classification and cataloguing as marvellous as any museum. Barcodes are hallmarks by which its computer systems could know, in their own electronic language, every possible product of a certain kind afoot in the nation. It is a rather special institution in this respect -- a huge fund of contemporary synchronic cultural memory, a database and storehouse of collected human tastes to which individuals turn to seek out their own. However, this means that just as Wittgenstein demonstrated the impossibility of a purely private language, there can be no suc

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Coull, Kim. "Secret Fatalities and Liminalities: Translating the Pre-Verbal Trauma and Cellular Memory of Late Discovery Adoptee Illegitimacy." M/C Journal 17, no. 5 (2014). http://dx.doi.org/10.5204/mcj.892.

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I was born illegitimate. Born on an existential precipice. My unwed mother was 36 years old when she relinquished me. I was the fourth baby she was required to give away. After I emerged blood stained and blue tinged – abject, liminal – not only did the nurses refuse me my mother’s touch, I also lost the sound of her voice. Her smell. Her heart beat. Her taste. Her gaze. The silence was multi-sensory. When they told her I was dead, I also lost, within her memory and imagination, my life. I was adopted soon after but not told for over four decades. It was too shameful for even me to know. Impri

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Lombard, Kara-Jane. "“To Us Writers, the Differences Are Obvious”." M/C Journal 10, no. 2 (2007). http://dx.doi.org/10.5204/mcj.2629.

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   Introduction It appears that graffiti has begun to clean up its act. Escalating numbers of mature graffiti writers feel the removal of their graffiti has robbed them of a history, and are turning to legal projects in an effort to restore it. Phibs has declared the graffiti underground “limited” and Kano claims its illegal aspect no longer inspires him (Hamilton, 73). A sign of the times was the exhibition Sake of Name: Australian Graffiti Now which opened at the Wharf 2 Theatre in January 2001. The exhibition was commissioned by the Sydney Theatre Company and comprised twe

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Ryan, John C., Danielle Brady, and Christopher Kueh. "Where Fanny Balbuk Walked: Re-imagining Perth’s Wetlands." M/C Journal 18, no. 6 (2016). http://dx.doi.org/10.5204/mcj.1038.

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Special Care Notice This article contains images of deceased people that might cause sadness or distress to Aboriginal and Torres Strait Islander readers. Introduction Like many cities, Perth was founded on wetlands that have been integral to its history and culture (Seddon 226–32). However, in order to promote a settlement agenda, early mapmakers sought to erase the city’s wetlands from cartographic depictions (Giblett, Cities). Since the colonial era, inner-Perth’s swamps and lakes have been drained, filled, significantly reduced in size, or otherwise reclaimed for urban expansion (Bekle). N

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Hair, Margaret. "Invisible Country." M/C Journal 8, no. 6 (2005). http://dx.doi.org/10.5204/mcj.2460.

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   The following article is in response to a research project that took the form of a road trip from Perth to Lombadina re-enacting the journey undertaken by the characters in the play Bran Nue Dae by playwright Jimmy Chi and Broome band Kuckles. This project was facilitated by the assistance of a Creative and Research Publication Grant from the Faculty of Communications and Creative Industries, Edith Cowan University, Western Australia. The project was carried out by researchers Kara Jacob and Margaret Hair.  One thing is plainly clear. Aboriginal art expresses t

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Bywater, Eden, and Bronwyn Fredericks. "Country under Concrete." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3087.

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WARNING: Aboriginal and/or Torres Strait Islander peoples should be aware that this article contains reference to people who have passed away, and content that may cause sadness and distress. Dr Bob Morgan writes ‘my culture and worldview is centred in Gumilaroi land and its people, it is who I am and will always be. I am my country’ (Morgan 202). Morgan and other Indigenous Australian scholars (see Moreton-Robinson, The White Possessive; Dodson; Rose, Nourishing Terrains) identify themselves through their cultural and spiritual connections to specific areas of land and the peoples of those la

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Morley, Sarah. "The Garden Palace: Building an Early Sydney Icon." M/C Journal 20, no. 2 (2017). http://dx.doi.org/10.5204/mcj.1223.

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IntroductionSydney’s Garden Palace was a magnificent building with a grandeur that dominated the skyline, stretching from the site of the current State Library of New South Wales to the building that now houses the Sydney Conservatorium of Music. The Palace captivated society from its opening in 1879. This article outlines the building of one of Sydney’s early structural icons and how, despite being destroyed by fire after three short years in 1882, it had an enormous impact on the burgeoning colonial community of New South Wales, thus building a physical structure, pride and a suite of memori

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Brien, Donna Lee. "Disclosure in Biographically-Based Fiction: The Challenges of Writing Narratives Based on True Life Stories." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.186.

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As the distinction between disclosure-fuelled celebrity and lasting fame becomes difficult to discern, the “based on a true story” label has gained a particular traction among readers and viewers. This is despite much public approbation and private angst sometimes resulting from such disclosure as “little in the law or in society protects people from the consequences of others’ revelations about them” (Smith 537). Even fiction writers can stray into difficult ethical and artistic territory when they disclose the private facts of real lives—that is, recognisably biographical information—in thei

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Gulliver, Robyn. "Iconic 21st Century Activist "T-Shirt and Tote-Bag" Combination Is Hard to Miss These Days!" M/C Journal 25, no. 4 (2022). http://dx.doi.org/10.5204/mcj.2922.

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Introduction Fashion has long been associated with resistance movements across Asia and Australia, from the hand-spun cotton Khadi of Mahatma Gandhi’s freedom struggle to the traditional ankle length robe worn by Tibetans in the ‘White Wednesday Movement’ (Singh et al.; Yangzom). There are many reasons why fashion and activism have been interlinked. Fashion can serve as a form of nonverbal communication (Crane), which can convey activists’ grievances and concerns while symbolising solidarity (Doerr). It can provide an avenue to enact individual agency against repressive, authoritarian regimes

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Ryan, Robin Ann. "Forest as Place in the Album "Canopy": Culturalising Nature or Naturalising Culture?" M/C Journal 19, no. 3 (2016). http://dx.doi.org/10.5204/mcj.1096.

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Every act of art is able to reveal, balance and revive the relations between a territory and its inhabitants (François Davin, Southern Forest Sculpture Walk Catalogue)Introducing the Understory Art in Nature TrailIn February 2015, a colossal wildfire destroyed 98,300 hectares of farm and bushland surrounding the town of Northcliffe, located 365 km south of Perth, Western Australia (WA). As the largest fire in the recorded history of the southwest region (Southern Forest Arts, After the Burn 8), the disaster attracted national attention however the extraordinary contribution of local knowledge

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D'Aloia, Alessandro. "Paraliminal Conceptuality and the Abstract of Infinity, or Film Philosophy into LLMs Will Do Fine." M/C Journal 27, no. 5 (2024). http://dx.doi.org/10.5204/mcj.3098.

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This article questions whether there exists a difference between the actuality and the virtuality of land as a means of image or scapeness with regard to Ben Koder’s Looking Glass Quilt and John Power’s work on generative ambient screens in public spaces as encounters. It also challenges, but more along the lines of plays with, Jeff Malpas’s contestation of space as a concept that is central to the notion of geographical thinking in the absence of a geography, but with an emphasis on the relational view of space that has come to dominate geography and the social sciences as an elucidation of s

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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i

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Elliott, Susie. "Irrational Economics and Regional Cultural Life." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1524.

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IntroductionAustralia is at a particular point in its history where there is a noticeable diaspora of artists and creative practitioners away from the major capitals of Sydney and Melbourne (in particular), driven in no small part by ballooning house prices of the last eight years. This has meant big changes for some regional spaces, and in turn, for the face of Australian cultural life. Regional cultural precincts are forming with tourist flows, funding attention and cultural economies. Likewise, there appears to be growing consciousness in the ‘art centres’ of Melbourne and Sydney of interes

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Brien, Donna Lee. "Forging Continuing Bonds from the Dead to the Living: Gothic Commemorative Practices along Australia’s Leichhardt Highway." M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.858.

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The Leichhardt Highway is a six hundred-kilometre stretch of sealed inland road that joins the Australian Queensland border town of Goondiwindi with the Capricorn Highway, just south of the Tropic of Capricorn. Named after the young Prussian naturalist Ludwig Leichhardt, part of this roadway follows the route his party took as they crossed northern Australia from Morton Bay (Brisbane) to Port Essington (near Darwin). Ignoring the usual colonial practice of honouring the powerful and aristocratic, Leichhardt named the noteworthy features along this route after his supporters and fellow expediti

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Gibson, Prue. "Body of Art and Love." M/C Journal 15, no. 4 (2012). http://dx.doi.org/10.5204/mcj.474.

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The phenomenological experience of art is one of embodied awareness. Now more than ever, as contemporary art becomes more interactive and immersive, our perceptions of embodiment are useful tools to gauge the efficacy of visual art as a stimulus for knowledge, new experience and expression. Art has a mimetic and interactive relationship with the world. As Schopenhauer said, “The world is my representation” (3). So which takes effect first: the lungful of excited breath or the synapses, is it the miasmic smell of dust on whirring video projectors or the emotion? When we see great art (in this i

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Sturm, Ulrike, Denise Beckton, and Donna Lee Brien. "Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students." M/C Journal 18, no. 4 (2015). http://dx.doi.org/10.5204/mcj.1000.

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Introduction The exhibition of an artist’s work is traditionally accepted as representing the final stage of the creative process (Staniszewski). This article asks, however, whether this traditional view can be reassessed so that the curatorial practice of mounting an exhibition becomes, itself, a creative outcome feeding into work that may still be in progress, and that simultaneously operates as a learning and teaching tool. To provide a preliminary examination of the issue, we use a single case study approach, taking an example of practice currently used at an Australian university. In this

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Gerrand, Vivian, Kim Lam, Liam Magee, Pam Nilan, Hiruni Walimunige, and David Cao. "What Got You through Lockdown?" M/C Journal 26, no. 4 (2023). http://dx.doi.org/10.5204/mcj.2991.

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Introduction While individuals from marginalised and vulnerable communities have long been confronted with the task of developing coping strategies, COVID-19 lockdowns intensified the conditions under which resilience and wellbeing were/are negotiated, not only for marginalised communities but for people from all walks of life. In particular, the pandemic has highlighted in simple terms the stark divide between the “haves” and “have nots”, and how pre-existing physical conditions and material resources (or lack thereof), including adequate income, living circumstances, and access to digital an

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Ensminger, David Allen. "Populating the Ambient Space of Texts: The Intimate Graffiti of Doodles. Proposals Toward a Theory." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.219.

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In a media saturated world, doodles have recently received the kind of attention usually reserved for coverage of racy extra marital affairs, corrupt governance, and product malfunction. Former British Prime Minister Blair’s private doodling at a World Economic Forum meeting in 2005 raised suspicions that he, according to one keen graphologist, struggled “to maintain control in a confusing world," which infers he was attempting to cohere a scattershot, fragmentary series of events (Spiegel). However, placid-faced Microsoft CEO Bill Gates, who sat nearby, actually scrawled the doodles. In this

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Gorman-Murray, Andrew, and Robyn Dowling. "Home." M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2679.

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   Previously limited and somewhat neglected as a focus of academic scrutiny, interest in home and domesticity is now growing apace across the humanities and social sciences (Mallett; Blunt, “Cultural Geographies of Home”; Blunt and Dowling). This is evidenced in the recent publication of a range of books on home from various disciplines (Chapman and Hockey; Cieraad; Miller; Chapman; Pink; Blunt and Dowling), the advent in 2004 of a new journal, Home Cultures, focused specifically on the subject of home and domesticity, as well as similar recent special issues in several othe

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Radywyl, Natalia. "A Moment's Daydreaming." M/C Journal 12, no. 1 (2009). http://dx.doi.org/10.5204/mcj.118.

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Drift: An IntroductionEntering into Drift is akin to entering—or becoming ensnared by—a hum. Projected across one wall, the work uses abstract visual forms to draw visitors into its meditational folds. Quadraphonic sound circulates in smooth, heavy pulses, like the steady rumble of a train running over deep-set tracks. A succession of vibrating lines occupy the screen, much like the horizontal static of a poorly-tuned television. Gradually, the ambient timbre darkens, the hum becomes more persistent and atmospheric undulations more frequent, until room and body expand with intensity. Throbbing

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Kuang, Lanlan. "Staging the Silk Road Journey Abroad: The Case of Dunhuang Performative Arts." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1155.

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The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sou

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Holloway, Donell Joy, and David Anthony Holloway. "Everyday Life in the "Tourist Zone"." M/C Journal 14, no. 5 (2011). http://dx.doi.org/10.5204/mcj.412.

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This article makes a case for the everyday while on tour and argues that the ability to continue with everyday routines and social relationships, while at the same time moving through and staying in liminal or atypical zones of tourist locales, is a key part of some kinds of tourist experience. Based on ethnographic field research with grey nomads (retirees who take extended tours of Australia in caravans and motorhomes) everyday life while on tour is examined, specifically the overlap and intersection between the out-of-the-ordinary “tourist zone” and the ordinariness of the “everyday zone.”

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Coghlan, Jo, Lisa J. Hackett, and Huw Nolan. "Barbie." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3072.

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The story of Barbie is a tapestry woven with threads of cultural significance, societal shifts, and corporate narratives. It’s a tale that encapsulates the evolution of American post-war capitalism, mirroring the changing tides of social norms, aspirations, and identities. Barbie’s journey from Germany to Los Angeles, along the way becoming a global icon, is a testament to the power of Ruth Handler’s vision and Barbie’s marketing. Barbie embodies and reflects the rise of mass consumption and the early days of television advertising, where one doll could become a household name and shape the dr

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Kay, Louise, Silke Brandsen, Carmen Jacques, Francesca Stocco, and Lorenzo Giuseppe Zaffaroni. "Children’s Digital and Non-Digital Play Practices with Cozmo, the Toy Robot." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2943.

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Introduction This article reports on the emerging findings from a study undertaken as part of an international research collaboration (Australia, Belgium, Italy, UK; DP180103922) exploring the benefits and risks of the Internet of Toys (IoToys). IoToys builds upon technological innovations such as smartphone apps that remotely control home-based objects, and wearable technologies that measure sleep patterns and exercise regimes (Holloway and Green). Mascheroni and Holloway summarise the features of IoToys as entities that users can program, with human-toy interactivity, and which have network

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