Bibliografie tematiche / Warlpiri (Australian people) Art

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Letteratura scientifica selezionata sul tema "Warlpiri (Australian people) Art"

Autore: Grafiati

Pubblicato: 10 dicembre 2022

Ultima modifica: 28 gennaio 2023

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Articoli di riviste sul tema "Warlpiri (Australian people) Art"

Meakins, Felicity, e Carmel O’Shannessy. "Typological constraints on verb integration in two Australian mixed languages",. Journal of Language Contact 5, n. 2 (2012): 216–46. http://dx.doi.org/10.1163/19552629-006001001.

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Abstract Gurindji Kriol and Light Warlpiri are two mixed languages spoken in northern Australia by Gurindji and Warlpiri people, respectively. Both languages are the outcome of the fusion of a contact variety of English (Kriol/Aboriginal English) with a traditional Australian Aboriginal language (Gurindji or Warlpiri). The end result is two languages which show remarkable structural similarity. In both mixed languages, pronouns, TMA auxiliaries and word order are derived from Kriol/Aboriginal English, and case-marking and other nominal morphology come from Gurindji or Warlpiri. These structural similarities are not surprising given that the mixed languages are derived from typologically similar languages, Gurindji and Warlpiri (Ngumpin-Yapa, Pama-Nyungan), and share the Kriol/Aboriginal English component. Nonetheless, one of the more striking differences between the languages is the source of verbs. One third of the verbs in Gurindji Kriol is derived from Gurindji, whereas only seven verbs in Light Warlpiri are of Warlpiri origin. Additionally verbs of Gurindji origin in Gurindji Kriol are derived from coverbs, whereas the Warlpiri verbs in Light Warlpiri come from inflecting verbs. In this paper we claim that this difference is due to differences in the complex verb structure of Gurindji and Warlpiri, and the manner in which these complex verbs have interacted with the verb structure of Kriol/English in the formation of the mixed languages.

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Curran, Georgia. "Desert Dreamers: With the Warlpiri People of Australia, by Barbara Glowczewski". Anthropological Forum 27, n. 3 (27 giugno 2017): 281–83. http://dx.doi.org/10.1080/00664677.2017.1345454.

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Shaw, Margaret. "AARTI: Australian Art Index". Art Libraries Journal 11, n. 1 (1986): 17–20. http://dx.doi.org/10.1017/s0307472200004454.

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The Australian Art Index, AARTI, is one of a group of data bases within the Ausinet network which will, between them, cover contemporary Australian art and architecture on a national basis. National coverage is possible because of the small size of the Australian population, the existence of people prepared to take on the task with managements to back them and the availability of a network with the flexibility to take data in a wide range of formats. AARTI contains records of four types: monographs, journal articles, exhibitions and artists’ profiles. By April 1985 it contained some 9,500 records available online with a microfiche alternative for non-Ausinet members.

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Beudel, Saskia, e Margo Daly. "Gallant Desert Flora: Olive Pink’s Australian Arid Regions Flora Reserve". Historical Records of Australian Science 25, n. 2 (2014): 227. http://dx.doi.org/10.1071/hr14016.

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In the mid-1950s Olive Pink campaigned to have an area of land in Alice Springs set aside as a flora reserve. In 1956 the area was gazetted as the Australian Arid Regions Flora Reserve, with Pink appointed as honorary curator. Although Pink was not a professional horticulturalist or botanist, she established a garden that marked itself out from contemporary gardens, such as Maranoa Gardens and the Australian National Botanic Gardens, which were similarly committed to showcasing indigenous Australian plants. Pink's approach was pioneering in that she aimed to create a collection of plants selected by a delineated ‘climatic zone' and geographic area rather than drawn from all parts of the continent. This article argues that Pink developed a distinctive form of horticultural work informed by her passion for and close artistic observation of desert flora; her long experience establishing and maintaining gardens under central Australian ecological conditions; along with her anthropological insight into Indigenous knowledge of flora gained through her studies with Arrernte and Warlpiri people. Today we might recognize the principles that informed Pink's garden through the concepts of ‘water-wise gardens' and environmental sustainability practices.

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Wilczyńska, Elżbieta. "The Return of the Silenced: Aboriginal Art as a Flagship of New Australian Identity". Australia, n. 28/3 (15 gennaio 2019): 71–84. http://dx.doi.org/10.7311/0860-5734.28.3.07.

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The paper examines the presence of Aboriginal art, its contact with colonial and federation Australian art to prove that silencing of this art from the official identity narrative and art histories also served elimination of Aboriginal people from national and identity discourse. It posits then that the recently observed acceptance and popularity as well as incorporation of Aboriginal art into the national Australian art and art histories of Australian art may be interpreted as a sign of indigenizing state nationalism and multicultural national identity of Australia in compliance with the definition of identity according to Anthony B. Smith.

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Butler, Sally. "Inalienable Signs and Invited Guests: Australian Indigenous Art and Cultural Tourism". Arts 8, n. 4 (6 dicembre 2019): 161. http://dx.doi.org/10.3390/arts8040161.

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Australian Indigenous people promote their culture and country in the context of tourism in a variety of ways but the specific impact of Indigenous fine art in tourism is seldom examined. Indigenous people in Australia run tourism businesses, act as cultural guides, and publish literature that help disseminate Indigenous perspectives of place, homeland, and cultural knowledge. Governments and public and private arts organisations support these perspectives through exposure of Indigenous fine art events and activities. This exposure simultaneously advances Australia’s international cultural diplomacy, trade, and tourism interests. The quantitative impact of Indigenous fine arts (or any art) on tourism is difficult to assess beyond exhibition attendance and arts sales figures. Tourism surveys on the impact of fine arts are rare and often necessarily limited in scope. It is nevertheless useful to consider how the quite pervasive visual presence of Australian Indigenous art provides a framework of ideas for visitors about relationships between Australian Indigenous people and place. This research adopts a theoretical model of ‘performing cultural landscapes’ to examine how Australian Indigenous art might condition tourists towards Indigenous perspectives of people and place. This is quite different to traditional art historical hermeneutics that considers the meaning of artwork. I argue instead that in the context of cultural tourism, Australian Indigenous art does not convey specific meaning so much as it presents a relational model of cultural landscape that helps condition tourists towards a public realm of understanding Indigenous peoples’ relationship to place. This relational mode of seeing involves a complex psychological and semiotic framework of inalienable signification, visual storytelling, and reconciliation politics that situates tourists as ‘invited guests’. Particular contexts of seeing under discussion include the visibility of reconciliation politics, the remote art centre network, and Australia’s urban galleries.

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Daley, Linda. "This Photograph, These People and the Invention of Australian Indigenous Art". Third Text 24, n. 6 (29 ottobre 2010): 665–79. http://dx.doi.org/10.1080/09528822.2010.517915.

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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance". Twentieth-Century Music 17, n. 1 (24 ottobre 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.

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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.

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Cox, Anna, e Victoria Clydesdale. "Re-engaging disenfranchised Australian youth with education through explorations of self-identity, experiences and expression in Art". Polish Journal of Educational Studies 71, n. 1 (1 dicembre 2018): 171–84. http://dx.doi.org/10.2478/poljes-2018-0014.

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AbstractThis small scale research project undertaken in Australia investigates how an art-based approach can re-engage disenfranchised young people into education. The project was undertaken as part of Postgraduate Certificate in Education programme by the main researcher in Australia, at an educational setting for disenfranchised young people. The collection and analysis of qualitative data demonstrates how art stimulates students’ interest and provides support in self-expression and communication. Methodological strategies involved visual art activities that promote self-confidence and self-esteem, which enhance well-being and supportive teaching relationships. Using self-reflexivity through visual creativity was found to help participants in developing more positive self-image and enhanced their self-confidence as learners.

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Goldstein, Ilana Seltzer. "Visible art, invisible artists? the incorporation of aboriginal objects and knowledge in Australian museums". Vibrant: Virtual Brazilian Anthropology 10, n. 1 (giugno 2013): 469–93. http://dx.doi.org/10.1590/s1809-43412013000100019.

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The creative power and the economic valorization of Indigenous Australian arts tend to surprise outsiders who come into contact with it. Since the 1970s Australia has seen the development of a system connecting artist cooperatives, support policies and commercial galleries. This article focuses on one particular aspect of this system: the gradual incorporation of Aboriginal objects and knowledge by the country's museums. Based on the available bibliography and my own fieldwork in 2010, I present some concrete examples and discuss the paradox of the omnipresence of Aboriginal art in Australian public space. After all this is a country that as late as the nineteenth century allowed any Aborigine close to a white residence to be shot, and which until the 1970s removed Indigenous children from their families for them to be raised by nuns or adopted by white people. Even today the same public enchanted by the indigenous paintings held in the art galleries of Sydney or Melbourne has little actual contact with people of Indigenous descent.

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Tesi sul tema "Warlpiri (Australian people) Art"

Rivett, Mary I. "Yilpinji art 'love magic' : changes in representation of yilpinji 'love magic' objects in the visual arts at Yuendumu /". Title page, table of contents and abstract only, 2005. http://web4.library.adelaide.edu.au/theses/09ARAH.M/09arah.mr624.pdf.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.
Coursework. "January, 2005" Bibliography: leaves 108-112.

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Stotz, Gertrude, e mikewood@deakin edu au. "Kurdungurlu got to drive Toyota: Differential colonizing process among the Warlpiri". Deakin University, 1993. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20051110.142617.

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This thesis is based on fieldwork I carried out between December 1987 and June 1989 while living with the residents of a small Warlpiri Outstation Community situated ca. 75 km north-west of Tennant Creek in the Northern Territory of Australia. Colonialism is a process whereby incommensurate gender regimes impact differently on women and men and this is reflected in the indigenous response which affects the socialization of Western things. The notion of the indigenous KIRDA-KURDUNGURLU reciprocity is shown to be consistent with a gender system and to articulate all exchange relations as pro-creative social relationships. This contrasts with the Western capitalist system of production and social reproduction of gendered individuals in that it does not ascribe gender to biological differences between women and men but is derived from a land based social division between Sister-Brother. Social relationships are put under great strain in an effort to socialize Western things for Warlpiri internal use, I argue that the colonization of Aboriginal societies is an ongoing process. Despite the historical shift from a physical all-male frontier to the present day cross-cultural negotiations between Aborigines and Non-Aborigines, men still privilege men. The negotiation process for ownership of a Community Toyota is the most recent phenomenon where this can be observed. Male privilege is established by linking control over the access to the Community Toyota with traditional rights to land. However, the Toyota as Western object has a Western gender identity as well. By pitting women against men it engages people in social conflict which is brought into existence through an organisation of Western concepts based on an alien gender regime. But Western things, especially the Community Toyota, resist socialization because the Warlpiri do not produce these things. Warlpiri people know this and, to satisfy their need for Western things, they engage them in a process of social differentiation. By this process they can be seen actively to maintain the Western system in an effort to maintain themselves as Warlpiri and to secure the production of Western things. This investigation of the cultural response to Western influences shows that indigenous gender relations are only maintained through a socially stressful process of socializing Western things.

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Carroll, Peter J. "The old people told us: verbal art in Western Arnhem Land". Phd thesis, University of Queensland, 2022. http://hdl.handle.net/1885/268560.

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AIM This thesis is based on a collection of stories (most of which relate to bark paintings), that were told to me by speakers of the Kunwinjku language of the Northern Territory of Australia. My objective is to show that these particular stories have an important role in the transmission of Kunwinjku culture. I do this by seeking to understand the stories and how they are used by Kunwinjku people. I first consider the stories in the original Kunwinjku language; secondly I relate the stories to the western Arnhem Land artistic traditions; and thirdly I examine their social context. The important role of such stories in cultural transmission is reflected in the phrases daborrabolk kandimarneyolyolmeng "the old people told us stories" and kandimarneyolyolmi "they used to tell us stories" which occur in many stories. I have included one of these phrases as part of my thesis title.

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Lang, Ian William, e n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]

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Niblett, Michael. "Text and context : some issues in Warlpiri ethnography". Master's thesis, 1992. http://hdl.handle.net/1885/112873.

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This thesis is concerned with the way in which particular aspects of Warlpiri ethnography have been inescapably contextualised by intellectual, institutional and political conditions of anthropological practice. Recent literature has opened up new perspectives on the relation between ethnography and its subjects. These concerns do not, however, address the broader political implications of anthropological representation, nor the means by which one form or style of ethnographic writing and analysis rather than another becomes dominant and accepted as valid. Certain conventions developed internationally were decisive in constraining the means by which anthropological knowledge could be constructed and communicated. This situation went largely unrecognised by anthropologists, participating as they were within unquestioned historically and politically determined parameters "authorised" by the Anglophone interpretive community. The dominance of this paradigm was transferred to Australia, where national considerations too shaped the acceptable canons of ethnographic writing.

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Stotz, Gertrude. ""Kurdungurlu got to drive Toyota": differential colonizing process among the Warlpiri". Phd thesis, 1993. http://hdl.handle.net/1885/268808.

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Sathre, Eric L. "Everyday illness : discourse, action, and experience in the Australian desert". Phd thesis, 2003. http://hdl.handle.net/1885/148617.

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Dussart, Francoise. "Warlpiri women's yawulyu ceremonies : a forum for socialization and innovation". Phd thesis, 1988. http://hdl.handle.net/1885/112716.

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This thesis examines the ritual life of Warlpiri women in the Central Desert community of Yuendumu. Though there is now a growing literature on the ritual life of Aboriginal women, these works present generalized accounts of women as a category in their ritual activity which obscures the social dynamics and processes that are central to women's religious life. I argue that a fuller understanding of women's ritual life in Warlpiri society in particular and of Aboriginal women's lives more generally is dependent on seeing women as individual social actors. The thesis therefore concentrates on the activities and motivations of individual women in the most common form of women's ceremony at Yuendumu, the yawulyu. The analysis provides access to the complex issues of power and competition among Aboriginal women, and goes a long way to defining the role of women in the ritual life of the community at large. The introductory chapter reviews the literature on women and their religious lives. Chapter two provides an overview of the main Warlpiri religious concepts, in particular of the principal features of the Dreaming and its manifestations and the formal aspects of women's rights and duties that fulfil in the ritual domain. The third chapter describes women's life cycle in terms of their ritual career and argues that women continue their role as nurturers beyond the end of their reproductive life by redirecting their energies into ritual activities. Chapter four examines the acquisition and transmission of knowledge. Chapter five defines the ritual domain of yawulyu, and distinguishes this ceremony from others performed by women. The sixth chapter provides a detailed case study of the organization and performance of yawulyu ceremonies. And chapter seven describes the integration of 'new' Dreams and dances into an existing ceremony. I conclude by recapitulating some of the major points made in the thesis and by making some suggestions concerning the future of Warlpiri women's acquisition of status and prestige in the social and ritual spheres.

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Macneil, Roderick Peter. "Blackedout : the representation of Aboriginal people in Australian painting 1850-1900". 1999. http://repository.unimelb.edu.au/10187/1063.

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This thesis examines the representation of Aboriginal people in Australian painting between 1850 and 1900. In particular, the thesis discusses and seeks to account for the decline in the frequency with which Aboriginal people were represented in mainstream academic art in the decades preceding Australia’s Federation in 1901. In addition, this thesis investigates the ways in which a visual discourse of Aboriginality was realised in mid- and late nineteenth-century Australian painting.
The figures of Aboriginal people formed a significant presence in Australian painting from the moment of first contact in the late eighteenth century until well into the nineteenth century. I argue that in paintings of the Australian landscape, as well as in portraiture and figure studies produced in the second half of the nineteenth century, images of Aboriginal people were used to signify the primordial difference of the antipodean landscape. In these paintings, Aboriginality emerged as a motif of Australia’s precolonial past: a timeless, arcadian realm that preceded European colonisation, and in which Aboriginal people enjoyed uncontested possession of the Australian landscape. This uncolonised landscape represented the antithesis of colonial civilisation, both spatially and temporally distinct from the colonial nation.
I argue that prior to Federation in 1901, Australian national identity was dependent upon the recognition and construction of a ‘difference’ that was seen to be implicit within the Australian landscape itself. This sense of difference derived from the settlers’ perception of the Australian environment, and became embodied in those objects which appeared most ‘different’ from settlers’ notion of the familiar. Colonial artists drew upon an iconography based upon this recognition of difference to signify the geographical identity of the landscape which they painted. Aboriginal people were central to these icons of ‘Australian-ness’. Further, the association of Aboriginal people with a precolonial Australia served to rationalise acts of colonial dispossession.
Representations of Aboriginal people dressed in a traditional manner, as well as those in which they are portrayed in European costume as ‘white but not quite’, underwrote colonial assertions of Aboriginal ‘primitiveness’ and precluded Aboriginal participation in the foundation of the Australian nation. The strengthening nationalist movement of the 1880s and 1890s meant that a new iconography was needed, one in which the triumph of the white settler culture over indigenous cultures could be celebrated. As a result, Aboriginal people began to disappear from the canvases of Australian artists, replaced by ‘white Aborigines’, who symbolised a new depth in the relationship between setter-Australia and the landscape itself. As well and more broadly, they were replaced by the image of the white frontiersman, the leitmotif of settler culture. This exclusion of Aboriginal people from the conceptualisation of the Australian nation reflects not only their ‘disenfranchisement’ within Australian society, but more significantly reveals the effectiveness with which a visual discourse of ‘Australia’ painted Aboriginal people out of existence.

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Keller, Christiane. "'Nane Narduk Kunkodjgurlu Namarnbom' : 'This is my idea' : innovation and creativity in contemporary Rembarrnga sculpture from the Maningrida region". Phd thesis, 2006. http://hdl.handle.net/1885/151065.

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Libri sul tema "Warlpiri (Australian people) Art"

Remembering the future: Warlpiri life through the prism of drawing. Canberra, ACT: Aboriginal Studies Press, 2014.

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Michaels, Eric. Bad Aboriginal art: Tradition, media, and technological horizons. Minneapolis: University of Minnesota Press, 1994.

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Warlukurlangu Artists (Group : N.T.) e Australian Institute of Aboriginal Studies., a cura di. Kuruwarri =: Yuendumu doors. Canberra: Australian Institute of Aboriginal Studies, 1987.

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Commissioner, Australia Aboriginal Land. Jila (Chilla Well) Warlpiri Land claim: Report. Canberra: Australian Govt. Pub. Service, 1988.

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Glowczewski, Barbara. Les rêveurs du désert: Aborigènes d'Australie, les Warlpiri. Paris: Plon, 1989.

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Jordan, Ivan. Their way: Towards an indigenous Warlpiri Christianity. Darwin NT: Charles Darwin University, 2003.

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Simpson, Jane Helen. Warlpiri morpho-syntax: A lexicalist approach. Dordrecht: Kluwer Academic, 1991.

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The Manga-Manda settlement, Phillip Creek: An historical reconstruction from written, oral, and material evidence. [Townsville, Old., Australia]: Material Culture Unit, James Cook University of North Queensland, 1985.

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Walbiri iconography: Graphic representation and cultural symbolism in a central Australian society. Chicago: University of Chicago Press, 1986.

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Glowczewski, Barbara. Du rêve à la loi chez les aborigènes: Mythes, rites et organisation sociale en Australie. Paris: Presses universitaires de France, 1991.

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Capitoli di libri sul tema "Warlpiri (Australian people) Art"

Glowczewski, Barbara. "Warlpiri Dreaming Spaces: 1983 and 1985 Seminars with Félix Guattari". In Indigenising Anthropology with Guattari and Deleuze, 81–113. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0003.

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This chapter unfolds a dialog between Guattari and Glowczewski about Australian collective dream-work, totemism and rituals of resistance during collective discussions, including Eric Alliez, Jean-Claude Pollack and Anne Querrien. ‘Félix Guattari — Barbara is an anthropologist specialising in Australian Aboriginal peoples who has written a fascinating piece of work about the dreaming process. I’d like her to tell us a bit about the collective technology of dreams among the Australian Aboriginal people she has studied. In this context, not only do dreams not depend on individual keys, but they are also part of an a posteriori elaboration of the dream that anthropologists have characterised as mythical. But Barbara comes close to refuting that definition. And dreaming is identified with the law, and with the possibility of mapping the itineraries of these people, who circulate all the time since they cover hundreds of kilometers. Barbara, I would like to ask you to try to tell us how the dreaming method functions. My first question is to ask you to explain the relationship between dream, territory, and itinerary.’

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Vaarzon-Morel, Petronella. "Reconfiguring Relational Personhood among Lander Warlpiri". In People and Change in Indigenous Australia. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824867966.003.0005.

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In recent years many Indigenous communities in central Australia have undergone multiple dramatic changes. Responses to the resulting tensions, conflicts and anxiety illuminate local understandings of personhood. Drawing on long term ethnographic fieldwork with Lander Warlpiri/Anmatyerr Willowra (Northern Territory), this paper discusses how relatedness (involving social obligations and reciprocity) among particular categories of persons was understood and maintained during the 1970s, comparing this with the contemporary period, in which considerable conflict between previously united families has occurred. It considers the implications of these differences for notions of personhood, taking into account the altered material conditions in which people live today, changes in practices such as marriage arrangements and ritual, shifting notions of “property”, and embodied relations to land. Local cultural understandings of relational being are explored through analysis of a myth that was publicly performed by a senior male and recorded by young media trainees, with the intent that the younger generation reflect upon what it is to be a person in Warlpiri/Anmatyerr society today.

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Burke, Paul. "Bold Women of the Warlpiri Diaspora Who Went Too Far". In People and Change in Indigenous Australia. University of Hawai'i Press, 2017. http://dx.doi.org/10.21313/hawaii/9780824867966.003.0002.

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This chapter attempts to move beyond traditionalist notions of the Australian Aboriginal person. It accepts that personhood is porous and likely to change as general social conditions change. It explores this idea through mini-biographies of four Warlpiri matriarchs who have moved to diaspora locations and deliberately placed themselves at some distance from the social norms operating in their remote homeland settlements. Accounts of traditional Aboriginal personhood emphasised the spiritually emplaced and socially embedded person. In contrast, the lives of the four Warlpiri matriarchs demonstrate the extension of social networks beyond kin, pursuit of their own projects and the rejection of some aspects of traditional law that constrained them. The vectors of these changes include Western education, religious conversion and escape from traditional marriage.

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Mulvaney, Ken. "Without them – what then? People, petroglyphs and Murujuga". In Histories of Australian Rock Art Research, 155–72. ANU Press, 2022. http://dx.doi.org/10.22459/ta55.2022.09.

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Carroll, Alison. "People and Partnership: An Australian Model for International Arts Exchanges — The Asialink Arts Program, 1990–2010". In Contemporary Asian Art and Exhibitions: Connectivities and World-making. ANU Press, 2014. http://dx.doi.org/10.22459/caae.11.2014.11.

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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives". In Indigenising Anthropology with Guattari and Deleuze, 281–96. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474450300.003.0010.

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This chapter presents digital forms of anthropological restitution developed in the late 1990’s and early 2000 by Barbara Glowczewski with different Aboriginal peoples for their own use and a larger audience. She designed the CD-ROM Dream Trackers (Yapa Art and Knowledge of the Australian Desert published by Unesco) with 51 elders and artists from the Central Australian community of Lajamanu in the Northern Territory. Quest in Aboriginal Land is an interactive DVD based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aimed to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Reticular or network thinking, Glowczewski argues, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so-called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies. First published in 2002.

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