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Artigos de revistas sobre o tema "Music Central Australia"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 21 de fevereiro de 2023

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1

Geczy, Adam. "Making Aboriginal Men and Music in Central Australia." Journal of Asia-Pacific Pop Culture 2, no. 2 (December 1, 2017): 250–53. http://dx.doi.org/10.5325/jasiapacipopcult.2.2.250.

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Carfoot, Gavin. "‘Enough is Enough’: songs and messages about alcohol in remote Central Australia." Popular Music 35, no. 2 (April 14, 2016): 222–30. http://dx.doi.org/10.1017/s0261143016000040.

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AbstractThis article examines some of the ways in which Australia's First Peoples have responded to serious community health concerns about alcohol through the medium of popular music. The writing, performing and recording of popular songs about alcohol provide an important example of community-led responses to health issues, and the effectiveness of music in communicating stories and messages about alcohol has been recognised through various government-funded recording projects. This article describes some of these issues in remote Australian Aboriginal communities, exploring a number of comp

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3

Yeoh, Calista, and Myfany Turpin. "An Aboriginal Women’s Song from Arrwek, Central Australia." Musicology Australia 40, no. 2 (July 3, 2018): 101–26. http://dx.doi.org/10.1080/08145857.2018.1550141.

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Werner, Ann. "REVIEW | Making Aboriginal Men and Music in Central Australia." IASPM@Journal 6, no. 2 (December 31, 2016): 189–91. http://dx.doi.org/10.5429/2079-3871(2016)v6i2.14en.

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Cowlishaw, Gillian. "Making Aboriginal Men and Music in Central Australia - By Åse Ottosson." Oceania 86, no. 2 (July 2016): 212–13. http://dx.doi.org/10.1002/ocea.5128.

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Johnson, Henry. "Åse Ottosson. 2016. Making Aboriginal Men and Music in Central Australia." Perfect Beat 19, no. 1 (December 17, 2018): 89–91. http://dx.doi.org/10.1558/prbt.37462.

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Malone, Jacki, and Peter Schembri. "Paradise Beach: Local Cultural Implications." Queensland Review 1, no. 1 (June 1994): 55–60. http://dx.doi.org/10.1017/s1321816600000507.

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According to one newspaper report, Paradise Beach was initially marketed in the US as a ‘very hip, very cool’ Australian serial about three good-looking suburban kids finding romance and adventure in an endless summer. Here, in Australia, Channel 9 did something rather similar: PARADISE BEACH is where the perfect white sand stretches for miles; where the music is hot and the party just goes on and on. It's where teenagers from everywhere converge to cut loose, find the perfect wave, and fall hopelessly in love. And that's exactly what happens with our four young and passionate central characte

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Taçon, Paul S. C. "The power of stone: symbolic aspects of stone use and tool development in western Arnhem Land, Australia." Antiquity 65, no. 247 (June 1991): 192–207. http://dx.doi.org/10.1017/s0003598x00079655.

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For want of other secure evidence, the study of art in prehistoric societies normally amounts to looking at pictures, though there must have also been sound, and surely music. The long lithic tradition of central northern Australia permits a rare insight into another kind of prehistoric art, the meaning and aesthetic order that may lie behind a lithic industry.

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Bartleet, Brydie-Leigh, Naomi Sunderland, and Gavin Carfoot. "Enhancing intercultural engagement through service learning and music making with Indigenous communities in Australia." Research Studies in Music Education 38, no. 2 (October 6, 2016): 173–91. http://dx.doi.org/10.1177/1321103x16667863.

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This article explores the potential for music making activities such as jamming, song writing, and performance to act as a medium for intercultural connection and relationship building during service learning programs with Indigenous communities in Australia. To set the context, the paper begins with an overview of current international perspectives on service learning and then moves towards a theoretical and practical discussion of how these processes, politics, and learning outcomes arise when intercultural engagement is used in service learning programs. The paper then extends this discussi

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Bartleet, Brydie-Leigh. "How concepts of love can inform empathy and conciliation in intercultural community music contexts." International Journal of Community Music 12, no. 3 (December 1, 2019): 317–30. http://dx.doi.org/10.1386/ijcm_00003_1.

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This article explores how concepts of love, in particular compassionate love, can provide a way of promoting empathy and conciliation in intercultural community music contexts. Drawing on the work of Deborah Bird Rose and bell hooks, it considers how love is first and foremost a verb, a participatory emotion and a social practice that can both inform and underpin efforts at building connections with others through music. The article then seeks to ask two thorny and critical questions that can arise when community musicians conceptualize their intercultural music-making through the lens of love

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Bennett, Andy, and Jodie Taylor. "Popular music and the aesthetics of ageing." Popular Music 31, no. 2 (April 23, 2012): 231–43. http://dx.doi.org/10.1017/s0261143012000013.

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AbstractThe cultural turn in sociology and related fields of study has brought with it new understandings of the various ways social identities are formed. In a post-structural landscape, social identities must increasingly be regarded as reflexively derived ‘performative assemblages’ that incorporate elements of the local vernacular and global popular cultures. Building on the above reinterpretation of social identity, this paper takes as its central premise the notion that, in addition to its well-mapped cultural importance for youth, popular music retains a critical currency for the ageing

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Contois, Emily J. H. "“He just smiled and gave me a Vegemite sandwich”." Journal of Historical Research in Marketing 8, no. 3 (August 15, 2016): 343–57. http://dx.doi.org/10.1108/jhrm-06-2015-0019.

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Purpose Through a case study of J. Walter Thompson and Kraft’s efforts to market Vegemite in the USA in the late 1960s, this paper aims to explore transnational systems of cultural production and consumption, the US’s changing perception of Australia and the influence of culture on whether advertising fails or succeeds. Design/methodology/approach This paper draws from archival primary sources, including advertisements and newspapers, as well as secondary literatures from the fields of advertising history, food studies and transnational studies of popular culture. Findings Although J. Walter T

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13

Hutchings, Suzi. "Making Aboriginal Men and Music in Central Australia by Ǻse Ottosson. London: Bloomsbury, 2016. 240 pp." American Anthropologist 118, no. 4 (November 24, 2016): 945–46. http://dx.doi.org/10.1111/aman.12744.

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Mackinlay, Elizabeth, Johnny Mundrugmundrug, Jacky Riala, and Margaret Clunies Ross. "Australia: Goyulan: The Morning Star. An Aboriginal Clan Song Series from North Central Arnhem Land." Ethnomusicology 39, no. 3 (1995): 515. http://dx.doi.org/10.2307/924641.

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CURRAN, GEORGIA, and CALISTA YEOH. "“That is Why I am Telling this Story”: Musical Analysis as Insight into the Transmission of Knowledge and Performance Practice of a Wapurtarli Song by Warlpiri Women from Yuendumu, Central Australia." Yearbook for Traditional Music 53 (December 2021): 45–70. http://dx.doi.org/10.1017/ytm.2021.4.

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AbstractInsights into the knowledge, performance, and transmission of songs are pivotal in ensuring the survival of traditional Aboriginal songs. We present the first in-depth musical analysis of a Wapurtarli yawulyu song set sung by Warlpiri women from Yuendumu, Central Australia, recorded in December 2006 with a solo lead singer accompanied by a small group. Our musical analysis reveals that there are various interlocking parts of a song, and this can make it difficult for current generations to learn songs. The context of musical endangerment and the musical analyses presented in our study

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Southcott, Jane, and Angela Hao-Chun Lee. "Imperialism in School Music: Common Experiences in Two Different Cultures." International Journal of Music Education os-40, no. 1 (May 2003): 28–40. http://dx.doi.org/10.1177/025576140304000104.

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Empire, imperialism and colonialism are all terms that defy easy definition. The variety of imperial regimes and colonial situations demonstrates a “patchwork quilt of ad hoc adaptations to particular circumstance” (Osterhammel, 1997, p. 4). However, this paper does not seek to define such phenomena but to explore their effects on the school music that existed within such regimes. Japanese and British imperialism evolved in distinct ways, but the enactment of imperialism in school music was, ultimately, similar. Two different examples of early twentieth century empires will be considered – Tai

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Veblen, Kari K., Nathan B. Kruse, Stephen J. Messenger, and Meredith Letain. "Children’s clapping games on the virtual playground." International Journal of Music Education 36, no. 4 (May 14, 2018): 547–59. http://dx.doi.org/10.1177/0255761418772865.

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This study considers children’s informal musicking and online music teaching, learning, playing, and invention through an analysis of children’s clapping games on YouTube. We examined a body of 184 games from 103 separate YouTube postings drawn from North America, Central and South America, Europe, Africa, Asia, Australia, and New Zealand. Selected videos were analyzed according to video characteristics, participant attributes, purpose, and teaching and learning aspects. The results of this investigation indicated that pairs of little girls aged 3 to 12 constituted a majority of the participan

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McFerran, Katrina, Carmen Cheong-Clinch, Jennifer Bibb, and TanChyuan Chin. "Using Music to Manage Anxiety: A Mixed Methods Intervention Study Between Two Lockdowns." OBM Integrative and Complementary Medicine 08, no. 01 (February 8, 2023): 1–17. http://dx.doi.org/10.21926/obm.icm.2301013.

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Lockdowns were a central strategy for managing the outbreak of COVID-19, and Melbourne, Australia had some of the most extensive restrictions globally during 2021. As a result, university students were faced with isolated living and challenging learning experiences. This pilot study occurred during 2021, close to both university assignment due dates and end of semester examinations and some of the longest lockdowns. Seventy-one participants responded to recruitment materials describing using music playlists to manage anxiety and avoid negative thinking patterns during stressful times. They the

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Spiller, Henry. "Ottosson, Åse. Making Aboriginal men and music in central Australia. 216 pp., maps, illus., bibliogr. London: Bloomsbury, 2016. £85.00 (cloth)." Journal of the Royal Anthropological Institute 23, no. 3 (August 4, 2017): 647–48. http://dx.doi.org/10.1111/1467-9655.12678.

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Cox, Christopher James, and Mirko Guaralda. "Public Space for Street-Scape Theatrics. Guerrilla Spatial Tactics and Methods of Urban Hacking in Brisbane, Australia." Journal of Public Space 1, no. 1 (October 18, 2016): 113. http://dx.doi.org/10.5204/jps.v1i1.14.

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It could be argued that architecture has an inherent social responsibility to enrich the urban and spatial environments for the city’s occupants. However, how we define quality, and how ‘places’ can be designed to be fair and equitable, catering for individuals on a humanistic and psychological level, is often not clearly addressed. Lefebvre discusses the idea of the ‘right to the city’; the belief that public space design should facilitate freedom of expression and incite a sense of spatial ownership for its occupants in public/commercial precincts. Lefebvre also points out the importance of

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21

Hinkson, Melinda. "Making Aboriginal Men and Music in Central Australia A. Ottosson London: Bloomsbury Academic, 2016. xviii + 240 pp., illustrations, notes, bibliog., index. ISBN 978-1474224635. AUD$130 (Hb.)." Australian Journal of Anthropology 27, no. 3 (April 24, 2016): 414–15. http://dx.doi.org/10.1111/taja.12210.

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22

Baier, Martin, Sri Kuhnt-Saptodewo, H. J. M. Claessen, Annette B. Weiner, Charles A. Coppel, Wang Gungwu, Heleen Gall, et al. "Book Reviews." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 150, no. 3 (1994): 588–623. http://dx.doi.org/10.1163/22134379-90003081.

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- Martin Baier, Sri Kuhnt-Saptodewo, Zum Seelengeliet bei den Ngaju am Kahayan; Auswertung eines Sakraltextes zur Manarung-Zeremonie beim totenfest. München: Akademischer Verlag,1993 (PhD thesis, Ludwig-Maximilian-Universitiy München). - H.J.M. Claessen, Annette B. Weiner, Inalienable Possessions; The paradox of keeping-while-giving. Berkeley: University of California Press, 1992, 232 pp. Bibl. Index - Charles A. Coppel, Wang Gungwu, Community and Nation; China, Southeast Asia and Australia. Sydney: Asian studies of Australia in association with Allen & Unwin, 1992 (2nd revised edition), v

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23

Roseman, Marina, and Richard M. Moyle. "Alyawarra Music: Songs and Society in a Central Australian Community." Yearbook for Traditional Music 20 (1988): 235. http://dx.doi.org/10.2307/768184.

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Lauridsen, Jan, Richard M. Moyle, and Slippery Morton. "Alyawarra Music: Songs and Society in a Central Australian Community." Ethnomusicology 38, no. 1 (1994): 159. http://dx.doi.org/10.2307/852272.

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Stubington, Jill. "Alyawarra music: Songs and society in a central australian community." Musicology Australia 10, no. 1 (January 1987): 73–74. http://dx.doi.org/10.1080/08145857.1987.10415182.

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Will, Udo. "Two types of octave relationships in central Australian vocal music?" Musicology Australia 20, no. 1 (January 1997): 6–14. http://dx.doi.org/10.1080/08145857.1997.10415970.

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Messner, Gerald Florian, and Richard M. Moyle. "Songs of the Pintupi; Musical Life in a Central Australian Society." Yearbook for Traditional Music 17 (1985): 211. http://dx.doi.org/10.2307/768446.

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Barwick, Linda. "Central Australian Women's Ritual Music: Knowing through Analysis versus Knowing through Performance." Yearbook for Traditional Music 22 (1990): 60. http://dx.doi.org/10.2307/767932.

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29

Carroll, Sam. "Hepfidelity: Digital Technology and Music in Contemporary Australian Swing Dance Culture." Media International Australia 123, no. 1 (May 2007): 138–49. http://dx.doi.org/10.1177/1329878x0712300113.

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Since its revival in the 1980s, Lindy hop along with other swing dances has become increasingly popular with middle class youth throughout the developed world. Social dancing plays a central part in local swing dance communities, and DJing recorded music has become an essential part of social dancing. Marked by class and gender, DJing in swing dance communities is also shaped by digital technology, from the CDs, computers and portable media devices which DJs use to play digital musical files to the discussion boards and websites where they research and discuss DJing and the online music stores

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Dunbar‐Hall, Peter. "Rock songs as messages: Issues of health and lifestyle in central Australian aboriginal communities." Popular Music and Society 20, no. 2 (June 1996): 43–67. http://dx.doi.org/10.1080/03007769608591622.

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MENDES, HUMBERTO F., TROND ANDERSEN, and OLE A. SÆTHER. "A review of Antillocladius S ther, 1981; Compterosmittia S ther, 1981 and Litocladius new genus (Chironomidae, Orthocladiinae)." Zootaxa 594, no. 1 (August 6, 2004): 1. http://dx.doi.org/10.11646/zootaxa.594.1.1.

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A parsimony analysis of recently collected species sharing several features such as scalpellate acrostichals, often setae apically on the wing membrane and often strongly extended costa, together with 38 genera show that the collected species can be assigned to Antillocladius S ther, 1981, Compterosmittia S ther, 1981, and one new genus, Litocladius. Nine new species of Antillocladius are described and figured as male imagines: A. calakmulensis, A. herradurus and A. zempoalensis from Mexico; A. venequatoriensis from Ecuador and Venezuela; A. ubatuba from Brazil and Venezuela; and A. biota, A.

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Doyle, Dominic J., and James R. P. Ogloff. "Calling the Tune Without the Music: A Psycho-Legal Analysis of Australia's Post-Sentence Legislation." Australian & New Zealand Journal of Criminology 42, no. 2 (August 2009): 179–203. http://dx.doi.org/10.1375/acri.42.2.179.

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Australian governments have introduced legislation to detain or supervise sex offenders whose sentences have expired but who are still considered to be dangerous. In the enactment of these controversial laws, governments largely overlooked a significant body of empirical knowledge on sexual offending and risk prediction. Consequently, these schemes are based on unexamined assumptions. Accordingly, an evaluation of the compatibility between these assumptions and the available science is warranted. To this end, the article will submit the central provisions of the legislation to a psycho-legal a

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YANG, MINA. "Moulin Rouge! and the Undoing of Opera." Cambridge Opera Journal 20, no. 3 (November 2008): 269–82. http://dx.doi.org/10.1017/s095458670999005x.

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AbstractWhile Moulin Rouge! (2001) riffs on and even exaggerates conventions from classic Hollywood backstage musicals, it owes a clear debt to an even earlier musico-dramatic genre – the opera. Combining operatic and film musical elements with those of pop videos, contemporary cinema and the rave scene, Baz Luhrmann's film engages with many of the thorny issues that have concerned opera critics of late, such as power, gender, exoticism, authorship, and identity construction and performance. The spotlight on the central love triangle of a consumptive courtesan, a writer and a wealthy patron ma

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"Making Aboriginal men and music in central Australia." Choice Reviews Online 53, no. 11 (June 21, 2016): 53–4865. http://dx.doi.org/10.5860/choice.196573.

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Taylor, Hollis. "Post Impressions: Music Writing as Bent Travelogue." PORTAL Journal of Multidisciplinary International Studies 8, no. 1 (August 9, 2011). http://dx.doi.org/10.5130/portal.v8i1.1692.

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The wind is our universal musician and has been recognized as such for millennia. If the wind can play a fence as an aeolian harp, then a violinist armed with a bow could also cause these gigantic structures to sing. Thus, an American woman and an Australian man set out to explore and perform on the giant musical instruments covering the continent of Australia: fences. This presentation excerpts highlights from the voyage, illuminating the range of sounds to be drawn out of a five-wire fence. Playing fences reveals a sound world that is embedded in the physical reality and the psyche of the cu

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Gibson, Chris. "On the Overland Trail: Sheet Music, Masculinity and Travelling ‘Country’." M/C Journal 11, no. 5 (September 4, 2008). http://dx.doi.org/10.5204/mcj.82.

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Introduction One of the ways in which ‘country’ is made to work discursively is in ‘country music’ – defining a genre and sensibility in music production, marketing and consumption. This article seeks to excavate one small niche in the historical geography of country music to explore exactly how discursive antecedents emerged, and crucially, how images associated with ‘country’ surfaced and travelled internationally via one of the new ‘global’ media of the first half of the twentieth century – sheet music. My central arguments are twofold: first, that alongside aural qualities and lyrical cont

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Bauder, Amy. "Keeping It Real? Authenticity, Commercialisation and Family in Australian Country Music." M/C Journal 18, no. 1 (January 20, 2015). http://dx.doi.org/10.5204/mcj.939.

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Getting the Family Together: A Fieldwork Account The final gig of Bob Corbett and the Roo Grass Band’s 2013 tour is a hometown show at New Lambton Community Hall in Newcastle on the coast of New South Wales, Australia. The tour had already covered Newcastle and surrounds at various locations within 50 to 100km of the Newcastle CBD. In addition to lead singer and guitarist Bob Corbett, there are three main members of the Roo Grass Band, Sue Carson on fiddle and mandolin, Dave Carter on banjo, bass and bagpipes and Robbie Long on guitar, mandolin and bass. I enter the building and at the top of

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Giuffre, Liz. "'There's No Aphrodisiac Like Newtown': The Evolving Connection to Place in the Music of the Whitlams." Transforming Cultures eJournal 4, no. 1 (April 8, 2009). http://dx.doi.org/10.5130/tfc.v4i1.1058.

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The Whitlams live in Newtown, Australia” is a byline that has appeared on each of the Sydney band’s albums since their beginnings in 1992. During this time the band has progressed from being on a small, independent label with a local audience to achieving national coverage and recognition, culminating with 8 ARIA award nominations in 1998. Of these they won three for Best Group, Song of the Year and Best Independent Release. Following this The Whitlams were signed to Warner Music (as it incorporated Festival Music), and have continued to make albums that still use inner city Sydney as a focus,

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Nicoll, Fiona. "On Blowing Up the Pokies: The Pokie Lounge as a Cultural Site of Neoliberal Governmentality in Australia." Cultural Studies Review 17, no. 2 (March 30, 2011). http://dx.doi.org/10.5130/csr.v17i2.1729.

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In 1999 The Whitlams, a popular ‘indie’ band named after a former Australian prime minister whose government was controversially sacked in 1975 by the Governor-General, released a single titled ‘Blow up the Pokies’. Written about a former band member’s fatal attraction to electronic gaming machines (henceforth referred to as ‘pokies’), the song was mixed by a top LA producer, a decision that its writer and The Whitlam’s front-man, Tim Freedman, describes as calculated to ‘get it on big, bombastic commercial radio’. The investment paid off and the song not only became a big hit for the band, it

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San, Nay, and Myfany Turpin. "Text-setting in Kaytetye." Proceedings of the Annual Meetings on Phonology 9 (May 1, 2021). http://dx.doi.org/10.3765/amp.v9i0.4911.

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Singing is a universal human activity. Across the vast range of song traditions throughout the world, native speakers have consistent intuitions about how the syllables in a given line of song text should be set to the tunes and/or rhythms within their various song traditions. This paper presents an Optimality Theoretic analysis of text-setting in a set of ceremonial songs traditionally sung and passed on orally by groups of Kaytetye-speaking women in Central Australia. Australian Aboriginal songs are renowned for the degree to which they diverge from speech. For our analysis, we use a computa

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Montano, Ed. "The Sydney Dance Music Scene and the Global Diffusion of Contemporary Club Culture." Transforming Cultures eJournal 4, no. 1 (April 8, 2009). http://dx.doi.org/10.5130/tfc.v4i1.1059.

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The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to recti

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Miksza, Peter, Paul Evans, and Gary E. McPherson. "Wellness Among University-level Music Students: A Study of the Predictors of Subjective Vitality." Musicae Scientiae, July 4, 2019, 102986491986055. http://dx.doi.org/10.1177/1029864919860554.

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For many music students, the transition to university-level studies can be a time characterized by high levels of stress as they adjust to academic standards and the challenges of demanding performance assessments. Given this context, this study investigated the impact of stress on students’ well-being, specifically the facet of subjective vitality, defined in the literature as a feeling of energy and aliveness. Our focus was to explore whether certain psychosocial traits would moderate the negative effects of stress on vitality. Working from an empirically derived conceptual model, our centra

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Brabazon, Tara, and Stephen Mallinder. "Off World Sounds: Building a Collaborative Soundscape." M/C Journal 9, no. 2 (May 1, 2006). http://dx.doi.org/10.5204/mcj.2617.

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There are many ways to construct, shape and frame a history of popular music. From a focus on performers to a stress on cities, from theories of modernity to reveling in ‘the post,’ innovative music has been matched by evocative writing about it. One arc of analysis in popular music studies focuses on the record label. Much has been written about Sun, Motown, Factory and Apple, but there are many labels that have not reached this level of notoriety and fame but offer much to our contemporary understanding of music, identity and capitalism. The aim of this article is to capture an underwritten

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McKenzie, Peter. "Jazz Culture in the North: A Comparative Study of Regional Jazz Communities in Cairns and Mackay, North Queensland." M/C Journal 20, no. 6 (December 31, 2017). http://dx.doi.org/10.5204/mcj.1318.

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IntroductionMusicians and critics regard Australian jazz as vibrant and creative (Shand; Chessher; Rechniewski). From its tentative beginnings in the early twentieth century (Whiteoak), jazz has become a major aspect of Australia’s music and performance. Due to the large distances separating cities and towns, its development has been influenced by geographical isolation (Nikolsky; Chessher; Clare; Johnson; Stevens; McGuiness). While major cities have been the central hubs, it is increasingly acknowledged that regional centres also provide avenues for jazz performance (Curtis).This article disc

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Hope, Cathy, and Bethaney Turner. "The Right Stuff? The Original Double Jay as Site for Youth Counterculture." M/C Journal 17, no. 6 (September 18, 2014). http://dx.doi.org/10.5204/mcj.898.

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On 19 January 1975, Australia’s first youth station 2JJ (Double Jay) launched itself onto the nation’s airwaves with a NASA-style countdown and You Only Like Me ‘Cause I’m Good in Bed by Australian band Skyhooks. Refused airtime by the commercial stations because of its explicit sexual content, this song was a clear signifier of the new station’s intent—to occupy a more radical territory on Australian radio. Indeed, Double Jay’s musical entrée into the highly restrictive local broadcasting environment of the time has gone on to symbolise both the station’s role in its early days as an enfant t

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Barnett, Tully, Simon Dwyer, Rachel Franks, and Jane Mummery. "Regional." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1548.

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The experiences of regional Australia are unique. This issue of M/C Journal solidifies some of the understandings of the experiences of living, working, creating, researching or thinking in, or through, regional Australia. Our work explores regional cultural constructions of these places, spaces, and identities, as well as of the communities that breathe life into these landscapes, whilst also bringing into question relations between the regional, the local, and the global. The contributions to this issue have all worked to investigate sites of collaboration and innovation, to tell stories abo

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Bruns, Axel. "Old Players, New Players." M/C Journal 1, no. 5 (December 1, 1998). http://dx.doi.org/10.5204/mcj.1729.

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If you have a look at the concert schedules around Australia (and elsewhere in the Western world) these days, you could be forgiven for thinking that you've suddenly been transported back in time: there is a procession of old players, playing (mainly) old songs. The Rolling Stones came through a while ago, as did the Eagles, Creedence Clearwater Revival's John Fogerty, and James Brown. Jimmy Page and Robert Plant played updated versions of Led Zeppelin's music, with some new songs strewn in on occasion. The Beach Boys served up a double blast from the past, touring with America ("Horse with No

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Fairchild, Charles. "'Australian Idol' and the Attention Economy." M/C Journal 7, no. 5 (November 1, 2004). http://dx.doi.org/10.5204/mcj.2427.

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The elaborate cross-media spectacle, ‘Australian Idol,’ ostensibly lays bare the process of creating a pop star. Yet with so much made visible, much is rendered opaque. Specifically, ‘Idol’ is defined by the use of carefully-tuned strategies of publicity and promotion that create, shape and reshape a series of ‘authentic celebrities’ – pop stars whose emergence is sanctified through a seemingly open process of public ratification. Yet, Idol’s main actor is the music industry itself which uses contestants as vehicles for crafting intimate, long-term relationships with consumers. Through an anal

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Ballico, Christina, and Allan Watson. "Place." M/C Journal 19, no. 3 (June 22, 2016). http://dx.doi.org/10.5204/mcj.1114.

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The ways in which artists, musicians, filmmakers and other creative practitioners perceive, navigate and represent 'place' in their work is complex and multifaceted. Further, place-based conditions also influence the ways in which creative activity occurs in particular locales. This raises questions regarding the role of history, economics, attitudes towards and perceptions of particular forms of arts and culture, shared social and creative contexts, and the geographical location of places, in shaping and fostering creativity. While the relationship between place and creative practice is now w

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Goggin, Gerard. "Conurban." M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1946.

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Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accre

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