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cover-dd-03
Issue 3
Summer 2002
Culture Wars
Art and Industry

Issue 3

Culture Wars

Art and Industry

Ruminations on War, Culture War

R.A. Goodrich
Deakin University
To descry that this generation of artists has been in the midst of a war, a cultural war, sounds so obvious. After all, what generation in deeply reactionary times could not claim the same?

Culture Wars: Art & Industry – Background Briefings

The Editors
Whether, in retrospect, the pro forma below would be regarded as quixotic or not, some three hundred letters were issued and five replies received.

The Shifting Eye: A Reflection on the Processes of Making a Dance-Video

Dianne Reid
Dancehouse & Deakin University
Michelle Mahrer, dancer turned film-maker, was ‘attracted to film because it seemed to combine all elements of motion, dance, light, and colour’.

The Avery Ford Car Ballet or Who Tunes the Car?

Susan Jordan
University of Auckland
The Avery Ford Car Ballet was a choreography designed for outdoor performance employing eight dancers (six female, two male) and eight cars.

Signal or Noise? Information Theory and the Novel

John Gunders
University of Queensland
In the context of a hostile funding environment, universities are increasingly asked to justify their output in narrowly defined economic terms, and this can be difficult in Humanities or Arts faculties where productivity is rarely reducible to a simple financial indicator.

The Triple Bottom Lie: Nietzsche, Murakami and Environmental Sustainability

Scott Rawlings
Deakin University
The crisis of the contemporary subject is inextricably linked to our disconnection with the natural environment. As recently as 1900 we were still predominantly an agrarian species, with only sixteen cities in the world having a population in excess of one million.

Art and Industry: A Duologue in Three Scenes

John Cumming & Yoni Prior
Deakin University
ART (climbing a ladder): You’re an entrepreneur? INDUSTRY (shuffling papers on a desk): Not unless there's a dollar in it. ART: I thought you were an impresario … an arts administrator. INDUSTRY: Give up! I’ve done a course.

Managerialism Meets Dionysos: Theatre and Civic Order

Paul Monaghan
Theatreworks & University of Melbourne
I want to begin my talk with a rhetorical quiz. I say ‘rhetorical’ because, if you do yell out the right answer, it will spoil my punch line. You have to guess who is being referred to by X in the following quotation.

Reading the Myth of Scylla: Classical Antiquity & the Culture Wars

Ivar Kvistad
Deakin University
Popular discourses of the postmodern typically construct the enterprise of ‘getting at the facts’ as intrinsically flawed. In this context, Herodotus as ‘the Father of History’ may very well live up to his other, ironically pre-postmodern, epithet as ‘the Father of Lies.’

Art War ‘44: Documentary Theatre from an Australian Culture War

Paul Monaghan
University of Melbourne
On page four of the Sydney Morning Herald, 24th October 1944, two seemingly unrelated news items were reported.

Creative Regions and the Market: Art, Culture and Regional Development

Robyn Eversole
RMIT University
Both in Australia and overseas, regional development is increasingly characterised by a ‘self-help’ approach. I am continually struck by how often these ‘self-help’ development approaches lead to the harnessing of local culture and identity for practical regional development ends.

Cultivating Management? Managing Culture?

R.A. Goodrich
Deakin University
Jean Battersby, the founding executive officer of the Australia Council of the Arts from 1968, delivered a lecture in May 2005 which bemoaned a situation in which the focus and funding of the arts appears to have more to do with managers than with artists.

Culture Wars Rap

Alison Richards [words] & Matt Delbridge [rhythm], with Frank Titaz (Snog) [mastering]
Deakin University
theres a current exhibition called the culture wars / theyre sellin tickets on the internet / theres a queue miles long around the block / its a block /buster / n evrybodys there

Literature about Culture Wars indicates that the culture war across time and place is not conducted uniformly; that it is intensely political; that its conflicts can be fought in governmental, bureaucratic, and economic terms; and that it not only distorts the ordinary use of language, but also promotes a dual consciousness.

In the papers collected here, readers are invited to pursue some of the specific ways in which Art practitioners in the main have experienced, and reflected upon, their struggles in the confrontations with industry and government whilst, in some cases, exploring their respective media by way of the very technologies associated with industry.

This issue of Double Dialogues deals with multiple experiences of how the culture war operates in the twenty-first century. It identifies the foes of Art, in particular identifying the politics that sidelines it from a central position in society. For those who believe art has transformative powers, the Culture War is one in which they engage in order to fight bureaucracy and the politics of economy that seek to stultify art's production.

 

Double Dialogues | Refereed Arts Journal | ISSN 1447-9591  
© Double Dialogues 2020 unless otherwise credited