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Journal articles on the topic 'Art, Australian – 21st century'

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Author: Grafiati

Published: 10 December 2022

Last updated: 29 January 2023

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1

González Zarandona, José Antonio. "Between destruction and protection: the case of the Australian rock art sites." ZARCH, no. 16 (September 13, 2021): 148–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2021165087.

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Can heritage be practiced and thought outside the binary of exaltation vs. denigration? To answer this question posed by the editors, this paper will analyse the destruction and protection of Indigenous heritage sites in Australia, where the destruction of significant cultural heritage sites, mainly Indigenous heritage sites, is the result of biased and outdated practice of cultural heritage that divides Indigenous heritage (prior 1788) from Australian heritage (after 1788). This rift has caused an immense damage to Indigenous heritage around the country as it shows how in Australia heritage is practiced and thought outside the dualism of celebration versus destruction. In this paper, I will show how the destruction of Indigenous rock art sites has been a constant in the 20th and 21st century and how this destruction has been framed in media as a result of vandalism. By arguing that this framing is perpetuating the dualism of celebration versus destruction, I suggest that we can move out of this binary by considering the concept of iconoclasm to go beyond this dualism.

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2

Thorner, Sabra G. "The photograph as archive: Crafting contemporary Koorie culture." Journal of Material Culture 24, no. 1 (July 9, 2018): 22–47. http://dx.doi.org/10.1177/1359183518782716.

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In 2008, an Aboriginal Australian artist based in Melbourne, Australia, created a kangaroo-teeth necklace, revivifying an art/cultural practice for the first time in over a century. She was inspired to do so after viewing an 1880 photograph of an ancestor wearing such adornment. In this article, I bring the necklace and the photograph into the same analytical frame, arguing for the photograph as an archive itself. I consider the trajectories through which the 19th-century image has been replicated and circulated in various productions of knowledge about Aboriginal people, and how a 21st-century artist is mobilizing it not just as a repository of visual information, but also as an impetus to creative production. She produces objects of value and is making culture anew, in a context in which Aboriginality has long/often been presumed absent, extinct or elsewhere.

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3

Alexander, Elinor, and Alan Sansome. "Shaping the Cooper Basin's 21st century renaissance." APPEA Journal 52, no. 2 (2012): 690. http://dx.doi.org/10.1071/aj11104.

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The Department of Manufacturing, Innovation, Trade, Resources and Energy (DMITRE) SA has been successfully using competitive acreage releases to manage highly prospective Cooper Basin acreage since 1998. The expiry of long-term exploration licenses enabled the most significant structured release of onshore Australian acreage in the industry’s history—it has generated: 32 petroleum exploration licences (PELs) from ~70,000 km2 acreage; $432 million in guaranteed work program bids; 70 new field discoveries; $107.6 million royalties and $1.4 billion sales;and, increased gas supply-side competition. Cooper acreage turnover has also changed the makeup of Australia’s onshore exploration industry from numerous company-making discoveries. Since 1998, 10 acreage releases have been staged, enabled by the Petroleum Act 2000 (now the Petroleum and Geothermal Energy Act 2000), conjunctive agreements with Native Title claimants, access to multiple-use Innamincka and Strzelecki Regional Reserves, and transparent application and bid assessment processes. Despite delays, most recently due to flooding, all but three of the original PELs are in their second term and relinquished acreage has been incorporated into subsequent releases. All work-program variations have been kept above the second bid score (except one, where the second ranked bidder was consulted and approved the change) preserving bidding system integrity. DMITRE is planning new Cooper Basin acreage releases while contemplating acreage management options for emerging unconventional plays. Industry input to map the best possible future for the SA Cooper Basin continues to be welcomed.

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4

Hayward, Philip. "Firing up the Anthropocene: Conflagration, Representation and Temporality in Modern Australia." Text Matters: A Journal of Literature, Theory and Culture, no. 12 (November 24, 2022): 143–56. http://dx.doi.org/10.18778/2083-2931.12.09.

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The European colonization of Australia introduced a new population into a continent in which Indigenous people had practiced cyclic burning as a form of ecosystem maintenance since time immemorial. The settlers’ complete disdain for Indigenous knowledge and related practices caused these customs to largely fall into disuse. One result of this was an increased vulnerability of landscapes to bush fires, a factor that has risen to the fore in the early twenty-first century. The fires that have swept across the landscape with increasing frequency and ferocity have provoked fears of a rolling, fiery apocalypse that might make living in many areas of the continent untenable. This marks a new phase of settler anxiety that has been fuelled by extensive coverage of fires on broadcast and digital media platforms. Blending discussions of Indigenous culture, 19th-21st-century European settler visual art, literature and modern communications media, this article begins by examining the nature of Anthropocene modernity and the very different worldviews and practices of Australian Indigenous peoples. Particular attention is given to senses of time and of living and working with fire. Subsequent sections open up the topic with regard to the planetary present and how we might adjust to the future.

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Allatson, Paul, and Andrea Connor. "Ibis and the city: bogan kitsch and the avian revisualization of Sydney." Visual Communication 19, no. 3 (May 24, 2020): 369–90. http://dx.doi.org/10.1177/1470357220912788.

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The Australian White Ibis (Ibis) ( Threskiornis molucca) is one of three endemic Ibis species in Australia. In a short time frame beginning in the 1970s, this species has moved from inland waterways to urban centres along the eastern and southeastern seaboards, Darwin and the Western Australian southwest. Today Ibis are at home in cities across the country, where they thrive on the food waste, water resources and nesting sites supplied by humans. In this article, the authors focus on Sydney to argue that the physical and cultural inroads of Ibis, and the birds’ urban homeliness, are resignifying urban surfaces and the multispecies ecologies in which contemporary Australians operate. They explore how the very physical and sensory presence of Ibis disrupts the assumptions of many urban Australians, and visitors from overseas, that cities are human-centric or human-dominant, non-hybrid assemblages. They also introduce to this discussion of disrupted human expectations a cultural parallel, namely, the recent rise of Ibis in popular culture as an icon-in-the-making of the nation and as a totem of the modern Australian city itself. This trend exemplifies an avian-led revisualization of urban spaces, and is notable for its visual appeals to Ibis kitsch, and to working class or ‘bogan’ sensibilities that assert their place alongside cosmopolitan visions of being Australian. Sometimes kitsch Ibis imagery erupts across the urban landscape, as occurs with many Ibis murals. At other times it infiltrates daily life on clothing, on football club, university and business logos, as tattoos on people’s skin, and as words in daily idiom, confirmed by terms such as ‘picnic pirates’, ‘tip turkeys’ and ‘bin chickens’. The article uses a visual vignette methodology to chart Ibis moves into Sydney and the realms of representation alike, and thus to reveal how new zoöpolitical entanglements are being made in the 21st century.

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Coleman, Ellie, Rebecca Scollen, Beata Batorowicz, and David Akenson. "Artistic Freedom or Animal Cruelty? Contemporary Visual Art Practice That Involves Live and Deceased Animals." Animals 11, no. 3 (March 14, 2021): 812. http://dx.doi.org/10.3390/ani11030812.

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This paper examines a selection of 21st-century international examples of exhibited visual artworks involving live or deceased animals. It seeks to reveal the risks and benefits of unique encounters with animals through art and to consider the ethical implications of artwork deploying animals. Australian and international animal protection laws are not explicit when it comes to the sourcing of animals for art nor for the direct inclusion of animals in artworks. This lack leads to a variety of artistic practices, some considered ethical while others are viewed as controversial, bordering on animal cruelty. Artwork selection is determined by a focus on high-profile artists who intentionally use animals in their practice and whose reputation has been fostered by this intention. The study provides insight into how the intentional use of ethically sourced animals within art practice can be a method of addressing hierarchal human–animal imbalances. Further, this study identifies unethical practices that may be best avoided regardless of the pro-animal political statements the artists put forward. Recommendations of how to better determine what is an acceptable use of animals in art with a view to informing legal guidelines and artistic best practice are presented.

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Schuster, J. Mark. "Cultural policy—state of the art “taking cultural policy into the 21st century’ Brisbane, Queensland, Australia, 28–30 June 1995." European Journal of Cultural Policy 2, no. 1 (October 1995): 185–88. http://dx.doi.org/10.1080/10286639509358011.

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8

Pollard, Irina. "Bioscience-bioethics and life factors affecting reproduction with special reference to the Indigenous Australian population." Reproduction 129, no. 4 (April 2005): 391–402. http://dx.doi.org/10.1530/rep.1.00268.

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The demand for equality of recognition or respect is the dominant passion of modernity. The 20th century experienced a giant leap in technological inventiveness and ruthless use of technological power. In the 21st century, human welfare and environmental wellbeing demand fundamental political appraisal. We have the means, if we choose, to eradicate poverty and to responsibly protect the global environment. However, economic, political and cultural systems act to differentially allocate the benefits and risks for growth between socioeconomic groups. For example, it is a matter of pride that the neonatal mortality rate in affluent societies has dropped substantially since the late 1970s. However, the level of infant mortality (three times the national average) and low birthweight (13%) among the Indigenous Australian population is the highest in the country. With hindsight we now know that is the inevitable legacy of Australia’s colonial history. Chronic physical and psychological stress is recognized as an important etiological factor in many lifestyle diseases of the cardiovascular, immune and reproductive systems. Diseases of adaptation are further advanced by non-adaptive lifestyle choices, depression, alcoholism and other drug dependencies. This review describes the principles of bioscience ethics and targets equity issues as they affect human reproduction across generations with particular reference to the Indigenous population of Australia. The review also considers ways we may advance global and cultural maturity from the Indigenous Australian perspective and proposes an ecologically based model of preventative care. If we are to embrace fundamental social change and protect future children without threatening parents’ basic freedoms, then new beliefs and priorities – based on a compassionate understanding of biological systems – must evolve from the general public. Belief in human rights arising from a sense of human dignity is a collective outcome originating from individual commitment. The golden rule; that is, Nature’s principle of reciprocity, is fundamental in bridging the gap between knowledge and effective action.

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9

Kerr, Cheryl, and Cathryn Lloyd. "Pedagogical learnings for management education: Developing creativity and innovation." Journal of Management & Organization 14, no. 5 (November 2008): 486–503. http://dx.doi.org/10.1017/s1833367200002996.

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AbstractThis paper argues that management education needs to consider a trend in learning design which advances creative learning through an alliance with art-based pedagogical processes. A shift is required from skills training to facilitating transformational learning through experiences that expand human potential, facilitated by artistic processes.This creative learning focus stems from a qualitative and quantitative analysis of an arts-based intervention for management development, called Management Jazz, conducted over three years at a large Australian University.The paper reviews some of the salient literature in the field, including an ‘Artful Learning Wave Trajectory’ Model. The Model considers four stages of the learning process: capacity, artful event, increased capability, and application/action to produce product. Methodology for the field-based research analysis of the intervention outcomes is presented. Three illustrative examples of arts-based learning are provided from the Management Jazz program. Finally, research findings indicate that artful learning opportunities enhance capacity for awareness of creativity in one's self and in others, leading, through a transformative process, to enhanced leaders and managers. The authors conclude that arts-based management education can enhance creative capacity and develop managers and leaders for the 21st century business environment.

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Kerr, Cheryl, and Cathryn Lloyd. "Pedagogical learnings for management education: Developing creativity and innovation." Journal of Management & Organization 14, no. 5 (November 2008): 486–503. http://dx.doi.org/10.5172/jmo.837.14.5.486.

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AbstractThis paper argues that management education needs to consider a trend in learning design which advances creative learning through an alliance with art-based pedagogical processes. A shift is required from skills training to facilitating transformational learning through experiences that expand human potential, facilitated by artistic processes.This creative learning focus stems from a qualitative and quantitative analysis of an arts-based intervention for management development, called Management Jazz, conducted over three years at a large Australian University.The paper reviews some of the salient literature in the field, including an ‘Artful Learning Wave Trajectory’ Model. The Model considers four stages of the learning process: capacity, artful event, increased capability, and application/action to produce product. Methodology for the field-based research analysis of the intervention outcomes is presented. Three illustrative examples of arts-based learning are provided from the Management Jazz program. Finally, research findings indicate that artful learning opportunities enhance capacity for awareness of creativity in one's self and in others, leading, through a transformative process, to enhanced leaders and managers. The authors conclude that arts-based management education can enhance creative capacity and develop managers and leaders for the 21st century business environment.

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11

Steele, Stacey Leanne, and Jin Chun. "Some Suggestions from Japan for Reforming Australia’s Personal Bankruptcy Law." QUT Law Review 17, no. 1 (October 13, 2017): 74. http://dx.doi.org/10.5204/qutlr.v17i1.711.

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This article examines Japan’s contemporary personal bankruptcy law reform experience in light of Australia’s proposed reforms to the Bankruptcy Act 1966 (Cth). Japan’s personal insolvency legislation was substantially revised at the turn of the 21st century and a new proceeding for individual rehabilitation introduced. These innovations built on practical and procedural solutions pioneered in the courts especially in the late 1990s as the number of personal bankruptcies increased after the bursting of the bubble economy. The article shows that by comparison with Japanese approaches to discharge, investigation and continuing obligations, including requirements for income contributions, the proposed Australian reforms are conservative and not as debtor-friendly as those in Japan. The time between filing and discharge in Japan, for example, is flexible and typically no more than a few months. The Australian reforms merely suggest revising the default bankruptcy period from three years to a fixed one year. In practice, the article suggests that the obstacles of adverse credit histories and enforcement of personal guarantees against entrepreneurs remain problems for an entrepreneur seeking a fresh start in both jurisdictions.

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12

Colless, Matthew, and Brian Boyle. "Redshift Surveys With 2DF." Highlights of Astronomy 11, no. 1 (1998): 473–81. http://dx.doi.org/10.1017/s153929960002181x.

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This IAU Joint Discussion proposes to address the subject of redshift surveys in the 21st century. This paper, however, deals with two major new redshift surveys that those involved sincerely hope will be completed in the 20th century. Nonetheless, these surveys are relevant to the topic of the meeting, as they clearly foreshadow the scope and style of redshift surveys, if not in the coming millennium, at least in the coming decade.The surveys are being carried out with the new Two Degree Field (2dF) facility on the Anglo-Australian Telescope (AAT), a 400-fibre multi-object spectrograph with the capability, as described in Section 2, to increase the size of redshift surveys by an order of magnitude over current best efforts. The main scientific goals, survey strategy and some preliminary results from the 2dF Galaxy Redshift Survey are outlined in Section 3, while Section 4 similarly describes the 2dF QSO Redshift Survey. Further information can be found on the WWW at http://www.aao.gov.au/2df/ for the 2dF facility, at http://msowww.anu.edu.au/~colless/2dF/ for thegalaxy survey and at http://www.aao.gov.au/local/www/rs/qso_surv.html for the QSO survey.

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13

Safitri, Ragil, and Sugirin Sugirin. "Senior high school students’ attitudes towards intercultural insertion into the ELT: Yogyakarta context." EduLite: Journal of English Education, Literature and Culture 4, no. 2 (September 4, 2019): 261. http://dx.doi.org/10.30659/e.4.2.261-274.

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Experts in English Language Teaching often consider culture as the fifth skill in foreign language learning as cultural literacy is a must in 21st-century learning. Thus, this study is to investigate students’ interest in the insertion of Big ‘C’ and little ‘c’ themes from different countries into the English classroom. In this study, the researcher distributed a questionnaire to 58 students in a senior high school in Yogyakarta. The study indicated that the respondents’ preferences were mostly about local culture (Yogyakarta and Indonesian culture), followed by target culture (culture of English-speaking countries) and international culture. In accordance with the cultural themes, they showed a relatively higher preference toward Big ‘C’ over the little ‘c’ culture. Concerning Indonesian culture, the students were excited in learning about art/literature, history, and food while for Yogyakarta culture includes history, foods, and lifestyles. Meanwhile, for target culture (Britain, America, and Australia), the students were eager to learn about lifestyles and foods. The last, for international culture, the cultural themes of lifestyles and music/sports were preferred by the students.

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14

Birden, Hudson, and Sue Page. "21st century medical education." Australian Health Review 31, no. 3 (2007): 341. http://dx.doi.org/10.1071/ah070341.

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Australian universities provide good examples of how to meet the growing challenges to the training of doctors that have resulted from information overload in traditional curricula, new models of care, including multidisciplinary team dynamics, and the rigours of evidence-based practice.

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15

BURKE, PETER. "Introduction." European Review 14, no. 1 (January 3, 2006): 99–103. http://dx.doi.org/10.1017/s1062798706000081.

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A preoccupation with hybridity is natural in a period like ours marked by increasingly frequent and intense cultural encounters. Globalization encourages hybridization. However we react to it, the globalizing trend is impossible to miss, from curry and chips – recently voted the favourite dish in Britain – to Thai saunas, Zen Judaism, Nigerian Kung Fu or ‘Bollywood’ films. The process is particularly obvious in the domain of music, in the case of such hybrid forms and genres as jazz, reggae, salsa or, more recently, Afro-Celtic rock. New technology (including, appropriately enough, the ‘mixer’), has obviously facilitated this kind of hybridization.It is no wonder then that a group of theorists of hybridity have made their appearance, themselves often of double or mixed cultural identity. Homi Bhabha for instance, is an Indian who has taught in England and is now in the USA. Stuart Hall, who was born in Jamaica of mixed parentage, has lived most of his life in England and describes himself as ‘a mongrel culturally, the absolute cultural hybrid’. Ien Ang describes herself as ‘an ethnic Chinese, Indonesian-born and European-educated academic who now lives and works in Australia’. The late Edward Said was a Palestinian who grew up in Egypt, taught in the USA and described himself as ‘out of place’ wherever he was located.The work of these and other theorists has attracted growing interest in a number of disciplines, from anthropology to literature, from geography to art history, and from musicology to religious studies. In this issue, the contributions discuss Africa, Japan and the Americas as well as Europe and range from the 16th century to the 21st, from religion to architecture and from clothing to the cinema.

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16

Murray, Simone, and Millicent Weber. "‘Live and local’?" Convergence: The International Journal of Research into New Media Technologies 23, no. 1 (January 24, 2017): 61–78. http://dx.doi.org/10.1177/1354856516677531.

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Literary festivals throughout the English-speaking world have been enthusiastic adopters of digital technology: uploading podcasts of author talks, posting videos of panel sessions to video-sharing sites such as YouTube, inviting guest bloggers to comment on proceedings and encouraging live-tweeting as a means of reinforcing audience members’ participatory agency. Such innovations serve to expand festivals’ reach to encompass dispersed audiences and, moreover, increase the longevity of previously transient events. They hence provide evidence to justify writers’ festivals’ claims on public funding as well as to delineate vibrant online and offline bookish communities of interest. However, wholesale uptake of digital technology destabilizes some previous givens of the literary festival as they have coalesced since the phenomenon’s 1980s efflorescence. The concept of authorship undergoes profound changes in a climate of online performativity, constant availability to readerships and digitally diminished ‘aura’. Equally, previously passive audiences are reconceptualized as amateur critics, co-publicists and even co-publishers in the case of crowdsourced subscription publishing. Festival programming may be sampled live or archived, and audiences are only partially tethered to a particular geographical location – a disarticulation taken to another level by emerging online-only writers’ festivals such as the #TwitterFiction Festival and the Digital Writers’ Festival. What are the implications of these shifts for our conceptualization of 21st-century literary community? This article seeks to address this question by proposing a theoretical framework for examining the digital/literary festival interface, analyzing a wide range of terrestrial and online-only festivals and underpinning this analysis with empirical audience interviewing conducted at multiple Australian and UK writers’ festivals and book towns. In bringing together these strands, the article presents a detailed picture of an important and currently underexplored dimension of the public encounter with literature at a moment of profound digital change.

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17

Whyte, Ann. "Positioning Australian Universities for the 21st Century." Open Learning: The Journal of Open, Distance and e-Learning 16, no. 1 (February 2001): 27–33. http://dx.doi.org/10.1080/02680510124902.

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18

Vanclay, J. K. "Educating Australian foresters for the 21st century." International Forestry Review 9, no. 4 (December 2007): 884–91. http://dx.doi.org/10.1505/ifor.9.4.884.

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19

Bishop, Paul, and Brad Pillans. "Introduction: Australian geomorphology into the 21st century." Geological Society, London, Special Publications 346, no. 1 (2010): 1–6. http://dx.doi.org/10.1144/sp346.1.

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20

Prescott-Steed, David. "Art school: propositions for the 21st century." Continuum 26, no. 2 (April 2012): 325–27. http://dx.doi.org/10.1080/10304312.2011.562965.

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Tennant, Marc, and John K. McGeachie. "Australian dental schools: Moving towards the 21st century." Australian Dental Journal 44, no. 4 (December 1999): 238–42. http://dx.doi.org/10.1111/j.1834-7819.1999.tb00226.x.

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22

Duckett, Stephen J. "Health workforce design for the 21st century." Australian Health Review 29, no. 2 (2005): 201. http://dx.doi.org/10.1071/ah050201.

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The Australian health workforce has changed dramatically over the last 4 years, growing in size and changing composition. However, more changes will be needed in the future to respond to the epidemiological and demographic transition of the Australian population. A critical issue will be whether the supply of health professionals will keep pace with demand. There are current recorded shortages of most health professionals, but this paper argues that future workforce planning should not be based on providing more of the same. Rather, the roles of health professionals will need to change and workforce planning needs to place a stronger emphasis on issues of workforce substitution, that is, a different mix of responsibilities. This will also require changes in educational preparation, in particular an increased emphasis on interprofessional work and common foundation learning.

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23

Lu, Lilly. "Teaching 21st-Century Art Education in aVirtualAge: Art Café @ Second Life." Art Education 63, no. 6 (November 2010): 19–24. http://dx.doi.org/10.1080/00043125.2010.11519098.

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24

Hamnett, Stephen, and Paul J. Maginn. "Australian Cities in the 21st Century: Suburbs and Beyond." Built Environment 42, no. 1 (March 1, 2016): 5–22. http://dx.doi.org/10.2148/benv.42.1.5.

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Bartholomew, Iain. "The australian minerals industry-resources for the 21st century." RESOURCES PROCESSING 42, no. 1 (1995): 44–49. http://dx.doi.org/10.4144/rpsj1986.42.44.

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WALL, T. F., A. L. SALUSINSZY, D. B. EBELING, G. R. DREWE, K. M. SULLIVAN, P. BEERAN, and G. B. SMITH. "Energy Options for the 21st Century—An Australian Perspective." Energy Sources 14, no. 3 (July 1992): 253–63. http://dx.doi.org/10.1080/00908319208908724.

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Harvey, Nick, and Beverley Clarke. "21st Century reform in Australian coastal policy and legislation." Marine Policy 103 (May 2019): 27–32. http://dx.doi.org/10.1016/j.marpol.2019.02.016.

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Grabosky, P. N. "Crime Control in the 21st Century." Australian & New Zealand Journal of Criminology 34, no. 3 (December 2001): 221–34. http://dx.doi.org/10.1177/000486580103400302.

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This article speculates on what society's response to crime will look like in the year 2020. Following a brief discussion of the anticipated criminal environment, and trends which will influence the delivery of public services, the article will suggest some of the forms which future institutions of crime control are likely to take. In addition to the transformation of Australian police services, the paper will discuss private and non-profit institutions of crime control, and how these will interact with public institutions. The paper will conclude with a discussion of trade-offs between personal safety and individual freedom, and how these will shift over time. It predicts greater societal investment in personal safety at the expense of individual freedom.

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Hewett, Katherine J. E., Bethanie C. Pletcher, and Guang Zeng. "The 21st-Century Classroom Gamer." Games and Culture 15, no. 2 (April 11, 2018): 198–223. http://dx.doi.org/10.1177/1555412018762168.

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The 21st century has given rise to gaming industry technologies that drive a new type of learner in the classroom. This article draws data from four case studies that were conducted as part of a sequential mixed-model study. The study explored the 21st-century skills students reported learning through their video game consumption and creation of intellectual property. The qualitative data analysis led to the development of five major findings: (1) the strategist: accomplishing the mission, (2) the creator: the art of gameplay, (3) the communicator: building relationships and communities, (4) the hero: to be the hero of a great adventure, and (5) I am an “elite”: a digital native. These findings attempt to create a profile of the 21st-century classroom gamer based on the data. They represent and support research trends that explore the gaming phenomenon, gamer traits, and 21st-century skills learned through playing video games.

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Rowe, Allison. "Socially Engaged Art at the Reimagined 21st Century Museum." Marilyn Zurmuehlen Working Papers in Art Education 2018 (November 29, 2018): 1–17. http://dx.doi.org/10.17077/2326-7070.1511.

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31

Barashkov, Victor. "Aaron Rosen. Art & Religion in the 21st Century." Религиоведческие исследования, no. 1 (2019): 144–54. http://dx.doi.org/10.23761/rrs2019-19.144-154.

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Sidky, Saria, and Dina Adel zaki. "21ST CENTURY SKILLS: NEW ART EDUCATION PARADIGMS IN EGYPT." المجلة العلمیة لجمعیة امسیا – التربیة عن طریق الفن 4, no. 14 (April 1, 2018): 161–79. http://dx.doi.org/10.21608/amesea.2018.76229.

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Bryant, Courtney. "A 21st-Century Art Room: The Remix ofCreativityand Technology." Art Education 63, no. 2 (March 2010): 43–48. http://dx.doi.org/10.1080/00043125.2010.11519061.

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Acuff, Joni Boyd. "Black Feminist Theory in 21st-Century Art Education Research." Studies in Art Education 59, no. 3 (July 3, 2018): 201–14. http://dx.doi.org/10.1080/00393541.2018.1476953.

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Arshad, Noeen. "The art of moving teeth in the 21st century." American Journal of Orthodontics and Dentofacial Orthopedics 121, no. 3 (March 2002): 14A. http://dx.doi.org/10.1067/mod.2002.122858.

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Fredriksson, Malin. "Art and religion in contemporary society." Approaching Religion 6, no. 2 (December 14, 2016): 186–88. http://dx.doi.org/10.30664/ar.67583.

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McDonald, DJ. "Temperate rice technology for the 21st century: an Australian example." Australian Journal of Experimental Agriculture 34, no. 7 (1994): 877. http://dx.doi.org/10.1071/ea9940877.

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Performance of the New South Wales rice industry is examined in the context of global rice production and demand into the 21st century. The need to double global production of rice by 2030 without major expansion of area will ensure strong export demand from temperate rice growing areas including southern New South Wales. Factors leading to the very high yields now achieved are discussed and the potential for further increasing average yields that are already the highest in the world is explored in terms of maintaining gains already made, raising the yield ceiling closer to the environmental limit, and reducing the gap between potential yield and those achieved by producers. Details are provided of the release and utilisation of varieties from the breeding program, and significant barriers to further yield increase are identified. The importance of 'Ricecheck' (a simple decision support system for farmers) is discussed. Problems of tailoring crop and land use practices to obtain environmental stability while at the same time substantially increasing productivity are highlighted.

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Na, Angelika F., Sharman PT Tanny, and John M. Hutson. "Circumcision: Is it worth it for 21st-century Australian boys?" Journal of Paediatrics and Child Health 51, no. 6 (February 12, 2015): 580–83. http://dx.doi.org/10.1111/jpc.12825.

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Canna, Scott W., and Peter A. Nigrovic. "Editorial: 21st Century Storm Chasers: Defining Macrophage Activation Syndrome." Arthritis & Rheumatology 68, no. 3 (February 24, 2016): 557–60. http://dx.doi.org/10.1002/art.39329.

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Vaughan, Denis A., and Denny Sakkas. "Sperm selection methods in the 21st century." Biology of Reproduction 101, no. 6 (February 25, 2019): 1076–82. http://dx.doi.org/10.1093/biolre/ioz032.

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Abstract Natural sperm selection in humans is a rigorous process resulting in the highest quality sperm reaching, and having an opportunity to fertilize, the oocyte. Relative to other mammalian species, the human ejaculate consists of a heterogeneous pool of sperm, varying in characteristics such as shape, size, and motility. Semen preparation in assisted reproductive technologies (ART) has long been performed using either a simple swim-up method or density gradients. Both methodologies provide highly motile sperm populations; however neither replicates the complex selection processes seen in nature. A number of methods have now been developed to mimic some of the natural selection processes that exist in the female reproductive tract. These methods attempt to select a better individual, or population of, spermatozoa when compared to classical methods of preparation. Of the approaches already tested, platforms based upon sperm membrane markers, such as hyaluronan or annexin V, have been used to either select or deselect sperm with varied success. One technology that utilizes the size, motility, and other characteristics of sperm to improve both semen analysis and sperm selection is microfluidics. Here, we sought to review the efficacy of both available and emerging techniques that aim to improve the quality of the sperm pool available for use in ART.

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Castro, Gabriela. "A dúvida de Cézanne como propedêutica da arte no século XXI." Phainomenon 18-19, no. 1 (October 1, 2009): 175–84. http://dx.doi.org/10.2478/phainomenon-2009-0010.

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Abstract Starting from the question of Émile Bernard to Cézanne: “nature and art are not different?”, and the painter’s answer: “ I would like to join them”, we thought that it would be possible to link the spirit of this sentence with the advances of the art in the 21st century. Cézanne’s attitude designs the union between the two realities: art and nature. This union, in the 21st century, has a new artistic representation called bio-art. With bio-art the dichotomy between art and nature disappears and the artistic-scientific product, as a phenomenological object, is a new substance and opens a new ontology.

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Bateman, Philip W., Patrick Pearlman, Peter Robertson, Beth Schultz, and Grant Wardell-Johnson. "Is the Biodiversity Conservation Act 2016 (WA) fit for purpose?" Pacific Conservation Biology 23, no. 2 (2017): 146. http://dx.doi.org/10.1071/pc16024.

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The Biodiversity Conservation Bill 2015 for Western Australia was criticised by scientists and conservation activists for its perceived flaws as it progressed from Bill through to Act. In this article, we summarise what we consider to be the major flaws in the Biodiversity Conservation Act 2016 (WA) and suggest future amendments that could make the Act fit for purpose. Such criticism is important as biodiversity conservation initiatives globally appear to be failing to prevent biodiversity losses. As we move further into the 21st Century we need to identify, enact and implement effective legislation that will produce successful conservation outcomes.

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Pavlov, A. V., and Y. V. Erokhina. "Images of Modernity in the 21st Century: Altermodernism." Russian Journal of Philosophical Sciences 62, no. 2 (May 12, 2019): 7–25. http://dx.doi.org/10.30727/0235-1188-2019-62-2-7-25.

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The article discusses an actual problem of the contemporary social theory – a problem of post-postmodernism that is the answer to the question: what comes to replace the supposedly outdated postmodernism. Post-postmodernism in an umbrella term that brings together various concepts like digimodernism, automodernism, metamodernism, hypermodernism, supermodernism, etc. One of the replacing postmodernism theories is the French curator and art theorist Nicolas Bourriaud’s concept that was called “altermodern” or “other modernism.” In his previous books Bourriaud proposed to rewrite modernism and, as the result, developed a new theory. The concept appeared in 2009 when Bourriaud presented the exhibition in London, timed to the publication of his manifesto Altermodern, and edited and published the book of collected papers of the same title. Globalization, which opened borders for art, is a central concept of the altermodernism theory. The main terms of altermodern are heterochrony (time diversity) and viatorisation (nomadism). The main social subject of the alternodern era is a free travelling artist, who interprets the meanings of “rewritten” art for the public. They are “rewritten” because Bourriaud proposes to use phenomena and products of past ages to make them work in a new way. However Bourriaud’s concept should be considered critically, as it was formerly done by several researchers. The article proposes a critical review that answers to the question: to what extent the idea of altermodern is heuristic and therefore it could compete with other concepts that abolish postmodern. The author gives a negative answer to this question first of all because altermodern just borrows a lot of elements of the language and apparatus of postmodernism and actually does not offer anything new.

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Wijngaarden, Vanessa. "Walking to Australia: 21st Century Excursions into Humanity’s Greatest Migration, David Robbins." Critical Arts 32, no. 5-6 (November 2, 2018): 141–44. http://dx.doi.org/10.1080/02560046.2018.1551909.

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Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.

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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or both parents born overseas (identifying as second generation Australian). Nearly a third, or 32 percent, of Australians identified as having come from non-Anglo Celtic backgrounds, and 2.8 percent of Australians identify as Indigenous (Aboriginal or Torres Strait Islander). Nearly a fifth, or 18 percent, of Australians identify as having a disability. Screen Australia is the government agency that oversees film and TV funding and research. Conducted in 2016, Screen Australia’s study looked at 199 television dramas (fiction, excluding animation) that aired between 2011 and 2015. The comparison between these two sources of data reveals that with one exception, there is a marked disparity between diversity as depicted in the lived experiences of Australians and recorded by the Census, and diversity as depicted on screen and recorded by the Screen Australia survey.

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Domm, Daniela Perazzo. "RoseLee Goldberg, Performance Now: Live Art for the 21st Century." Dance Research 37, no. 2 (November 2019): 266–68. http://dx.doi.org/10.3366/drs.2019.0279.

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Kim, Sun-Young. "A Study of Up-cycling in 21st Century Fashion Art." Research Journal of the Costume Culture 20, no. 3 (June 30, 2012): 295–308. http://dx.doi.org/10.7741/rjcc.2012.20.3.295.

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Bonacic, Vladimir. "A Transcendental Concept for Cybernetic Art in the 21st Century." Leonardo 22, no. 1 (1989): 109. http://dx.doi.org/10.2307/1575148.

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Gude, Olivia. "Postmodern Principles: In Search of a 21st Century Art Education." Art Education 57, no. 1 (January 2004): 6–14. http://dx.doi.org/10.1080/00043125.2004.11653528.

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Krieg, Andreas, and Jean-Marc Rickli. "Surrogate warfare: the art of war in the 21st century?" Defence Studies 18, no. 2 (January 21, 2018): 113–30. http://dx.doi.org/10.1080/14702436.2018.1429218.

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