Relevant bibliographies by topics / Atomic bomb in art Australia

Academic literature on the topic 'Atomic bomb in art Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Atomic bomb in art Australia"

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Mudd, Gavin M. "The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today." Historical Records of Australian Science 16, no. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.

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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.
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Carver, J. H., R. W. Crompton, D. G. Ellyard, L. U. Hibbard, and E. K. Inall. "Marcus Laurence Elwin Oliphant 1901 - 2000." Historical Records of Australian Science 14, no. 3 (2002): 337. http://dx.doi.org/10.1071/hr02012.

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With the death of Professor Sir Mark Oliphant, the first President of the Australian Academy of Science, Australia lost one of its most distinguished scientists. A tall, handsome man with a shock of white hair and a distinctive voice and laugh, he was well informed on a wide range of scientific matters and expressed firm views on their social consequences. He enjoyed wide respect throughout the nation as a great Australian, his influence spreading far beyond the discipline of physics, to which he made seminal contributions both through his own research and his leadership. The Academy will remember and honour him for his leading role in its establishment, and for his continuing association with it until the last years of his long life.Oliphant's outstanding international reputation was based on his pioneering discoveries in nuclear physics in Cambridge in the 1930s and his remarkable contributions to wartime radar research and to the development of the atomic bomb. In 1950, after an absence of 23 years, Oliphant returned to Australia, where he founded the Research School of Physical Sciences at the Australian National University and pioneered the creation in Canberra of a national university dedicated to the conduct of research at the highest international level.To the layman, Mark Oliphant was well known for his often outspoken comments on those matters about which he felt so strongly: social justice, peace, atomic warfare, the environment, academic freedom and autonomy, to name a few. The scientific community will remember him as a physicist for his pioneering experiments with Ernest Rutherford during momentous years that saw the birth of nuclear physics, as a physicist/engineer for his ingenuity and determination as one of the pioneers of high-energy particle accelerators, and as a science administrator and public advocate for science.
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Katzman, Laura. "Art in the Atomic Age: Ben Shahn's Stop H-Bomb Tests." Yale Journal of Criticism 11, no. 1 (1998): 139–58. http://dx.doi.org/10.1353/yale.1998.0013.

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Petersen, Stephen. "Explosive Propositions: Artists React to the Atomic Age." Science in Context 17, no. 4 (December 2004): 579–609. http://dx.doi.org/10.1017/s0269889704000274.

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Argument“How should a modern artist react to the atomic age?” Time magazine posed this question in 1952 to open a review of an exhibition of paintings inspired by the “explosion of the atomic bomb” and by the “discovery of nuclear energy.” The energetic paintings of the Italian Spatial Movement were, according to Time, “almost as explosive as the bomb itself.” “Explosiveness” was a defining feature of much 1950s art, whose main impulse, gestural abstraction, has previously been understood as the urgent expression of the artist's subjectivity. This paper argues that explosiveness in art can also be seen as an “expression” of the realities of the nuclear era. Postwar artists were ambivalent about the explosive forces, both liberating and devastating, that lay within the atom. Toward the end of the 1950s, no longer content merely to represent atomic disintegration, some artists went so far as to propose the outright self-destruction of the work of art as the only fitting means of expression in the atomic age.One must – and this is not an exaggeration – keep in mind that we are living in the atomic age, where everything material and physical could disappear from one day to another, to be replaced by nothing but the ultimate abstraction imaginable.– Yves Klein 1958 (Klein 1973, 10)
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Stupu, Andrei. "The Future Of Present Threats." Research and Education, no. 4 (2020): 29–32. http://dx.doi.org/10.56177/red.4.2020.art.4.

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The aim of this paper is to present the importance of technology in the evolution of warfare. Moreover, this material analyses the issue posed by the use of the atomic bomb and it offers a pragmatic perspective on the future of war, by underlining essential related phenomena.
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Bleaney, Brebis. "Sir Mark (Marcus Laurence Elwin) Oliphant, A.C., K.B.E. 8 October 1901 – 14 July 2000." Biographical Memoirs of Fellows of the Royal Society 47 (January 2001): 383–93. http://dx.doi.org/10.1098/rsbm.2001.0022.

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Marcus Oliphant was a gifted physics student from the University of Adelaide who came to work with Rutherford in Cambridge for his doctorate. In 1937 he became Poynting Professor of Physics at the University of Birmingham, where he promoted the development of centimetre–wave research for radar and was active in connection with the atomic bomb. He returned to Australia in 1950 as Professor of the Physics of Ionized Gases in Canberra, but his efforts there to achieve a thermonuclear reaction were unsuccessful. He became the founding President of the Australian Academy of Sciences, received a knighthood in 1959 and was appointed Governor of Southern Australia in 1972.
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Clohesy, Lachlan, and Phillip Deery. "The Prime Minister and the Bomb: John Gorton, W.C. Wentworth and the Quest for an Atomic Australia." Australian Journal of Politics & History 61, no. 2 (June 2015): 217–32. http://dx.doi.org/10.1111/ajph.12094.

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Oramus, Dominika. "The Art of Un-Making: Nagasaki, Eniwetok, Mururoa, and J.G. Ballard." Open Cultural Studies 3, no. 1 (January 1, 2019): 553–62. http://dx.doi.org/10.1515/culture-2019-0049.

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Abstract This paper analyzes one kind of Ballardian landscape, wastelands created by nuclear explosions, and aims at interpreting them as a study of the un-making of the human-made world. Cityscapes of ruins, crumbling concrete concourses and parking lots, abandoned barracks and military stations, radiation and mutations make Nagasaki, Eniwetok and Mururoa wasteland snap-shots of the future. In the minds of the protagonists, the un-made landscape is strangely soothing; they are attracted by the post-nuclear imagery and gladly embrace the upcoming catastrophe. Nagasaki, Eniwetok and Mururoa are the harbingers of a future where one can experience the nirvana of non-being. In this paper, I discuss the Ballardian un-making of the world and, hopefully, point to the subliminal meaning of atomic explosions in his works. To do this, I first discuss the references to the atomic bomb in Ballard's non-fiction (A User's Guide to the Millennium, J.G.Ballard Conversations). Then, I isolate and describe the subsequent stages of the un-making of the world using his depictions of Nagasaki (Empire of the Sun, The Atrocity Exhibition); Eniwetok (The Atrocity Exhibition, The Terminal Beach), and Mururoa (Rushing to Paradise). Finally, I suggest a hypothesis explaining the subliminal meaning of nuclear bombs with reference to Freud's theories.
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Cade, O. J., and Elana Santana. "Witnessing the Wasteland: Sight, Sound and Response in Edith Sitwell’s “Three Poems of the Atomic Age.”; Meeting in the Meadow; & The Twins." UnderCurrents: Journal of Critical Environmental Studies 18 (April 27, 2014): 18–24. http://dx.doi.org/10.25071/2292-4736/38540.

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The place where the scientific meets the poetic underwent a transformation when atomic bombs were used against Hiroshima and Nagasaki in August of 1945. Primed to images of apocalypse and destruction by the 1922 publication of T.S. Eliot’s "The Waste Land," poets found themselves in a position where life imitated art. Like their fellow citizens, poets were witness to a scientific revolution—one that began with Rutherford splitting the atom and ended with a more efficient and competent slaughter than anything previously experienced. Lehmann comments that “the war, in the end, found its voices in the work of many poets and novelists; but the peace, the victory, the defeat, the bewilderment in defeat and the heart-breaking disappointment in victory, the apocalyptic manifestation of atomic power—the poets seemed too long to have been too dazed to think of them” (30). His one exception is Edith Sitwell who confronted the atom bomb in her “Three Poems of the Atomic Age” (Collected Poems 368-378): for Sitwell built a narrative about the bombing—not so much a narrative of events, but of understanding, as she confronted the moral consequences of this new capacity for destruction. Sitwell’s “Three Poems” include “Dirge of the New Sunrise,” which describes the moment the atomic bomb was dropped upon Hiroshima; “The Canticle of the Rose,” which uses the symbolism of a rose growing out of the atomic wasteland as a metaphor for Jesus Christ; and “The Shadow of Cain,” which Sitwell describes as being “about the fission of the world into warring particles, destroying and self-destructive” (Collected Poems xlii).....THE TWINS. Elana Santana.
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Stortini, Paride. "Buddhism and Cultural Heritage in the Memorialization of the Hiroshima Bombing: The Art and Activism of Hirayama Ikuo." Religions 13, no. 2 (February 5, 2022): 146. http://dx.doi.org/10.3390/rel13020146.

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Debates on the memorialization of the atomic bombing of Hiroshima have played an essential role in the construction of postwar Japanese identity, public memory, and historical consciousness. Religion, often conceived beyond traditional terms through concepts such as “spirituality” and “heritage”, was part of this process. This article examines the role of Buddhism in the autobiographical and visual narratives of the atomic bomb survivor Hirayama Ikuo, who expressed his personal trauma through art, turning it into a call for peace and for the preservation of the cultural heritage of the Silk Road, associated with the spread of Buddhism. Using recent critical approaches to heritage studies, I will show how the heritagization of Buddhism in Hirayama’s work does not preclude the sacralization of aspects of Silk Road heritage. Placing Hirayama’s approach to the nuclear bombing in the context of postwar discourses on Japan as a peaceful “nation of culture”, I will also problematize his view of Buddhism and the Silk Road by showing how similar views were used in support of imperialism in the prewar period.
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Dissertations / Theses on the topic "Atomic bomb in art Australia"

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Bürkner, Daniel. "Fotografie und atomare Katastrophe." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2015. http://dx.doi.org/10.18452/17199.

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Die Dissertation setzt sich mit den fotografischen Repräsentationen der Atombombenabwürfe auf Hiroshima und Nagasaki sowie der Havarie des Kernkraftwerks Tschernobyl auseinander. Dabei werden künstlerische, dokumentarische und touristische Bilder analysiert, die sich der jeweiligen Strahlenkatastrophe oftmals erst Jahre nach dem Ereignis annehmen und ikonografische oder medial-materielle Bezüge zu ihr aufweisen. Es zeigen sich zentrale Strategien, atomare Katastrophen, seien sie militärischer oder ziviler Natur, in fotografische Bilder überzuführen. Gerade das eigentliche Unvermögen, die visuell nicht sichtbaren Strahlenemissionen oder die Komplexität der Vorgänge auf atomarer Ebene zu visualisieren, hat sich als prägend erwiesen und bestimmt als Paradigma der Unsichtbarkeit die kulturelle Rezeption der Ereignisse. Es ist dieser Umgang mit den Abstraktionspotentialen der nuklearen Technologie, die im aktuellen Spannungsfeld ökologischer, sozialer und energietechnologischer Bildpolitik ihre Relevanz stets von neuem unter Beweis stellt.
The dissertation project seeks to analyse the photographic positions that deal with the atomic bomb attacks on Hiroshima and Nagasaki and the accident of the nuclear power plant in Chernobyl. This focus includes press photographs of the events as well as artistic, documentary and touristic images that take an approach towards the disasters often years after and hereby form iconographic or material references to the events. The study reveals central strategies for photographic images of atomic catastrophes, be they of military or civil nature. It is the inability to visualize non-visible nuclear rays or the complexity of processes on an atomic level that has turned out to be crucial. This incapacity of making images, a paradigm of invisibility, substantially coins the cultural role of the events. The question of how a society deals with these abstract potentials of nuclear technology has turned out to be always anew of high relevance in regard to ecological, social and technological policies of images.
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Rompilla, Denise M. "From Hiroshima to the hydrogen bomb American artists witness the birth of the atomic age." 2008. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.17556.

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Books on the topic "Atomic bomb in art Australia"

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Reynolds, Wayne. Australia's bid for the atomic bomb. Carlton, Vic: Melbourne University Press, 2000.

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D'Agostino, Peter. Traces, a multimedia installation of the Atomic Age. [Baltimore, Md.?: Goucher College?, 1995.

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Price, Tony. Tony Price: Atomic art. Santa Fe, N.M: Museum of Fine Arts, 2004.

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Takeda, Shinpei. Arufa hōkai: Gendai āto wa ikani genbaku no kioku o hyōgen shiuru ka = Alpha decay. Tōkyo-to Chiyoda-ku: Gendai Shokan, 2014.

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1945-, Sanborn Jim, and Corcoran Gallery of Art, eds. Atomic time: Pure science and seduction. Washington, D.C: Corcoran Gallery of Art, 2003.

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Tsuda, Mutsumi. Divergences, d'Hiroshima à Los Alamos : installation photographique = Divergences, from Hiroshima to Los Alamos: Photographic installation. Paris: Blusson, 2002.

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Cross, Roger. Fallout: Hedley Marston and the British bomb tests in Australia. Kent Town, S. Aust: Wakefield Press, 2001.

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Jeff, Fleming, Feldman Ellen R, Des Moines Art Center, and Rose Art Museum, eds. Tom Sachs: Logjam. Des Moines, Iowa: Des Moines Art Center, 2007.

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Sachs, Tom. Tom Sachs: Sony outsider = [autosaidā]. Santa Fe, N.M: SITE Santa Fe, 1999.

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Germano, Celant, and Fondazione Prada (Milan Italy), eds. Tom Sachs. Milano: Fondazione Prada, 2006.

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Book chapters on the topic "Atomic bomb in art Australia"

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Arnold, Lorna, and Mark Smith. "Atomic Policies and Policymakers." In Britain, Australia and the Bomb, 1–16. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230627338_1.

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"Peace, Potsdam and the Atomic Bomb." In Letters to Australia, Volume 1, 215–17. Sydney University Press, 2014. http://dx.doi.org/10.2307/j.ctv16b77f7.72.

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Orvell, Miles. "Atomic War and the Destructive Sublime." In Empire of Ruins, 149–78. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190491604.003.0006.

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This chapter on atomic ruins begins with a discussion of the bomb itself and the iconic form of the mushroom cloud, which quickly emerged from photographs of the explosion. The photography of nuclear war is considered in the work of Japanese photographers like Yamahata and Matsushige, whose horrifying images of the Hiroshima and Nagasaki blasts eventually were shown in the pages of Life magazine after the ban was lifted. Edward Steichen’s celebrated Family of Man exhibition at the Museum of Modern Art is considered in terms of the image of the hydrogen bomb and its later disappearance from the book version of the show. The post-atomic response of artists like Isozaki is examined, along with American photographers who pictured the Southwest US testing grounds in stunning photographs that explored ways of imaging the unimaginable. How beautiful was the bomb itself? Michael Light’s collection of imagery and related museum exhibitions have shown us the ambiguities of viewing the Destructive Sublime.
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