Relevant bibliographies by topics / Naturalism in art Australia

Academic literature on the topic 'Naturalism in art Australia'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Naturalism in art Australia"

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Fensham, Roderick. "Rumphius and." Historical Records of Australian Science 33, no. 1 (January 21, 2022): 23–27. http://dx.doi.org/10.1071/hr21009.

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In 1743, Georg Rumphius described a tree from the island of Seram in Herbarium Amboinense as Arbor Versicolor (now known as Eucalyptus deglupta Blume). Thus, the first European name for a species in the iconic Australian genus of Eucalyptus was coined decades before the British collected specimens in Australia, and before it was given its current name by a French botanist in 1789. The English translation of Rumphius’ description (see Supplementary Material) also includes vernacular names for Eucalyptus deglupta—some of many names applied to this species as it occurs from New Britain to Mindanao in the Philippines. While neither Rumphius’ name nor vernacular names for E. deglupta are recognised in current Western botanical nomenclature, the naming of Eucalyptus and other genera now recognised as Acacia, Casuarina and Melaleuca confirm the role of the eminent naturalist Rumphius in the history of Australian botany.
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Abadía, Oscar Moro, Manuel R. González Morales, and Eduardo Palacio Pérez. "‘Naturalism’ and the interpretation of cave art." World Art 2, no. 2 (September 2012): 219–40. http://dx.doi.org/10.1080/21500894.2012.689258.

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Killin, Anton. "Defending scientific naturalism in philosophy of art." Metascience 29, no. 2 (May 25, 2020): 289–92. http://dx.doi.org/10.1007/s11016-020-00528-w.

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Elias, Ann. "Campaigners for Camouflage: Abbott H. Thayer and William J. Dakin." Leonardo 42, no. 1 (February 2009): 36–41. http://dx.doi.org/10.1162/leon.2009.42.1.36.

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The author makes a comparative study of American naturalist Abbott H. Thayer and Australian zoologist William J. Dakin, two civilian campaigners for military camouflage in two different wars who nevertheless share strikingly similar stories.
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Gawronski, Alexander. "Art as Critique under Neoliberalism: Negativity Undoing Economic Naturalism." Arts 10, no. 1 (February 4, 2021): 11. http://dx.doi.org/10.3390/arts10010011.

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This essay considers the possibilities of contemporary art as a viable medium of socio-political critique within a cultural terrain dominated by naturalised neoliberal economics. It begins by considering the centrality of negativity to the historical project of critical theory most forcefully pursued by Adorno as ‘negative dialectics.’ Subsequent varieties of postmodern critique fairly dispensed with dialectics variously favouring complexity and an overriding emphasis on textuality. With the birth of neoliberalism and its burgeoning emphasis on ‘the contemporary’, economic values begin to penetrate every aspect of contemporary life and experience, including art and culture. Contemporary capitalism dematerialised as financialisation now comprises a naturalised ambience that is both everywhere and nowhere. Capitalist ambience is echoed in contemporary art that suggests criticality and yet seems to side with the imagery, values and logics of the prevailing financial order. The naturalisation of the neoliberal order is further internalised by artists online. Exacerbated contemporary emphasis on the ‘self as entrepreneur’ coincides with the biopolitical transformation of the contemporary artist into an individual ‘enterprise unit’. This is particularly observable online on social media where an artist’s whole life is simultaneously the subject and object of art. Criticality in art does not disappear but becomes ‘self-annulling’: it acts as a conduit questioning the commodity-identity of art while pointing to phenomena and affects outside the art world. With the recent appearance of the COVID-19 virus, added to the unignorable impact of global climate change, ‘real nature’ assumes a critical role, undermining neoliberalism’s ideological naturalisation while laying-bare the extent of its structural contradictions. Art criticality is revivified by divesting from art contexts saturated with neoliberal imperatives. Criticality is negatively practiced as an ‘un-’ or ‘not-doing’, defining modes of exodus while, crucially, not abandoning art’s institutional definition altogether.
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Barbosa Ribeiro, Marta, and Joana Brites. "Rethinking the stylistic categories of Portuguese 19th century sculpture: the work of António Teixeira Lopes." Ars Longa. Cuadernos de arte, no. 26 (February 1, 2018): 157. http://dx.doi.org/10.7203/arslonga.26.10961.

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This paper aims to rethink 19th century Portuguese sculpture’s stylistic categories from the analysis of the work of António Teixeira Lopes, who is considered the major representative of naturalism in this country. First, the concept of naturalism in Portuguese art history is examined, with a critical characterization of its separation from romanticism (contrasting with mainstream literature) and demonstrating that its emergence from painting research and its adoption in sculpture is inoperative when observing a concrete art work. Secondly, with the Portuguese art reality as a backdrop, Teixeira Lopes’ academic and professional life is contextualised. Finally, based on the analysis of the sculptor’s work and the knowledge of his methods and views on art, the labelling of Lopes as a naturalist is questioned and the necessity for a less compartmentalized understanding of 19th century art is stressed.
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Consoli, Gianluca. "Aesthetic Value and Aesthetic Judgment." Aesthetic Investigations 4, no. 1 (December 31, 2020): 112–21. http://dx.doi.org/10.58519/aesthinv.v4i1.11928.

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Contemporary aesthetic naturalism integrates various scientific approaches into the common effort to provide an explanation of the main topics of aesthetics on the basis of empirical methods or in line with available evidence. Although these approaches have recently achieved very relevant empirical and theoretical results, contemporary aesthetic naturalism still does not solve the traditional hard problem of naturalism as such, that is the explanation of value in scientific terms. Firstly, I analyse the possible responses to this hard problem, showing that aesthetic value, particularly in the version of artistic value, remains outside the scope of current empirical approaches to aesthetics. Then I propose that this apparently strong philosophical limitation can be easily reduced to an ordinary epistemological limitation if aesthetic naturalism accepts to improve the interaction with art criticism, the discipline in the humanities characterised by a privileged access to the historical and social reasons that justify aesthetic judgments.
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Parrott, June. "Art Education in Australia." Journal of Aesthetic Education 21, no. 3 (1987): 114. http://dx.doi.org/10.2307/3332877.

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Hornshaw, B. L. "Primitive Art in Australia." Mankind 1, no. 1 (February 10, 2009): 21–22. http://dx.doi.org/10.1111/j.1835-9310.1931.tb00841.x.

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Karbalaeetaher, Hossein Shahin. "Cinema And Society In The Light Of Emile Zola’s Naturalism." CINEJ Cinema Journal 8, no. 1 (March 11, 2020): 141–55. http://dx.doi.org/10.5195/cinej.2020.244.

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This study will seek to discuss the essential impact of Emile Zola’s naturalism regarding the role of cinema in projecting social issues. To be clear on how cinema has got involved with social issues and has become an effective art form for distributing social messages and encouraging social changes, this study first will give a detailed historical background on the relationship between cinema itself and society. Then, it will elaborate on Emile Zola's naturalistic literature role as the first serious endeavors to raise social awareness through art and literature in the late nineteenth century. Finally, this study will focus on the first cinematic movement with an emphasis on the depiction of the working class' real life and revealing inequalities and injustices in a society based on Zola’s naturalism.
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Dissertations / Theses on the topic "Naturalism in art Australia"

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Loo, Christopher. "The ecology of naturalised silvergrass (Vulpia) populations in south-western Australia." University of Western Australia. School of Plant Biology, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0093.

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[Truncated abstract] Annual grasses have colonised a diverse range of environments in southern Australia. The “Silvergrasses” of the genus Vulpia are excellent examples being widely distributed, are prevalent weeds of agriculture and have had a long history to naturalise on the continent. Research was undertaken on Vulpia populations to identify if naturalising species have reproductive traits that provide propagules with the best chances of success. Furthermore, research aimed at investigating if these traits vary between species and their populations and how this variability related to the environment. A herbarium and field study was undertaken to establish what Vulpia species occur in SW Australia and to investigate environmental factors affecting their distribution. 169 herbaria specimens was examined and a botanical field survey of 189 sites was carried out in September 1998. Four species occur in the region: V. fasciculata, V. muralis, V. bromoides and two variants of V. myuros (V. myuros var. megalura and V. myuros var. myuros). V. bromoides and V. myuros were introduced early into the region while V. fasciculata and V. muralis more recently. It is plausible that Vulpia invaded the region via early seaport settlements and was spread by agricultural expansion. 96% of field sites contained V. myuros var. myuros, 79% V. myuros var. megalura, 50% V. bromoides, 6% V. fasciculata and 6% contained V. muralis. 90% of sites contained a mix of species and 9% of sites contained pure species stands. V. myuros var. myuros is the most widespread species and dominant form of V. myuros. It is found from high rainfall regions through to arid locations occurring on mostly light textured low fertility soils. V. muralis and V. fasciculata occur infrequently with the former widely dispersed and the later occurring predominantly on sands. V. bromoides occurs extensively in high rainfall regions but rarely extends to locations receiving less than 400-450mm annual rainfall and northward above 30°00’ latitude. It is predominantly on light to loamy textured soils that are fertile and acid. The most common species V. myuros and V. bromoides often coexist within sites but the dominance of one over the other is strongly correlated with growing season length and false break frequency. V. bromoides is positively correlated to growing season length and V. myuros is negatively related. The distribution of Vulpia species is strongly influenced by climate and soils. Variability in distribution is a reflection of the ecological differentiation between species to colonise different environments
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Taschian, Helen. "Naturalism and Libertinism in Seventeenth-Century Italian Painting." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3612041.

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The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art.

Caravaggio's difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time.

The aim of this dissertation is to discuss the relation of Caravaggio's work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts.

The first chapter examines Caravaggio himself, while the second discusses three artists—Giovanni Baglione, Orazio Gentileschi, and Guido Reni—who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists—Salvator Rosa and Nicolas Poussin—side by side in order to expose both the radically different responses to Caravaggio's legacy and the diverse senses in which the word "libertine" must be understood.

While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio's example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.

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Gibson, Lisanne, and L. Gibson@mailbox gu edu au. "Art and Citizenship- Governmental Intersections." Griffith University. School of Film, Media and Cultural Studies, 1999. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030226.085219.

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The thesis argues that the relations between culture and government are best viewed through an analysis of the programmatic and institutional contexts for the use of culture as an interface in the relations between citizenship and government. Discussion takes place through an analysis of the history of art programmes which, in seeking to target a 'general' population, have attempted to equip this population with various particular capacities. We aim to provide a history of rationalities of art administration. This will provide us with an approach through which we might understand some of the seemingly irreconcilable policy discourses which characterise contemporary discussion of government arts funding. Research for this thesis aims to make a contribution to historical research on arts institutions in Australia and provide a base from which to think about the role of government in culture in contemporary Australia. In order to reflect on the relations between government and culture the thesis discusses the key rationales for the conjunction of art, citizenship and government in post-World War Two (WWII) Australia to the present day. Thus, the thesis aims to contribute an overview of the discursive origins of the main contemporary rationales framing arts subvention in post-WWII Australia. The relations involved in the government of culture in late eighteenth-century France, nineteenth-century Britain, America in the 1930s and Britain during WWII are examined by way of arguing that the discursive influences on government cultural policy in Australia have been diverse. It is suggested in relation to present day Australian cultural policy that more effective terms of engagement with policy imperatives might be found in a history of the funding of culture which emphasises the plurality of relations between governmental programmes and the self-shaping activities of citizens. During this century there has been a shift in the political rationality which organises government in modern Western liberal democracies. The historical case studies which form section two of the thesis enable us to argue that, since WWII, cultural programmes have been increasingly deployed on the basis of a governmental rationality that can be described as advanced or neo-liberal. This is both in relation to the forms these programmes have taken and in relation to the character of the forms of conduct such programmes have sought to shape in the populations they act upon. Mechanisms characteristic of such neo-liberal forms of government are those associated with the welfare state and include cultural programmes. Analysis of governmental programmes using such conceptual tools allows us to interpret problems of modern social democratic government less in terms of oppositions between structure and agency and more in terms of the strategies and techniques of government which shape the activities of citizens. Thus, the thesis will approach the field of cultural management not as a field of monolithic decision making but as a domain in which there are a multiplicity of power effects, knowledges, and tactics, which react to, or are based upon, the management of the population through culture. The thesis consists of two sections. Section one serves primarily to establish a set of historical and theoretical co-ordinates on which the more detailed historical work of the thesis in section two will be based. We conclude by emphasising the necessity for the continuation of a mix of policy frameworks in the construction of the relations between art, government and citizenship which will encompass a focus on diverse and sometimes competing policy goals.
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Brewer, Rhett, of Western Sydney Nepean University, of Performance Fine Arts and Design Faculty, and School of Design. "Paint, painters and primary perception." THESIS_FPFAD_SD_Brewer_R.xml, 1996. http://handle.uws.edu.au:8081/1959.7/300.

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This paper examine's painters attempts to find, in their chosen medium, a meaningful representation of nature. It proposes the idea that despite the best efforts of some of western art's most gifted artists, this has remained an elusive goal so far and this is likely to remain the case in the future. The paper concludes with an examination of Postmodern theoretical discourse and the effects it has had on painters who may want to attempt to make a meaningful statement about nature with their art. It goes on to make a case that despite the difficulty of the task, there are some very sound reasons why any painter wishing to attempt it, should do so. Some associated issues are raised in the course of the investigation: 1/. An investigation of perception of nature. 2/. The role of language in shaping our perceptions of nature. 3/. The inability of language itself to capture a satisfactory recreation of the experience of nature. 4/. An examination of Paul Cezanne's attempts to record nature using his empirical optical method. 5/. An examination of Barnett Newmans's attempts to recreate the experience of nature through the use of symbols. 6/. The work of the phenomenologists with regard to nature and painting. 7/. The problem of aesthetics. 8/. The apparent reluctance of many critics and theoreticians to take the importance of nature as a vital and indispensable starting point for some artists
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Schilo, Ann. "Folk art in Australia: A discursive analysis." Thesis, Schilo, Ann (1993) Folk art in Australia: A discursive analysis. PhD thesis, Murdoch University, 1993. https://researchrepository.murdoch.edu.au/id/eprint/52760/.

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Informed by the writings of Michel Foucault, this thesis investigates the discourse on folk art in Australia. Emphasis is placed on exploring the recent emergence of a body of statements that contribute to its Australian specificity. This thesis considers the various discursive strategies that construct the domain of folk art in this country, including the contribution played by overseas folkloric studies in establishing the field. By using a framework operating under the principle of distance and immediacy, the processes of production and dissemination of cultural goods are examined to reveal how material folk culture is located as a peripheral artistic practice. In this regard, the systems of exclusion that operate within high art discourses to define and marginalise women's artistic practice are surveyed as a concomitant discursive domain. A study of makeshift furniture is undertaken to elucidate how these strategies combined with processes of connoisseurship are involved in constructing the domain of Australian folk art and the appraisal of its cultural value. In the final analysis, attention is given to the subject of aesthetics and the appreciation of folk art.
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Bemrose, Anna. "A servant of art : Robert Helpmann in Australia /." St. Lucia, Qld, 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17332.pdf.

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Rye, Ashley Gail. ""The truth of the life of Christ" spiritualism, naturalism and religious devotion in James Tissot's "The life of our Saviour Jesus Christ" /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 67 p, 2009. http://proquest.umi.com/pqdweb?did=1889099001&sid=5&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Morehouse, Dawn M. "Copley's compromise navigating the discourse of beauty and likeness in colonial Boston /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 58 p, 2008. http://proquest.umi.com/pqdweb?did=1597629701&sid=23&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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Tzavaras, Annette. "Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art." Faculty of Creative Arts, 2008. http://ro.uow.edu.au/theses/120.

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My creative work investigates the negative space, the ‘in between space’ that leads to new knowledge about other artists and other cultures. The fundamental and distinctive elements of Islamic pattern in my paintings in the exhibition Dialogue in Diversity are based on my own experience of misinformation as well as rewarding collaboration within a culturally blended family.This research explores the continuity of the arabesque and polygon. I experiment with the hexagon and its geometric shapes, with its many repeat patterns and the interrelatedness of the negative space, or the void indicative of the space between layers of past and present civilizations that are significant fundamentals in my paintings.The thesis Transforming perceptions of Islamic culture in Australia through collaboration in contemporary art traces the visual history of Orientalist art, beginning with a key image of Arthur Streeton, Fatima Habiba, painted in 1897 and contrasts Streeton’s perception with that of important Islamic women artists working globally such as Emily Jacir who participated in the Zones of Contact 2006 Biennale of Sydney.A core element of my research is working with emerging artists from Islamic backgrounds in Western Sydney. The February 2007 exhibition Transforming Perceptions Via . . . at the University of Wollongong brought together artists from east and west.By adopting the Islamic pattern in my paintings, I hope to strengthen the interaction between the Christian and Muslim interface in Australian contemporary society. My work contemplates the human aspects of relationships and responsibilities within the cross cultural spectrum.
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Morton, Mary G. "Naturalism and nostalgia : Hippolyte Taine's lectures on art history at the Ecole des beaux-arts, 1865-1869 /." View online version; access limited to Brown University users, 1998. http://wwwlib.umi.com/dissertations/fullcit/9830497.

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Books on the topic "Naturalism in art Australia"

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Bridget, Whitelaw, International Cultural Corporation of Australia Limited., and National Gallery of Victoria, eds. Golden summers: Heidelberg and beyond. [Sidney]: The Corp., 1985.

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1832-1910, Scott Helena, Ord Marion, and Australian Museum, eds. Historical drawings of moths and butterflies: From the collections of the Australian Museum. Roseville, NSW, Australia: Craftsman House, 1988.

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Richardson, Donald. Art in Australia. Melbourne, Australia: Longman Cheshire, 1988.

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Art of Australia. Sydney, N.S.W: Pan Macmillan Australia, 2008.

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Theorie des Naturalismus. Stuttgart: Reclam, 1997.

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1832-1910, Scott Helena, Ord Marion, and Mitchell Library Sydney, eds. Historical drawings of native flowers: From the collections of the Mitchell Library, Sydney. Roseville, NSW, Australia: Craftsman House, 1988.

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Continent of curiosities: A journey through Australian natural history. Cambridge: Cambridge University Press, 2006.

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Clode, Danielle. Continent of curiosities: A journey through Australian natural history. Cambridge, UK: Cambridge University Press, 2006.

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1964-, Croft Brenda L., ed. Indigenous art: Art Gallery of Western Australia. Perth, WA: Art Gallery of Western Australia, 2001.

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Grottanelli, Vinigi L. Australia, Oceania, Africa nera. Torino: UTET, 1987.

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Book chapters on the topic "Naturalism in art Australia"

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Pickering, Kenneth, and Jayne Thompson. "Moscow Art Theatre." In Naturalism in the Theater, 145–61. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-32911-0_8.

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Catt, James. "Australia: QMS in IVF Centres." In Quality Management in ART Clinics, 233–37. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-7139-5_21.

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Macarthur, David. "Liberal naturalism and aesthetics: art up close and personal 1." In The Routledge Handbook of Liberal Naturalism, 267–80. London: Routledge, 2022. http://dx.doi.org/10.4324/9781351209472-28.

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Balme, Jane, Sue O’Connor, and Michelle C. Langley. "Marine shell ornaments in northwestern Australia." In The Archaeology of Portable Art, 258–73. New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315299112-16.

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Wright, Christine. "‘an art which owes its perfection to War’: Skills of Veterans." In Wellington's Men in Australia, 93–114. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230306035_6.

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McLeod, W. R. "Certification Procedures in Australia and New Zealand." In Psychiatry The State of the Art, 231–32. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_34.

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Goldney, Robert D. "Videotape in Psychiatric Education in Adelaide, South Australia." In Psychiatry The State of the Art, 339–44. Boston, MA: Springer US, 1985. http://dx.doi.org/10.1007/978-1-4757-1853-9_53.

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Carter, David. "Yiwarra Kuju—One Road: Storytelling and History Making in Aboriginal Art." In Transcultural Connections: Australia and China, 219–30. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-5028-4_14.

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Veth, Peter. "From Discovery to Commoditization: Rock Art Management in Remote Australia." In A Companion to Rock Art, 546–61. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch31.

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Taçon, Paul S. C., June Ross, Alistair Paterson, and Sally May. "Picturing Change and Changing Pictures: Contact Period Rock Art of Australia." In A Companion to Rock Art, 420–36. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118253892.ch24.

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Conference papers on the topic "Naturalism in art Australia"

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Shi, Long. "Study on Naturalism in The Red Badge of Courage." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.18.

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Li, Qiuyu. "Australia Media Studies." In 2021 International Conference on Education, Language and Art (ICELA 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220131.058.

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Li, Yongxue, and Chengxu Ye. "An Ass Struggling between Idealism and Naturalism. A New Interpretation of qThe Assq by D. H. Lawrence." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.76.

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Martin, Professor the Hon Stephen. "The Black Art of Economic Forecasting Lessons from Australia." In Annual International Conference on Qualitative and Quantitative Economics Research. Global Science & Technology Forum (GSTF), 2015. http://dx.doi.org/10.5176/2251-2012_qqe15.01.

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Seevinck, Jennifer, Linda Candy, and Ernest A. Edmonds. "Exploration and reflection in interactive art." In the 20th conference of the computer-human interaction special interest group (CHISIG) of Australia. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1228175.1228202.

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O'Brien, J. "Construction Automation and Robotics in Australia - A State-of-the-Art Review." In 8th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1991. http://dx.doi.org/10.22260/isarc1991/0009.

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O'Brien, J. "Robotics and Intelligent Machines in Australia - A State of the Art Report." In 9th International Symposium on Automation and Robotics in Construction. International Association for Automation and Robotics in Construction (IAARC), 1992. http://dx.doi.org/10.22260/isarc1992/0010.

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Carley, James T., and Tom Denniss. "Electrical Energy from Ocean Waves—History and State of the Art in Australia." In 27th International Conference on Coastal Engineering (ICCE). Reston, VA: American Society of Civil Engineers, 2001. http://dx.doi.org/10.1061/40549(276)272.

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Peel*, Frank J., Gillian M. Apps, Esther Sumner, and David “Stan” Stanbrook. "The Dark Art of Palaeobathymetry: How Can We Reconstruct the Shape of the Sea Floor in Structurally Active Regions?" In International Conference and Exhibition, Melbourne, Australia 13-16 September 2015. Society of Exploration Geophysicists and American Association of Petroleum Geologists, 2015. http://dx.doi.org/10.1190/ice2015-2203072.

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Marquis, Jenefer, and Theodor Wyeld. ""Seeing Mardayin': Instability and Ambiguity in the Art of John Mawurndjul, Kuninjku, Arnhem Land, Northern Australia." In 2009 13th International Conference Information Visualisation, IV. IEEE, 2009. http://dx.doi.org/10.1109/iv.2009.81.

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Reports on the topic "Naturalism in art Australia"

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Tyson, Paul. Sovereignty and Biosecurity: Can we prevent ius from disappearing into dominium? Mέta | Centre for Postcapitalist Civilisation, 2021. http://dx.doi.org/10.55405/mwp3en.

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Abstract:
Drawing on Milbank and Agamben, a politico-juridical anthropology matrix can be drawn describing the relations between ius and bios (justice and political life) on the one hand and dominium and zoe (private power and ‘bare life’) on the other hand. Mapping movements in the basic configurations of this matrix over the long sweep of Western cultural history enable us to see where we are currently situated in relation to the nexus between politico-juridical authority (sovereignty) and the emergency use of executive State powers in the context of biosecurity. The argument presented is that pre-19th century understandings of ius and bios presupposed transcendent categories of Justice and the Common Good that were not naturalistically defined. The very recent idea of a purely naturalistic naturalism has made distinctions between bios and zoe un-locatable and civic ius is now disappearing into a strangely ‘private’ total power (dominium) over the bodies of citizens, as exercised by the State. The very meaning of politico-juridical authority and the sovereignty of the State is undergoing radical change when viewed from a long perspective. This paper suggests that the ancient distinction between power and authority is becoming meaningless, and that this loss erodes the ideas of justice and political life in the Western tradition. Early modern capitalism still retained at least the theory of a Providential moral order, but since the late 19th century, morality has become fully naturalized and secularized, such that what moral categories Classical economics had have been radically instrumentalized since. In the postcapitalist neoliberal world order, no high horizon of just power –no spiritual conception of sovereignty– remains. The paper argues that the reduction of authority to power, which flows from the absence of any traditional conception of sovereignty, is happening with particular ease in Australia, and that in Australia it is only the Indigenous attempt to have their prior sovereignty –as a spiritual reality– recognized that is pushing back against the collapse of political authority into mere executive power.
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