Journal articles on the topic 'Poetry west java'

Purpose of the study: This research is based on the phenomenon of urban society in which the complexity of urban culture has caused the Indonesia to change. For example, the polluted Cikapundung river, the rarely heard of Sundanese songs, the rice fields turned into settlements, and the large number of prostitutions spread across Bandung, West Java, Indonesia. Methodology: This study aims to reveal the portrait of the urban society of Bandung in the poetry anthology. The method used in this study is the sociology of literature carried out with a sociological approach focusing on the analysis of the relationship between literature and humans. Main Findings: Based on the results, the poems show a portrait of urban society in Bandung, namely ecological damage, lifestyle transformation, individualization, prostitution, poverty, social inequality, and spatial segregation. The portrait of urban society is illustrated in the poetry anthology Di Atas Viaduct. Applications of this study: The results of this research can be used as a reflection of people's lives through literary works.Novelty/Originality of this study: Therefore, the results show that the poet’s perspective on the changes in the city of Bandung brought by urban culture.

The spread of Islam in the Archipelago was closely tied to the roles of Sufi ulama. The circulation of Sufi work in Nusantara proves a strong connection between this region and the Middle East. In West Java, a number of these work expose Sufi teachings in the form of Sundanese Sufi literature, such as the work by Haji Hasan Mustafa. He is considered the greatest Sundanese poet whose work features strong influences of wahdat al-wujud. This paper aims to examine Sundanese Sufism expressed in Mustafa’s work of Asmarandana Ngagurit Kaburu Burit. This study shows that this work contains Sufi’s path that explores the self and its encounters with Supreme Being and the self’s diffusion, where there is no longer existence except the One. Mustafa called his Sufi poetry imperfect suluk because it was written in late afternoon. His work reveals local Sufi accommodation to wah}dat al-wujud in Sundanese language and culture.

This article aims to reveal why the Qur'an was revealed in Arabia, not in Java or other regions. Some people claim that if the prophet Muhammad descended in Java, the Qur'an would also be in Javanese. The argument, at first glance, has some truth. However, God chose the Arabian Peninsula, where the last revelation was revealed, and the language used to immortalize His revelation was not without reason. This qualitative-library research uses data from books, journals or other written references. God chose Arabia because of several factors: First, geographically, the Arab region was in a strategic position at the midpoint between the Persian and Roman powers and the middle lane, which became the meeting point for caravans from the West, East, South and North. The Kaaba, the center of worship and pilgrimage, supports this strategic location. In addition, another Zam-zam well can still be used for the drinking needs of residents and migrants from ancient times. Secondly, in terms of language selection, Arabic was chosen because it has a natural style that is not possessed by any other language. In addition to language, the diction chosen by the Qur'an is very difficult to match because it provides a pleasing rhythm to the ear. At the end of the verse, the average uses rhyme and rhyme in poetry or rhyme. Some of these advantages are not owned by the language in any book. Thus it is not surprising that the Qur'an is easy to memorize because it has a rhyme like a song. In addition, Arabic has the most vocabulary, so it 'does not need' other languages to explain its language. Third, the translation of the Qur'an cannot be called the Qur'an because the translation will not be able to absorb 100% of the original language's meaning. In addition, the translation of the Qur'an eliminates the miraculous side of the Qur'an itself, including language, diction, rhyme and sentence structure.

The appropriate method can increase the effectiveness of learning in schools. Even easy subject is sometimes difficult to be developed and be accepted by students because the method used is not appropriate. Therefore, this study discusses several variations of learning methods in improving the ability of elementary school students to understand the intrinsic elements contained in poetry. This research is a quantitative study with a Pre-Experimental Design approach in the form of One Group Pretest-Posttest Design. This research was conducted at SDN Jatimulya 02, South Tambun, West Java. The data sources in this study were fifth-grade students at SDN Jatimulya 02 as the sample and the population consisted of 61 students, consisting of 36 girls and 25 boys. Data collection techniques using observation and test techniques. The observations made in this study were participatory because the researchers were directly involved. In this study, the researcher involved himself in the situation under study, namely as a teacher. Researchers used three types of assessments in this observation, namely an assessment of the Learning Implementation Plan (RPP), an assessment of the implementation of learning, and an assessment of student tests or evaluations (cycles). The activeness of students in the class became the object of observation. The use of questionnaires was also carried out, to determine the effectiveness of students in learning Indonesian. The questionnaire is a list of written questions that must be answered to obtain certain information from students. The questionnaire is made based on a questionnaire grid that refers to the formulation of the problem. The test is used to measure students' abilities in cognitive aspects, or the level of mastery of learning materials. The process of implementing the learning outcomes test is carried out after the discussion of one subject has ended, or after one quarter or one semester has been completed. Based on the results of the study, it can be interpreted that the use of media variations and learning methods affects students' listening skills in identifying intrinsic elements. This is evidenced by the completeness of students' scores at the beginning of the test and the end of the test. In the implementation of the initial test, there were 41% of students did not complete it. However, in the final test, 100% of students were declared complete or reached the KKM

The appropriate method can increase the effectiveness of learning in schools. Even easy subject is sometimes difficult to be developed and be accepted by students because the method used is not appropriate. Therefore, this study discusses several variations of learning methods in improving the ability of elementary school students to understand the intrinsic elements contained in poetry. This research is a quantitative study with a Pre-Experimental Design approach in the form of One Group Pretest-Posttest Design. This research was conducted at SDN Jatimulya 02, South Tambun, West Java. The data sources in this study were fifth-grade students at SDN Jatimulya 02 as the sample and the population consisted of 61 students, consisting of 36 girls and 25 boys. Data collection techniques using observation and test techniques. The observations made in this study were participatory because the researchers were directly involved. In this study, the researcher involved himself in the situation under study, namely as a teacher. Researchers used three types of assessments in this observation, namely an assessment of the Learning Implementation Plan (RPP), an assessment of the implementation of learning, and an assessment of student tests or evaluations (cycles). The activeness of students in the class became the object of observation. The use of questionnaires was also carried out, to determine the effectiveness of students in learning Indonesian. The questionnaire is a list of written questions that must be answered to obtain certain information from students. The questionnaire is made based on a questionnaire grid that refers to the formulation of the problem. The test is used to measure students' abilities in cognitive aspects, or the level of mastery of learning materials. The process of implementing the learning outcomes test is carried out after the discussion of one subject has ended, or after one quarter or one semester has been completed. Based on the results of the study, it can be interpreted that the use of media variations and learning methods affects students' listening skills in identifying intrinsic elements. This is evidenced by the completeness of students' scores at the beginning of the test and the end of the test. In the implementation of the initial test, there were 41% of students did not complete it. However, in the final test, 100% of students were declared complete or reached the KKM. Keywords: , learning methods,

Abstrak Paper ini membahas martabat tujuh dalam puisi dangding sufistik Haji Hasan Mustapa. Ia merupakan salah satu penerus tradisi tasawuf Nusantara dari Jawa Barat yang menulis lebih dari sepuluh ribu bait dangding. Tema martabat tujuh merupakan poros inti pembahasan dalam hampir keseluruhan puisi dangding-nya. Berbagai kesalahpahaman dan kesulitan para sarjana dalam memahami puisi Mustapa kiranya dilatarbelakangi keterbatasan pengetahuan atas ajaran ini. Kajian ini menggunakan pendekatan interteks atas sejumlah puisi Mustapa yang bertema sama. Kajian ini memfokuskan pada tiga hal: martabat tujuh dalam tradisi tasawuf Nusantara, Mustapa dan posisi dangding-nya dalam sastra Sunda, serta tema martabat tujuh sebagai inti puisinya. Mustapa kiranya dipengaruhi ajaran wahdatul wujud terutama melalui kitab Tuh}fah-nya Al-Burhanfuri. Meski demikian, ia berusaha menjejakkannya dalam latar kekayaan budayanya. Ia menginterpretasikan martabat tujuh, bukan semata-mata sebagai sintesis tajalli Ilahi, tetapi juga merupakan hasil upaya manusia dalam meningkatkan martabat rohani untuk pulang ke tempat di mana ia berasal (nepi kana urut indit). Karenanya tidak tepat bila ia dianggap menyimpang dari nilai-nilai ortodoksi Islam. Ia berada pada arus utama tasawuf Nusantara yang cenderung rekonsiliatif. Signifikansi Mustapa terletak pada kreatifitasnya dalam menggunakan banyak metafor budaya Sunda termasuk dalam menafsir ajaran martabat tujuh. Ia misalnya, menggunakan metafor tubuh (balung, daging, sungsuam, getih), makanan (rujak), sungai (leuwi), dan bukit (lamping) untuk menggambarkan proses panjang dalam meracik asal alam kesejatian. Kajian ini signifikan dalam memperkuat tesis jaringan ulama Nusantara dalam bentuk artikulasi tasawuf lokal Sunda. Sebuah tafsir lain atas martabat tujuh yang muncul dalam rahim alam pikiran budaya Sunda.---Abstract This paper discusses the dignity seven in metrical poetry Sufi Hasan Haji Mustapa. He is one of the successors of Sufism archipelago from West Java who wrote more than ten thousand metrical stanza. He was in the mainstream Sufism archipelago tend reconciliatory. Mustapa significance lies in creativity in using many metaphors Sundanese culture including seven in interpreting the teachings of dignity. He for instance, uses the metaphor of the body (bone, meat, sungsuam, getih), food (salad), rivers (Leuwi), and Hill (lamping) to describe the lengthy process of preparing the authenticity of natural origin. This study is significant in strengthening the network of scholars Nusantara thesis in the form of Sufism articulation of local Sundanese.

Puisi selatan is a small selection of Sydney poet Ian Campbell’s Indonesian language poems taken from the author’s larger collection titled Selatan-Sur-South of Indonesian language poems - which appeared in PORTAL in 2008 - but now supplemented, for the first time, with English language versions which have been rendered by the poet himself from the ‘starting point’ of these original four Indonesian language poems. In all there are here now eight poems – four in Indonesian and four in English – with the common thread, for the poet, of being written ‘in the south’. For the poet also, they now interact, across languages, as a set of poems which consider the ways in which the actions of ‘memorialising’ are often intertwined with specific responses to the natural environment. The poems ‘Semenanjung Bilgola’ and ‘Bilgola headland’ are poems reflecting upon the efforts the poet’s parents made in the late 1960s-early 1970s to restore the natural environment on a headland of one of Sydney’s northern beaches which had been donated to the National Trust. The Indonesian language original poem was read by the poet himself and by Indonesian poets in cities in West Java in 2004 and also at the first Ubud Writers Festival in 2004 by Indonesian female poet, Toeti Heraty, The poems ‘Berziarah di Punta de Lobos, Chile’ and ‘Pilgrimage to Punta de Lobos’ are also memorialising poems and reflect upon the idea of ’pilgimage’ to a natural location near Pichilemu on the Chilean coast which is popular with surfers. In contrast, the poems ‘Simfoni angin’ and ‘Symphony of the winds’ describe the sights and sounds of a rural area near Purranque in the south of Chile, but here too the poet reflects upon the ways in which present evokes past. The final poems ‘Buenos Aires’ - rendered as the title in both languages - explore the ways in which the Argentinian café becomes a place in which memories of the city are revealed anew through the processes of inversion of light and shadow, of internal and external shapes and sounds, as if through a camera lens. Puisi selatan can be rendered in English as ‘poetry of the south’ as all poems derive their impetus from settings in Australia or in Latin America, specifically either Chile or Argentina. They were originally written in Indonesian as part of the poet’s interest in using Bahasa Indonesia as a language of creative writing.

STRUCTURE, FUNCTION, AND INHERITANCE SYSTEM OF THE GAMBANG RANCAG ORAL TRADITION IN THE BETAWI COMMUNITYAbstractJakarta is inhabited by people formed from a melting plot process, namely mixing of various ethnicities and regions, both from within and outside Indonesia. From the melting plot process, the position of the Betawi people changed to a new identity called the Betawi tribe or the Betawi people. This aims of study is to describe the structure, function, and inheritance sistem of the gambang rancag oral tradition in the Betawi community. This research was conducted in four areas of DKI Jakarta and another area in West Java, namely Depok. The choice of location of this research was carried out because objectively these areas were the population base of the Betawi community. Data collection by observation, interview and documentation study. Data analysis with interdisciplinary approach, structural theory in Abrams and G. L. Koster Malay poetry, Albert Lord's formula theory and inheritance sistem, and Functions by Alan Dundes and Teeuw. The results of this study were first, describing the existence of communication between the creator, the text, the audience, and the community that can be considered through the text structure (1) the flow scheme, (2) the theme, and (3) the character's actions. Second, functions, were (1) affirmation function, (2) negation function, and (3) restoration function. The third, were the inheritance sistem, includes: (1) giving the model, (2) modeling the model, and (3) showing the model.Keywords: oral tradition, gambang rancag , structure, function, inheritance, Betawi community STRUKTUR, FUNGSI, DAN SISTEM PEWARISAN TRADISI LISAN GAMBANG RANCAG PADA MASYARAKAT BETAWI Abstrak Jakarta didiami oleh masyarakat yang terbentuk dari proses melting plot, yaitu percampuran dari berbagai etnik dan wilayah, baik dari dalam maupun luar Indonesia. Dari proses melting plot, kedudukan orang Betawi berubah menjadi identitas baru yang dinamakan suku Betawi atau orang Betawi. Penelitian ini bertujuan mendeskripsikan struktur, fungsi, dan sistem pewarisan tradisi lisan gambang rancag pada masyarakat Betawi. Penelitian ini dilaksanakan di empat wilayah DKI Jakarta dan satu daerah di Jawa Barat, yaitu Depok. Pemilihan lokasi penelitian ini dilakukan karena secara objektif daerah-daerah tersebut merupakan basis penduduk masyarakat Betawi. Pengumpulan data dilakukan dengan observasi, wawancara, dan studi dokumentasi. Analisis data dilakukan dengan pendekatan interdisiplin, teori struktur puitika Melayu Abrams dan Koster, teori formula dan sistem pewarisan oleh Lord, dan fungsi oleh Dundes dan Teeuw. Adapun hasil penelitian ini, yaitu pertama, menggambarkan adanya komunikasi antara pencipta, teks, penonton, dan masyarakat yang dapat diperhatikan melalui struktur teks (1) skema alur, (2) tema, dan (3) lakuan tokoh. Kedua, fungsi, yaitu (1) fungsi afirmasi, (2) fungsi negasi, dan (3) fungsi restorasi. Ketiga, yaitu sistem pewarisan, meliputi: (1) memberikan model, (2) mencontoh model, dan (3) mempertunjukkan model. Kata Kunci: tradisi lisan, gambang rancag , struktur, fungsi, pewarisan, masyarakat Betawi

Both Thai and Javanese have been with lifelong cultural friendship for over 250 years. Thai people enjoyed the Panji storytelling since the late 1700’s andhave been using Panji as written Thai poetic literature and for court theatre over2 centuries. We shared the same brass knobbed gong culture with its pentatonic(Slendro) and septatonic (Pelog) equidistance scales. The angklung, bambooshaking instrument, were brought as a gift to royal children by HM King Rama the V to Siam since 1871 but the ensemble were not set up until our great court musician named Jangwang Sorn Silapa-banleng, took the instruments from Sunda West Java to Bangkok in 1908, later, he established the very first ThaiAngklung Ensemble played several songs he composed in pentatonic scalesame way he heard in the Javanese Islands. Since then, the bamboo angklungwere made with the Thai native bamboo followed by the nationwide uses. Thispaper describes the Angklung Journey from West Java to Thailand showing thehistoric photographs of Thai Angklung music teachers, their houses ofAngklungs and the music they composed. Today, Thai Angklung were used forchildren classroom music. DVD and Musical Disc of Thai Angklung will bedemonstrated, bringing both music knowledge and enjoyment to show thecross cultural examples of the two nations.

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This article will discuss the work of a scholar who has never been mentioned in Islamic literature in West Java. He is Kiai Muhyidin (1903-1980) from Limbangan, Garut. His work is called Nazmul Hujah, or commonly referred to among santri as Nadoman Akhlak. The selection of this work is mainly due to the absence of a special study of the author and his work. In fact, this work is interesting enough to be studied further because it shows the author's attempt to translate the great works of Imam al-Ghāzāli, Iḥyā ‘ulum al-din, even though only a small part of it is in Sundanese, and in poetic form. This research will first discuss in passing the terms nadoman, pupujian, and syi'iran. Then, the author will introduce the biography of Kiai Muhyidin through a review of the text in the Den Maki collection autograph script and interview. Finally, one of his works, Nadoman Akhlak, will be explored through textual analysis. In the broader Sundanese-Islamic context, this work is another example of the indigenous efforts of Islam as a Sundanese identity, through efforts to translate Arabic works into languages that were easily understood by Sundanese santri’s.Keywords: Nadoman Akhlak, Poetization, textual analysis, Kiai Muhyidin, Limbangan Artikel ini akan membicarakan karya seorang ulama yang selama ini belum pernah disebut-sebut dalam literatur Islam di Jawa Barat. Ulama tersebut adalah Kiai Muhyidin (1903-1980) yang berasal dari Limbangan, Garut. Karyanya berjudul Nazmul Hujah, atau biasa disebut di kalangan santri sebagai Nadoman Akhlak. Pemilihan karya ini terutama disebabkan belum adanya kajian secara khusus terhadap penulis dan karyanya. Padahal, karyanya ini cukup menarik untuk dikaji lebih lanjut karena menunjukkan usaha penulis untuk menerjemahkan karya besar Imam al-Ghāzāli, Iḥyā ‘ulum al-dīn, meski hanya bagian kecilnya saja ke dalam bahasa Sunda, serta ke dalam bentuk puisi. Penelitian ini pertama-tama akan membahas secara sepintas tentang istilah nadoman, pupujian, dan syi’iran. Kemudian, penulis akan memperkenalkan biografi Kiai Muhyidin melalui telaah teks dalam naskah autograf koleksi Den Maki dan wawancara. Terakhir, salah satu karyanya, Nadoman Akhlak, akan dikupas melalui analisis tekstual. Dalam konteks Sunda-Islam yang lebih luas, karya ini merupakan sebuah contoh lain dari usaha membumikan Islam ke dalam identitas Sunda, melalui usaha penerjemahan karya Arab ke dalam bahasa yang mudah dipahami oleh masyarakat.Kata kunci: Nadoman Akhlak, puitisasi, analisis tekstual, Kiai Muhyidin, Limbangan

‘Charlie Chaplin di Ngamplang, 1927’ is an Indonesian-language poem by Australian poet Ian Campbell, and is a humorous meditation upon certain imaginary events that befell Charlie Chaplin at the Dutch colonial era hill station of Ngamplang in West Java in 1927. In historical terms Chaplin did in fact visit the Dutch East Indies three times between 1927 and 1932, including the area around Ngamplang. The poem was included in Campbell’s poetry and prose collection Tak ada Peringatan (Vivid Publishing, 2013). The Indonesian language version of the poem first appeared in 2012 in the literary pages of the Jakarta mass media daily Kompas. An English-language back translation is included here.

Cirebonese society and its culture grew and developed from a long history of the oldest Islamic Sultanate in West Java led by Sunan Gunung Jati. As the King of the Sultanate and at the same time called the Waliyullah, such a variety forms of tradition are held as the cultural expression of his citizen. One of it is the oral tradition pepujian. This tradition has been exist in the mid of the society until now. This research is conducted as a study of public religiosity. It is seen from the oral tradition pepujian is linked with the culture of the society. It is link with the ideaof semiotics theory of Claude Lévi-Strauss (1904) in anthropology studies using language approach. The methodology used is paradigm from the qualitative research. Through the linguistics anthropology framework, researcher involves in the community activities and being part of them. So it is eventually discovered that the oral tradition pepujian in the culture of Cirebonese speakers is a verse of poetry containing Islamic teachings about faith and worship. It is spoken in the form of song as an expression of their cultural religiosity. Keywords: Cirebonese society, culture, oral tradition, religiosity.RELIGIOSITY OF CIREBONESE SOCIETY CULTURE IN THE ORAL TRADITION PEPUJIAN

By the 12th century, coffee was extensively cultivated in Yemen, and qawha and cahveh, hot beverages made from roast and ground coffee beans, became popular in the Islamic world over the next 300 years. Commercial production of coffee outside Yemen started in Sri Lanka in the 1660s, Java in the 1700s, and Latin America in 1715, and this production has associations with histories of colonial expansion and slavery. Introduced to Europe in the 17th century, coffee was described by Robert Burton in the section of his 1628 Anatomy of Melancholy devoted to medicines as “an intoxicant, a euphoric, a social and physical stimulant, and a digestive aid” (quoted in Weinberg and Bealer xii). Today, more than 400 billion cups of coffee are consumed each year. Coffee is also an ingredient in a series of iconic dishes such as tiramisu and, with chocolate, makes up the classic mocha mix. Coffee production is widespread in tropical and sub-tropical countries and it is the second largest traded world commodity; second only to oil and petroleum. The World Bank estimates that more than 500 million people throughout the world depend on coffee for their livelihoods, and 25 million of these are coffee farmers. Unfortunately, these farmers typically live and work in substandard conditions and receive only a small percentage of the final price that their coffee is sold for. The majority of coffee farmers are women and they face additional challenges, frequently suffering from abuse, neglect, and poverty, and unable to gain economic, social, or political power in either their family’s coffee businesses or their communities. Some farm coffee under enslaved or indentured conditions, although Fair Trade regimes are offering some lessening of inequalities. At the opposite end of the scale, a small, but growing, number of high-end producers market gourmet sustainable coffee from small-scale, environmentally-aware farming operations. For many in the West today, however, coffee is not about the facts of its production; coffee is all about consumption, and is now interwoven into our contemporary cultural and social habits. Caffeine, found in the leaves, seeds, and fruit of the coffee tree, is an addictive psychoactive substance, but has overcome resistance and disapproval around the world and is now unregulated and freely available, without licence. Our gastronomic sophistication is reflected in which coffee, brewing method, and location of consumption is chosen; our fast-paced lifestyles in the range of coffee-to-go options we have; and our capitalist orientation in the business opportunities this popularity has offered to small entrepreneurs and multinational franchise chains alike. Cafés and the meeting, mingling, discussions, and relaxing that occur there while drinking coffee, are a contemporary topic of reflection and scholarship, as are the similarities and differences between the contemporary café and its earlier incarnations, including, of course, the Enlightenment coffee house. As may be expected from a commodity which has such a place in our lives, coffee is represented in many ways in the media—including in advertising, movies, novels, poetry, songs and, of course, in culinary writing, including cookbooks, magazines, and newspapers. There are specialist journals and popular serials dedicated to expounding and exploring the fine grain detail of its production and consumption, and food historians have written multiple biographies of coffee’s place in our world. So ubiquitous, indeed, is coffee, that as a named colour, it popularly features in fashion, interior design, home wares, and other products. This issue of M/C Journal invited contributors to consider coffee from any relevant angle that makes a contribution to our understanding of coffee and its place in culture and/or the media, and the result is a valuable array of illuminating articles from a diverse range of perspectives. It is for this reason that we chose an image of coffee cherries for the front cover of this issue. Co-editor Jill Adams has worked in the coffee industry for over ten years and has a superb collection of coffee images that ranges from farmers in Papua New Guinea to artfully shot compositions of antique coffee brewing equipment. In making our choice, however, we felt that Spencer Franks’s image of ripe coffee cherries at the Skybury Coffee Plantation in Far North Queensland, Australia, encapsulates the “fruitful” nature of the response to our call for articles for this issue. While most are familiar, moreover, with the dark, glossy appearance and other sensual qualities of roasted coffee beans, fewer have any occasion to contemplate just how lovely the coffee tree is as a plant. Each author has utilised the idea of “coffee” as a powerful springboard into a fascinating range of areas, showing just how inseparable coffee is from so many parts of our daily lives—even scholarly enquiry. In our first feature article, Susie Khamis profiles and interrogates the Nespresso brand, and how it points to the growing individualisation of coffee consumption, whereby the social aspect of cafés gives way to a more self-centred consumer experience. This feature valuably contrasts the way Starbucks has marketed itself as a social hub with the Nespresso boutique experience—which as Khamis explains—is not a café, but rather a club, a trademarked, branded space, predicated on highly knowledgeable and, therefore, privileged patrons. Coffee drinking is also associated with both sobriety and hangover cures, with cigarettes, late nights, and music. Our second feature, by Jon Stewart, looks at how coffee has become interwoven into our lives and imaginations through the music that we listen to—from jazz to blues to musical theatre numbers. It examines the influence of coffee as subject for performers and songwriters in three areas: coffee and courtship rituals, the stimulating effects of caffeine, and the politics of coffee consumption, claiming that coffee carries a cultural and musicological significance comparable to that of other drugs and ubiquitous consumer goods that are often more readily associated with popular music. Diana Noyce looks at the short-lived temperance movement in Australia, the opulent architecture of the coffee palaces built in that era, what was actually drunk in them, and their fates as the temperance movement passed into history. Emma Felton lyrically investigates how “going for a coffee” is less about coffee and more about how we connect with others in a mobile world, when flexible work hours are increasingly the norm and more people are living alone than any other period in history. Felton also introducess a theme that other writers also engage with: that the café also plays a role in the development of civil discourse and civility, and plays an important role in the development of cosmopolitan civil societies. Ireland-based Máirtín Mac Con Iomaire surveys Dublin—that tea drinking city—and both the history of coffee houses and the enduring coffee culture it possesses; a coffee culture that seems well assured through a remarkable win for Ireland in the 2008 World Barista Championships. China has also always been strongly associated with tea drinking but Adel Wang introduces readers to the emerging, and unique, café and coffee culture of that country, as well as some of the proprietors who are bringing about this cultural change. Australia, also once a significant consumer of tea, shifted to a preference for coffee over a twenty year period that began with the arrival of American Servicemen in Australia during World War II. Jill Adams looks at the rise of coffee during that time, and the efforts made by the tea industry to halt its market growth. These strong links between tea and coffee are reflected in Duncan Barnes, Danielle Fusco, and Lelia Green’s thought-provoking study of how coffee is marketed in Bangladesh, another tea drinking country. Ray Oldenberg’s influential concept of the “third place” is referred to by many authors in this collection, but Anthony McCosker and Rowan Wilken focus on this idea. By using a study of how Polish composer, Krzysztof Penderecki, worked in his local café from 9 in the morning to noon each day, this article explores the interrelationship of café space, communication, creativity, and materialism. Donna Lee Brien brings us back to the domestic space with her article on how the popular media of cookery books and magazines portray how coffee was used in Australian cooking at mid-century, in the process, tracing how tiramisu triumphed over the trifle. By exploring the currently fashionable practice of “direct trade” between roasters and coffee growers Sophie Sunderland offers a fresh perspective on coffee production by powerfully arguing that feeling (“affect”) is central to the way in which coffee is produced, represented and consumed in Western mass culture. Sunderland thus brings the issue full circle and back to Khamis’s discussion, for there is much feeling mobilised in the marketing of Nespresso. We would like to thank all the contributors and our generous and erudite peer reviewers for their work in the process of putting together this issue. We would also like to specially thank Spencer Franks for permission to use his image of coffee cherries as our cover image. We would lastly like to thank you the general editors of M/C Journal for selecting this theme for the journal this year.References Oldenburg, Ray, ed. Celebrating the Third Place: Inspiring Stories about the “Great Good Places” At the Heart of Our Communities. New York: Marlowe & Company 2001.Weinberg, Bennett Alan, and Bonnie K Bealer. The World of Caffeine. New York and London: Routledge, 2001.

Many films of the Australian New Wave (or Australian film renaissance) of the 1970s and 1980s can be defined as gothic, especially following Jonathan Rayner’s suggestion that “Instead of a genre, Australian Gothic represents a mode, a stance and an atmosphere, after the fashion of American Film Noir, with the appellation suggesting the inclusion of horrific and fantastic materials comparable to those of Gothic literature” (25). The American comparison is revealing. The 400 or so film productions of the Australian New Wave emerged, not in a vacuum, but in an increasingly connected and inter-mixed international space (Godden). Putatively discrete national cinemas weave in and out of each other on many levels. One such level concerns the reception critics give to films. This article will drill down to the level of the reception of two examples of Australian gothic film-making by two well-known American critics. Rayner’s comparison of Australian gothic with American film noir is useful; however, it begs the question of how American critics such as Pauline Kael and Andrew Sarris influentially shaped the reception of Australian gothic in America and in other locations (such as Australia itself) where their reviews found an audience either at the time or afterwards. The significance of the present article rests on the fact that, as William McClain observes, following in Rick Altman’s footsteps, “critics form one of the key material institutions that support generic formations” (54). This article nurtures the suggestion that knowing how Australian gothic cinema was shaped, in its infancy, in the increasingly important American market (a market of both commerce and ideas) might usefully inform revisionist studies of Australian cinema as a national mode. A more nuanced, globally informed representation of the origins and development of Australian gothic cinema emerges at this juncture, particularly given that American film reviewing in the 1970s and 1980s more closely resembled what might today be called film criticism or even film theory. The length of individual reviews back then, the more specialized vocabulary used, and above all the tendency for critics to assume more knowledge of film history than could safely be assumed in 2014—all this shows up the contrast with today. As Christos Tsiolkas notes, “in our age… film reviewing has been reduced to a thumbs-up or a thumbs-down” (56)! The 1970s and 1980s is largely pre-Internet, and critical voices such as Kael and Sarris dominated in print. The American reviews of Australian gothic films demonstrate how a different consciousness suffuses Kael’s and Sarris’s engagements with “Antipodean” (broadly Australian and New Zealand) cinema. Rayner’s locally specific definition of Australian gothic is distorted in their interpretations of examples of the genre. It will be argued that this is symptomatic of a particular blindspot, related to the politics and art of place, in the American reception of Wake in Fright (initially called Outback in America), directed by the Canadian Ted Kotcheff (1971) and The Year of Living Dangerously, directed by Peter Weir (1982). Space and argument considerations force this article to focus on the reviews of these films, engaging less in analysis of the films themselves. Suffice to say that they all fit broadly within Rayner’s definition of Australian gothic cinema. As Rayner states, three thematic concerns which permeate all the films related to the Gothic sensibility provide links across the distinctions of era, environment and character. They are: a questioning of established authority; a disillusionment with the social reality that that authority maintains; and the protagonist’s search for a valid and tenable identity once the true nature of the human environment has been revealed. (25) “The true nature of the human environment….” Here is the element upon which the American reviews of the Australian gothic founder. Explicitly in many films of this mode, and implicitly in nearly all of them, is the “human environment” of the Australian landscape, which operates less as a backdrop and more as a participating element, even a character, in the drama, saturating the mise-en-scène. In “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films,” Eva Rueschmann quotes Ross Gibson’s thesis from South of the West: Postcolonialism and the Narrative Construction of Australia that By featuring the land so emphatically… [Australian] films stake out something more significant than decorative pictorialism. Knowingly or unknowingly, they are all engaging with the dominant mythology of white Australia. They are all partaking of the landscape tradition which, for two hundred years, has been used by white Australians to promote a sense of the significance of European society in the “Antipodes”. (Rueschmann) The “emphatic” nature of the land in films like Wake in Fright, Mad Max 2 and Picnic at Hanging Rock actively contributes to the “atmosphere” of Australian gothic cinema (Rayner 25). This atmosphere floats across Australian film and literature. Many of the films mentioned in this article are adaptations from books, and Rayner himself stresses the similarity between Australian gothic and gothic literature (25). Significantly, the atmosphere of Australian gothic also floats across the fuzzy boundary between the gothic and road movies or road literature. Mad Max 2: The Road Warrior is obviously a road movie as well as a gothic text; so is Wake in Fright in its way; even Picnic at Hanging Rock contains elements of the road movie in all that travelling to and from the rock. Roads, then, are significant for Australian gothic cinema, for the road traverses the Australian (gothic) landscape and, in the opportunity it provides for moving through it at speed, tantalizes with the (unfulfillable) promise of an escape from its gothic horror. Australian roads are familiar, part of White European culture referencing the geometric precision of Roman roads. The Australian outback, by contrast, is unfamiliar, uncanny. Veined with roads, the outback invites the taming by “the landscape tradition” that it simultaneously rejects (Rueschmann). In the opening 360° pan of Wake in Fright the land frightens with its immensity and intensity, even as the camera displays the land’s “conquering” agent: not a road, but the road’s surrogate—a railway line. Thus, the land introduces the uncanny into Australian gothic cinema. In Freudian terms, the uncanny is that unsettling combination of the familiar and the unfamiliar. R. Gray calls it “the class of frightening things that leads us back to what is known and familiar” (Gray). The “frightening” land is the very condition of the “comforting” road; no roads without a space for roads, and places for them to go. In her introduction to The Penguin Book of the Road, Delia Falconer similarly sutures the land to the uncanny, linking both of these with the first peoples of the Australian land: "Of course there is another 'poetry of the earth' whispering from the edges of our roads that gives so many of our road stories an extra charge, and that is the history of Aboriginal presence in this land. Thousands of years of paths and tribal boundaries also account for the uncanny sense of being haunted that dogs our travellers on their journeys (xvii). White Australia, as the local saying goes, has a black past, played out across the land. The film The Proposition instances this, with its gothic portrayal of the uncanny encroachments of the Australian “wilderness” into the domain of “civilization”. Furthermore, “our” overweening literal and metaphoric investment in the traditional quarter-acre block, not to mention in our roads, shows that “we” haven’t reconciled either with the land of Australia or with its original inhabitants: the Aboriginal peoples. Little wonder that Kael and Sarris couldn’t do so, as White Americans writing some forty years ago, and at such a huge geographic remove from Australia. As will be seen, the failure of these American film critics to comprehend the Australian landscape comes out—as both a “critical reaction” and a “reactive compensation”—in two, interwoven strands of their interpretations of Australian New Wave gothic cinema. A repulsion from, and an attraction to, the unrecognized uncanny is evidenced. The first strand is constituted in the markedly anthropological aspect to the film reviews: anthropological elements of the text itself are either disproportionately magnified or longed for. Here, “anthropological” includes the sociological and the historical. Secondly, Kael and Sarris use the films they review from Australian gothic cinema as sites upon which to trial answers to the old and persistent question of how the very categories of art and politics relate. Initially sucked out of the reviews (strand one), politics and art thus rush back in (strand two). In other words, the American failure to engage deeply with the land triggers an initial reading of films like Wake in Fright less as films per se and more as primary texts or one-to-one documentations of Australia. Australia presents for anthropological, even scientific atomization, rather than as a place in active, creative and complex relationship with its rendering in mise-en-scène. Simultaneously though, the absence of the land nags—eats away at the edges of critical thinking—and re-emerges (like a Freudian return of the repressed) in an attempt by the American critics to exploit their film subjects as an opportunity for working out how politics and art (here cinema) relate. The “un-seen” land creates a mis-reading amongst the American critics (strand one), only to force a compensatory, if somewhat blindsided, re-reading (strand two). For after all, in this critical “over-looking” of the land, and thus of the (ongoing) Aboriginal existence in and with the land, it is politics and art that is most at stake. How peoples (indigenous, settler or hybrid peoples) are connected to and through the land has perhaps always been Australia’s principal political and artistic question. How do the American reviews speak to this question? Sarris did not review Wake in Fright. Kael reviewed it, primarily, as a text at the intersection of fiction and documentary, ultimately privileging the latter. Throughout, her critical coordinates are American and, to a degree, literary. Noting the “stale whiff of Conrad” she also cites Outback’s “additional interest” in its similarity with “recent American movies [about] American racism and capitalist exploitation and the Vietnam war” (415). But her most pointed intervention comes in the assertion that there is “enough narrative to hold the social material together,” as if this were all narrative were good for: scaffolding for sociology (416). Art and culture are left out. Even as Kael mentions the “treatment of the Aborigines,” she misses the Aboriginal cultural moment of the opening shot of the land; this terrain, she writes, is “without a trace of culture” (416). Then, after critiquing what she sees as the unconvincing lesson of the schoolteacher’s moral demise, comes this: “But a more serious problem is that (despite the banal photography) the semi-documentary aspects of the film are so much more vivid and authentic and original than the factitious Conradian hero that we want to see more of that material—we want to learn more” (416-417). Further on, in this final paragraph, Kael notes that, while “there have been other Australian films, so it’s not all new” the director and scriptwriter “have seen the life in a more objective way, almost as if they were cultural anthropologists…. Maybe Kotcheff didn’t dare to expand this vision at the expense of the plot line, but he got onto something bigger than the plot” (417). Kael’s “error”, as it were, is to over-look how the land itself stretches the space of the film, beyond plot, to occupy the same space as her so-called “something bigger”, which itself is filled out by the uncanniness of the land as the intersections of both indigenous and settler (road-based) cultures and their representations in art (417). The “banal photography” might be better read as the film’s inhabitation of these artistic/cultural intersections (416). Kael’s Wake in Fright piece illustrates the first strand of the American reviews of Australian gothic cinema. Missing the land’s uncanniness effectively distributes throughout the review an elision of culture and art, and a reactive engagement with the broadly anthropological elements of Kotcheff’s film. Reviews of The Year of Living Dangerously by Kael and Sarris also illustrate the first strand of the American-Australian reviewing nexus, with the addition, also by each critic, of the second strand: the attempt to reconnect and revitalize the categories of politics and art. As with Wake in Fright, Kael introduces an anthropological gambit into Weir’s film, privileging its documentary elements over its qualities as fiction (strand one). “To a degree,” she writes, “Weir is the victim of his own skill at creating the illusion of authentic Third World misery, rioting, and chaos” (454). By comparison with “earlier, studio-set films” (like Casablanca [452]), where such “backgrounds (with their picturesque natives) were perfectly acceptable as backdrops…. Here… it’s a little obscene” (454). Kael continues: “Documentaries, TV coverage, print journalism, and modern history itself have changed audiences’ responses, and when fake dilemmas about ‘involvement’ are cooked up for the hero they’re an embarrassment” (454-455). Film is pushed to cater to anthropology besides art. Mirroring Kael’s strand-one response, Sarris puts a lot of pressure on Weir’s film to “perform” anthropologically—as well as, even instead of, artistically. The “movie”, he complains “could have been enjoyed thoroughly as a rousingly old-fashioned Hollywood big-star entertainment were it not for the disturbing vistas of somnolent poverty on view in the Philippines, the location in which Indonesian poverty in 1965 was simulated” (59). Indeed, the intrusive reality of poverty elicits from Sarris something very similar to Kael’s charge of the “obscenity of the backdrop” (454): We cannot go back to Manderley in our movie romances. That much is certain. We must go forward into the real world, but in the process, we should be careful not to dwarf our heroes and heroines with the cosmic futility of it all. They must be capable of acting on the stage of history, and by acting, make a difference in our moral perception of life on this planet. (59) Sarris places an extreme, even outrageous, strand-one demand on Weir’s film to re-purpose its fiction (what Kael calls “romantic melodrama” [454]) to elicit the categories of history and anthropology—that last phrase, “life on this planet”, sounds like David Attenborough speaking! More so, anthropological atomization is matched swiftly to a strand-two demand, for this passage also anticipates the rapprochement of politics and art, whereby art rises to the level of politics, requiring movie “heroes and heroines” to make a “moral difference” on a historical if not on a “cosmic” level (59). It is precisely in this, however, that Weir’s film falls down for Sarris. “The peculiar hollowness that the more perceptive reviewers have noted in The Year of Living Dangerously arises from the discrepancy between the thrilling charisma of the stars and the antiheroic irrelevance of the characters they play to the world around them” (59). Sarris’s spatialized phrase here (“peculiar hollowness”) recalls Kael’s observation that Wake in Fright contains “something bigger than the plot” (417). In each case, the description is doubling, dis-locating—uncanny. Echoing the title of Eva Rueschmann’s article, both films, like the Australian landscape itself, are “out of place” in their interpretation by these American critics. What, really, does Sarris’s “peculiar hollowness” originate in (59)? In what “discrepancy” (59)? There is a small but, in the context of this article, telling error in Sarris’s review of Weir’s film. Kael, correctly, notes that “the Indonesian settings had to be faked (in the Philippines and Australia)” (inserted emphasis) (452). Sarris mentions only the Philippines. From little things big things grow. Similar to how Kael overlooks the uncanny in Wake in Fright’s mise-en-scène, Sarris “sees” a “peculiar hollowness” where the land would otherwise be. Otherwise, that is, in the perspective of a cinema (Kotcheff’s, Weir’s) that comprehends “the true nature of the [Australian, gothic] human environment” (Rayner 25). Of course, it is not primarily a matter of how much footage Weir shot in Australia. It is the nature of the cinematography that matters most. For his part, Sarris damns it as “pretentiously picturesque” (59). Kael, meanwhile, gets closer perhaps to the ethics of the uncanny cinematography of The Year of Living Dangerously in her description of “intimations, fragments, hints and portents… on a very wide screen” (451). Even so, it will be remembered, she does call the “backgrounds… obscene” (454). Kael and Sarris see less than they “see”. Again like Sarris, Kael goes looking in Weir’s film for a strand-two rapprochement of politics and art, as evidenced by the line “The movie displays left-wing attitudes, but it shows no particular interest in politics” (453). It does though, only Kael is blind to it because she is blind to the land and, equally, to the political circumstances of the people of the land. Kael likely never realized the “discrepancy” in her critique of The Year of Living Dangerously’s Billy Kwan as “the same sort of in-on-the-mysteries-of-the-cosmos character that the aborigine actor Gulpilil played in Weir’s 1977 The Last Wave” (455). All this, she concludes, “might be boiled down to the mysticism of L.A.: ‘Go with the flow’” (455)! Grouping characters and places together like this, under the banner of L.A. mysticism, brutally erases the variations across different, uncanny, gothic, post-colonial landscapes. It is precisely here that politics and art do meet, in Weir’s film (and Kotcheff’s): in the artistic representation of the land as an index of the political relations of indigenous, settler and hybrid communities. (And not down the rabbit hole of the “specifics” of politics that Kael claims to want [453]). The American critics considered in this article are not in “bad faith” or a-political. Sarris produced a perceptive, left-leaning study entitled Politics and Cinema, and many of Kael’s reviews, along with essays like “Saddle Sore: El Dorado, The War Wagon, The Way West,” contain sophisticated, liberalist analyses of the political circumstances of Native Americans. The crucial point is that, as “critics form[ing] one of the key material institutions that support generic formations,” Sarris and Kael impacted majorly on the development of Australian gothic cinema, in the American context—impacted especially, one could say, on the (mis-)understanding of the land-based, uncanny politics of this mode in its Australian setting (McClain 54). Kael’s and Sarris’s reviews of My Brilliant Career, along with Judith Maslin’s review, contain traits similar to those considered in depth in the reviews studied above. Future research might usefully study this significant impact more closely, weaving in an awareness of the developing dynamics of global film productions and co-productions since the 1970s, and thereby focusing on Australian gothic as international cinema. Was, for example, the political impact of later films like The Proposition influenced, even marginally, by the (mis-)readings of Sarris and Kael? In conclusion here, it suffices to note that, even as the American reviewers reduced Australian cinema art to “blank” documentary or “neutral” anthropology, nevertheless they evidenced, in their strand-two responses, the power of the land (as presented in the cinematography and mise-en-scène) to call out—across an increasingly globalized domain of cinematic reception—for the fundamental importance of the connection between politics and art. Forging this connection, in which all lands and the peoples of all lands are implicated, should be, perhaps, the primary and ongoing concern of national and global cinemas of the uncanny, gothic mode, or perhaps even any mode. References Casablanca. Dir. Michael Curtiz. Warner Bros, 1942. Falconer, Delia. “Introduction.” The Penguin Book of the Road. Ed. Delia Falconer. Melbourne: Viking-Penguin Books, 2008. xi-xxvi. Gibson, Ross. South of the West: Postcolonialism and the Narrative Construction of Australia. Bloomington, Indiana: Indiana University Press, 1992. Godden, Matt. “An Essay on Australian New Wave Cinema.” 9 Jan. 2013. 18 Aug. 2014 ‹http://www.golgotha.com.au/2013/01/09/an-essay-on-australian-new-wave-cinema/›. Gray, R. “Freud, ‘The Uncanny.’” 15 Nov. 2013. 18 Aug. 2014 ‹http://courses.washington.edu/freudlit/Uncanny.Notes.html›. Kael, Pauline. “Australians.” Review of My Brilliant Career. 15 Sep. 1980. Taking It All In. London: Marion Boyars, 1986. 54-62. Kael, Pauline. “Literary Echoes—Muffled.” Review of Outback [Wake in Fright]. 4 March 1972. Deeper into Movies. Boston: Atlantic Monthly Press-Little, Brown and Company, 1973. 413-419. Kael, Pauline. “Saddle Sore: El Dorado, The War Wagon, The Way West.” Kiss Kiss Bang Bang. London: Arrow Books, 1987. 38-46. Kael, Pauline. “Torrid Zone.” Review of The Year of Living Dangerously. 21 Feb. 1983. Taking It All In. London: Marion Boyars, 1986. 451-456. Mad Max 2: The Road Warrior. Dir. George Miller. Warner Bros, 1981. Maslin, Janet. “Film: Australian ‘Brilliant Career’ by Gillian Armstrong.” Review of My Brilliant Career. New York Times (6 Oct. 1979.): np. McClain, William. “Western, Go Home! Sergio Leone and the ‘Death of the Western’ in American Film Criticism.” Journal of Film and Video 62.1-2 (Spring/Summer 2010): 52-66. My Brilliant Career. Dir. Gillian Armstrong. Peace Arch, 1979. Picnic at Hanging Rock. Dir. Peter Weir. Picnic Productions, 1975. Rayner, Jonathan. Contemporary Australian Cinema: An Introduction. Manchester: Manchester University Press, 2000. Rueschmann, Eva. “Out of Place: Reading (Post) Colonial Landscapes as Gothic Space in Jane Campion’s Films.” Post Script (22 Dec. 2005). 18 Aug. 2014 ‹http://www.thefreelibrary.com/Out+of+place%3A+reading+%28post%29+colonial+landscapes+as+Gothic+space+in...-a0172169169›. Sarris, Andrew. “Films in Focus.” Review of My Brilliant Career. Village Voice (4 Feb. 1980): np. Sarris, Andrew. “Films in Focus: Journalistic Ethics in Java.” Review of The Year of Living Dangerously. Village Voice 28 (1 Feb. 1983): 59. Sarris, Andrew. “Liberation, Australian Style.” Review of My Brilliant Career. Village Voice (15 Oct. 1979): np. Sarris, Andrew. Politics and Cinema. New York: Columbia University Press, 1978. The Last Wave. Dir. Peter Weir. Ayer Productions, 1977. The Proposition. Dir. John Hillcoat. First Look Pictures, 2005. The Year of Living Dangerously. Dir. Peter Weir. MGM, 1982. Tsiolkas, Christos. “Citizen Kael.” Review of Pauline Kael: A Life in the Dark by Brian Kellow. The Monthly (Feb. 2012): 54-56. Wake in Fright. Dir. Ted Kotcheff. United Artists, 1971.

At least as far back as classical Greek times, humankind has speculated over the complexities of creativity as a concept and the modes of its transmission (Madden 133-134). This paper considers what happens when our inherited conceptions of creativity collide with the World Wide Web. It concludes with a brief survey of the Creativity Resource Portal, a current on-line project managed by the authors and related to the conceptual issues raised in the body of the text. Today, creativity has moved beyond its traditional home in the rhetoric of the philosopher and the exploits of the artist to form an integral part of both the theory and practice of a myriad of disciplines. Health professionals (Dossey; Kirklin & Meakin; Meites, Bein & Shafer; Rees; Satalof), scientists (Bohn 1-3, 13-15; Culross), educators (Guilford; Sawyer; Sternberg & Williams; Wilks) and those involved in the corporate world (Forbes & Domm; Mauzy & Harriman; Robinson & Stern) all consider creativity to be a fundamental criterion by which they measure and achieve their successes. In this way, however, creativity has become something of an over-burdened signifier. Now the market is flooded with highly idealised and ever expanding models for understanding and transmitting creativity, in which the medium (transmission) strives to outdo the message (creativity itself). We are not attempting here to arbitrate between these various models with a view to providing a rank order of creativity. Instead, we want to focus on and explore the ways in which recent technological developments, primarily the internet, have been, and might be, used to transmit and facilitate new directions and expressions of creativity and the creative process itself. Although the internet has no single inventor or birth date, its origins lie in the communication system devised by the RAND corporation in the 1960s: a system designed to survive a nuclear war because it had no central point of control. To this extent, one could say that its initial egalitarianism tips towards the expression of creativity. From here, the internet evolved through various mutations, such as APRANET and Bulletin Boards, to become the World Wide Web that emerged in the 1990s. Since then, the internet has encroached further and further into our everyday lives: we buy and sell goods at sites like Amazon or E-bay, we communicate to the world via email accounts at Hotmail or Yahoo, we court potential partners at Lavalife or Okcupid, and we engage in scholarly debates on sites such as M/C – Media and Culture. The point here is that the sheer ubiquity of the internet has brought about a quiet revolution in our everyday modes of creativity. Web navigation, for example, is heavily dependent on the creativity of the user to move through virtual space, even or perhaps especially when he/she must counter the ‘point and click’ inducements of advertising and marketing strategies. Little wonder then that the emergence of creativity as a fundamental tenet for success across a wide array of disciplines, coupled with the pervasiveness of cyberspace, has led to an explosion of both the production and transmission of creativity on-line. One such development is the transmission and dissemination of already created products via the web: that is, products hijacked from the ‘real’. In its most controversial and publicized form, the creative output of musicians has become tender for trade between individuals who subscribe to programs such as Napster and Limewire. Beyond this, the internet extends ever outwards in a panoply of both solicited and pirated images and video clips of people’s creative output. Here the internet seems to move beyond the liberating potential that Benjamin saw in technology’s ability to reproduce the image (Benjamin) towards the simulacra (or hyper-real copies of the ‘real’) proposed by Baudrillard (Baudrillard). On-line creativity has not, however, been limited to the reproduction of artistic output that exists in the ‘real’. As with any practice fundamental to the expression of the human condition, creativity has found new and exciting ways to express itself on-line. For example, digital art has emerged as a serious artistic pursuit since the late 20th century. Here, a number of artists have fused their creative ability and their technological skills to generate new ways in which their creativity can be transmitted. A cyber-poet may meld both the classical poetic forms of stanza and rhyme with the language of HTML or Java to create a cyber-poem (see the work of Komninos Zervos). Visual artists such as Han Hoogerbrugge have also been able to successfully adapt their works to the digital world: Hooderbrugge converted a comic strip he wrote in the mid-1990s to a series of digital animations. As well as this, new on-line formats such as blogs have been used by a number of artists to express their creativity in new and interesting ways (see the work of Olia Lialina). Other artists have dived even further into the simulacra, preferring the aesthetic value of the code itself over the presence of images or words that might signify something in the ‘real’ (see this work by Jason Nelson). Unlike traditional art forms, these emerging digital art forms are intensively interactive and thereby encourage the creativity of their audience. By allowing the artistic product itself to be manipulated, digital artists facilitate new ways of ‘reading’ art. It is tempting then to offer the internet up as something of a creative utopia – an Aladdin’s Cave – a place where creativity, in all its manifestations, can be transmitted to the masses. However, in the final chapter of her book The Pearly Gates of Cyberspace, Margaret Wertheim discusses the notion of a ‘cyber-utopia’ and asks “Who is this cyber-utopia really going to be for?” (Wertheim 295). She goes on to point out that not only do the majority of the world’s inhabitants not have access to the internet, but that out of those who do, many are discriminated against in the virtual world because of their gender, their sexuality, their skin colour or their ethnicity. (Of course, this does not necessarily make online space any less democratic than traditional technologies such as print forms). More recently, Lawrence Lessig has taken Wertheim’s questioning of cyber-utopia to its logical dystopian antithesis in his book Free Culture. Here, Lessig agues that the internet has had a direct impact on the way that culture is made. Specifically, the control that major media conglomerates and governments have over the internet has meant that “the ordinary ways in which individuals create and share culture fall within the reach of the regulation of the law, which has expanded to draw within its control a vast amount of culture and creativity that it never reached before” (Lessig 8). Have we therefore clicked open a Pandora’s Box through our incessant attempts to get wired? All technologies are open to abuse. Cyberspace is neither Aladdin’s Cave nor Pandora’s Box but simply a work in progress. And it is on this basis that we are currently creating an online Creativity Resource Portal. This portal does not attempt to resolve immediately the many debates over the nature and transmission of creativity, nor does it set out to completely resolve the quandaries raised by creativity’s cyber manifestations. Instead, it aims, at least initially, to disseminate a broad range of knowledge about creativity – thus encouraging inter-fertilization across disciplines and practices – and also to act as a catalyst for currently unrecognized ways of creating and expressing creativity in the online world. That being said, we hope that future refined manifestations of the site will possess the characteristics of a ‘laboratory’, in which the serious issues of creative freedom and control outlined in this paper – issues of transmission in the broadest sense – might be more directly engaged with. It is through this direct virtual engagement that we hope to reach conclusions capable of extending outwards to the wider, global online environment. This might happen via experiments with new types of non-hierarchical site structures, or with the level of control given to visitors over what happens in the site. But can any structures resist the exercise of power? Can egalitarianism (cyber or otherwise) ever fully eschew borders and margins? These are the questions that challenge and excite us as managers of the CRP. References Benjamin, Walter. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations. London: Fontana, 1992. Baudrillard, Jean. The Ecstasy of Communication. New York: Semiotext(e), 1988. Bohn, David. On Creativity. London: Routledge, 1998. Culross, Rita R. “Individual and Contextual Variables among Creative Scientists: The New Work Paradigm.” Roeper Review 26.3 (2004): 126-27. Dossey, Larry. “Creativity: On Intelligence, Insight, and the Cosmic Soup.” Alternative Therapies in Health and Medicine [NLM – MEDLINE] 6.1 (2000): 12-17, 108-117. Forbes, Benjamin J., and Donald R. Domm. “Creativity and Productivity: Resolving the Conflict.” S.A.M. Advanced Management Journal 69.2 (2004): 4-11. Guilford, J. P. Intelligence, Creativity, and Their Educational Implications. San Diego: Robert R. Knapp, 1968. Kirklin, Deborah, and Richard Meakin. “Editorial: Medical Students and Arts and Humanities Research: Fostering Creativity, Inquisitiveness, and Lateral Thinking.” Journal of Medical Ethics 29.2 (2003): 103. Lessig, Lawrence. Free Culture: How Big Media Uses Technology and the Law to Lock Down Culture and Control Creativity. New York: The Penguin Press, 2004. Madden, Christopher. “Creativity and Arts Policy.” Journal of Arts Management, Law, and Society 34.2 (2004): 133-139. Mauzy, Jeff, and Richard Harriman. Creativity, Inc.: Building an Inventive Organisation. Boston: Harvard Business School Press, 2003. Meites, E., S. Bein, and A. Shafer. “Researching Medicine in Context: The Arts and Humanities Medical Scholars Program.” Journal of Medical Ethics: Medical Humanities 29 (2003): 104-108. Rees, Colin. “Celebrate Creativity.” Nursing Standard 19.14-16 (2004): 20-21. Robinson, Alan G., and Sam Stern. Corporate Creativity: How Innovation and Improvement Actually Happen. San Francisco: Berrett-Koehler Publishers, 1998. Sataloff, Robert Thayer. “Interdisciplinary Opportunities for Creativity in Medicine.” Ear, Nose & Throat Journal 77.7 (1998): 530-533. Sawyer, Keith R. “Creative Teaching: Collaborative Discussion as Disciplined Improvisation.” Educational Researcher 33.2 (2004): 12-20. Sternberg, Robert J., and Wendy M. Williams. How to Develop Student Creativity. Alexandria: Association for Supervision and Curriculum Development, 1996. Wertheim, Margaret. The Pearly Gates of Cyberspace: A History of Space from Dante to the Internet. Sydney: Doubleday, 1999. Wilks, Susan. Critical and Creative Thinking: Strategies for Classroom Inquiry. Armadale: Eleanor Curtain Publishing, 1995. Citation reference for this article MLA Style Isakhan, Ben, Jason Nelson, and Patrick West. "creativity.com: Aladdin’s Cave or Pandora’s Box?." M/C Journal 9.1 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0603/07-isakhan_nelson_west.php>. APA Style Isakhan, B., J. Nelson, and P. West. (Mar. 2006) "creativity.com: Aladdin’s Cave or Pandora’s Box?," M/C Journal, 9(1). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0603/07-isakhan_nelson_west.php>.