Runway Australian Experimental Art Issue 26 Knowledge Jasmine Targett Andrew Newman

Issue
#26

Editorial: Knowledge

Globalism and technological developments have seen the emergence of a new economy centred on the valorisation of immaterial capital. This new economy has been described as a knowledge economy, creative economy, post-fordist economy and as a cognitive-cultural economy. Marx described it as an economy where knowledge becomes ‘the greatest productive force’ and one where ‘direct labour and its quantity disappear as the determinant principle of production’ to become ‘an, of course, indispensable but subordinate moment, compared to general scientific labour’. Marx’s knowledge is described as both the artistic and scientific development of individuals.

The rationalisation of modern society that has accompanied the emergence …read more

Inside Issue #26

Representation, Misrepresentation and Re-Presentation: Contemporary Pacific Art and Ethnographic Photography


Samantha McKegg

  Art can be a representation of all aspects of a society – cultures, philosophies, politics, religions, and the identities of both groups and individuals. Historically and paradoxically, mainstream art by and of Indigenous cultures around the world has often been defined by Western colonial powers. Up until the late twentieth century, Pacific art consisted

The Epistemology of the Pic in Pics or it Didn’t Happen


Giselle Stanborough

Only the most credulous of viewers will see a photograph as a neutral document of reality. Those of us privileged with an art history education (and dear readers, I am assuming that’s the bulk of you) may, like me, have some vague recollection that the camera offers mechanical, objective documentation and an ability to record

Unknowledgeable: The skilled tactics of deskilling


Sera Waters

The deskilling of art practice is a Modernist inheritance. Its legacy arises from cyclical strategies of ‘skill-deskilling-reskilling ‘[i], employed to dismantle traditions no longer well-serving to art and society; patronage, misogyny, and the like. Deskilling was tactical, and those (grass)roots still grow today. In essence, deskilling defies an expectation that art should exhibit ‘skill’; skills

Gendered Forms of Custody


Carolyn Craig

  Arts-generated knowledge can slide within the spaces of current rational logic to investigate areas of Othering[i] that Cartesian logic systems exclude. This paper examines my own arts practice that makes the lived experience of prison visible through practice-led research that explores issues of power and gender. Research that records custodial sentences usually takes the

Lost Knowledge: just tumult everywhere endlessly


Siouxzi L Mernagh

Can any new forms of knowledge, artistic or otherwise, be found by getting yourself lost on purpose?

BECOMING QUASI-DIVINE: Representing self in the world


Luke Letourneau

  It’s all just too much, isn’t it? The neon glow of network and connectivity that are the monitors of our everyday; the invasion of information that not only leads to knowledge but to a sinking, menacing inner turmoil: anxiety. The abundance of entertainment media in our everyday lives has given rise to transformation and

On Afterness: Art and the Anthropocene


Naomi Riddle

  ‘It was the last nostalgia: that he Should understand.’ Esthétique du Mal, Wallace Stevens (1942)   1. When a child is learning to walk, they often take their first steps in a wavering line towards their parents, one step at a time, slowly, swaying and unsteady. Their eyes are fixed on their destination, the

Take a Long Walk (off a short-circuit)


Josh Harle

  […]A globe about the size of a grapefruit, a perfectly detailed rendition of Planet Earth, hanging in space at arm’s length in front of his eyes [and displaying] all the maps, weather data, architectural plans, and satellite surveillance.[i]   It was reading this – from Neil Stephenson’s 1993 cyberpunk novel Snow Crash – that

The aXolotl: A vehicle for knowledge and the post-colonial ‘return’


Diego Ramirez

  The axolotl is a neotenic salamander endemic to the lakes of Xochimilco, Mexico. Its name derives from the ancient Aztec deity Xolotl, the ‘patron god of twins and monstrosities’.[1] Indeed, it is an amphibian marked by an abnormal appearance and a set of unique biological traits: it is metamorphous, reaches sexual maturity in a

Can knowledge be found in works of art?


Jessica Herrington

Not everyone agrees that knowledge can be found in works of art.[1] [2] The problem is that when we think of knowledge we often think of ‘scientific knowledge’. Artists working today may find themselves in an uneasy position unsure of where art fits in a modern scientific world. Artists may feel the heat to compete


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