I had the pleasure of chatting again with Jonathan Green and a panel of guests on Radio National’s Blueprint for Living. The session was all about serenity, and I was alongside two other presenters based in Melbourne: one discussing the Japanese garden, and the other architectural design. You can find the download link here.
On Friday (August 18), I ran my first ever symposium! It was a really enjoyable day, with some excellent papers and ongoing conversations about the Australian beach and what it means to us as a country, in our fiction, on our screens, and under our feet. The original call for papers can be found here.
I wanted to capture some of the day in a blog post while it is still fresh in my mind, and also acknowledge and thank the enthusiasm and generosity of all the attendees. It was a day with wide ranging levels of experience from professor level through to very early emerging scholars. Regardless, it was a collegial atmosphere and an exciting day.
You might have heard me recently chatting with the personable and engaging Jonathan Green on Radio National’s Blueprint for Living! It was such a fun experience to be able to talk about the ‘dark side of the beach’ for a national audience.
I have been really lucky to be a part of a new(ish) publication: Filmurbia!: screening the suburbs, edited by David Forrest, Graeme Harper, and Jonathan Rayner and released in May this year.
It’s the third volume in their Cinema and Landscape collection, a series I have followed with avid interest during my PhD studies. Therefore, it was really exciting to be able to have my work included in this book, and I must thank Jonathan for his gentle yet rigorous reviewing and editing process! My chapter is titled “The Gritty Urban: The Australian Beach as City Periphery in Cinema” – unsurprisingly, it’s continuing my interest in the Australian beach.
It’s been quite a ride since I first began my Instagram project back in October. I was brimming with excitement, and finding a renewed enthusiasm for some of the research from my PhD. As I detailed in the first two blog posts about this project, I was organised and structured in my approach and intended on maintaining a buffer of drafted posts.
In my first post about my #AustralianBeachspace Instagram project, I tried to capture the what and the why: what the project was and why I was motivated to start it. In this post, I want instead to focus a little on the how. I think it’s important to document my process in an effort to provide transparent information on how this project has been collated in order to provide context for any further discussion. This may mostly serve to highlight my inefficiencies, or be obvious to many readers. However, I certainly know that if I don’t capture it now then I won’t accurately be able to speak to this process’ usefulness in the future.
While the project is still underway, and therefore elements of this process may change in the future, it is possible to identify specific steps I’ve undertaken thus far. In particular, this post is going to focus on the organisation of the content, the content curation, and the posting process. The motivations and some academic underpinnings of the project can be found in an earlier post here. Continue reading
This is the first in a series posts about my Instagram project. This one is fairly academic; the next one (coming soon) is a bit more focused on the practicality of the project.
In October 2016, I began an experiment using Instagram as a method of research dissemination – the #AustralianBeachspace project. Primarily using my PhD thesis (2013) as the basis for content, I combined photographic images of Australian beaches with informational captions. The project is finite: I have three months of content planned (one post per day for six days a week) that will form an archive on completion. One of my motivations for this project was to try and capture one of my main findings from my thesis, which (in brief) is that visual representations of the beach seem to regularly prove less engaging and authentic for viewers (as evidenced by poor box office and critical reception of filmic and televisual representations of Australian beaches). As such, I wanted to experiment with visual representation as a core part of sharing information from my research into this area.