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Although markets are at centre stage in capitalist processes of circulation and exchange, they have rarely been made an object of study. In this paper we distinguish three heterodox approaches. (1) Socioeconomics points out that concrete markets cannot be separated from their social context. Markets are dissolved in social networks and socialized. (2) Political economy investigates how the market model is confused for real markets by market participants. The market is represented as a destructive force. (3) Cultural economists point to the practical self-realization of economic knowledge and argue that the abstract market model is performative.

Old and New Australian Aboriginal Art

This paper examines the structural and contextual registers of the experience of language loss in the process of translingual subject formation. Using the psychoanalytic theory of bereavement, the paper argues that the psychic and social obstacles against mourning one's monolingual condition foster melancholic formations that manifest as recalcitrant enclavism in the language of origin or furious monolingual assimilation into the host language. In examining the socio-cultural conditions that hinder or facilitate the work of mourning, the paper proposes that productive bereavement of language loss requires some form of intersubjective witnessing. Accordingly, I explore the potential of translingual texts and performances to both provide viable models of identification for mourning linguistic injury and to increase our social awareness of the challenges entailed in commuting between languages.

International treaties shape the legal context for the arts, provide policy tools for political ends, and reveal roles of the arts in state identity. Culture-specific instruments, general agreements with cultural provisions, general agreements without culture-specific provisions, and general statements of principle are all pertinent. Since 1990, treaties have intervened in the global division of labor and the entry of works into the art market, forced transformations of domestic law, and illuminated ways in which differences in legal cultures are valuable for those who would break the law. Treaties highlight complexities of national identity, exacerbate national/regional tensions, support restitution, and draw attention to human rights issues. Conflicts over art have also become an explicit part of the world of foreign policy.

This article examines issues of authenticity in Australian culture. From the very beginning, Australia has been plagued and entertained by literary hoaxes. The recent revelation that Mudrooroo, who was for several decades Australia's leading Aboriginal author, is of African-white and not Aboriginal descent is an extreme yet typical example of the difficulties faced by many authors and artists who want to claim authentic Aboriginality. How does anyone claim such authenticity when there are no longer any authentic Aborigines (in the sense of indigenes whose culture has not been affected by the invasion of Europeans, modernity, and now postmodernity)? The impossible struggles over authenticity of authors and artists like Mudrooroo and Sally Morgan are a perfect (if ironic) fit with the postmodern stress on inauthenticity, or a commodified and globalized capitalist culture in which everything is a copy, nothing is original (let alone Aboriginal). The ?Ern Malley? hoax, the basis for Peter Carey's postmodern novel My Life as a Fake, is one of many that do not involve Aboriginality, but which show that it is not just Aboriginals who struggle with the problem of authenticity.

The Englishes of British settlers in different parts of the world reflect the history and culture of their respective societies. In expanding to distant lands, colonists encountered natural environments very different from those of Britain. As a consequence, the English of British settlers in different countries has changed in response to new landscapes. Individual landscape terms in various languages do not always have exact equivalents in other languages, or even in different varieties of the same language. One example is the term the bush in Australian English. The bush denotes an Australian landscape zone, but the word has developed additional senses related to culture and human geography. This study delineates the semantics of the bush in Australian English in relation to Australian culture. These meanings of the bush are described using the Natural Semantic Metalanguage (NSM) approach to linguistic analysis. The study finds that the bush is a keyword in Australian culture. Overall the study shows that in Australian English and other settler Englishes the meanings of national landscape terms can shed light on the relationship between settlers? cultures, and their new environments and ways of life.

This book examines the global issue of health inequality through an in-depth look at a remote Australian Aboriginal community characterized by premature morbidity and mortality.

The practice of petrol sniffing is a unique and poorly understood phenomenon that is associated with substantial morbidity, mortality and social devastation in affected remote Indigenous communities. For these groups and for the wider community, much mystery has surrounded the practice and its effects. Here we introduce the epidemiology of petrol sniffing among Indigenous groups internationally, review its impact on the brain, behaviour and social functions and summarise related interventions.

Petrol Sniffing, the Brain, and Aboriginal Culture: Between Sorcery and Neuroscience

Anecdotal observations suggest that neurological impairments associated with petrol (gasoline) sniffing resolve with abstinence, although these effects have not been proven empirically. Severe exposure to leaded petrol may induce a lead encephalopathy that extends beyond any acute intoxication and requires emergency hospital treatment. Previously, in chronic petrol sniffers, we showed neurological, saccadic, and cognitive abnormalities that were more severe in petrol sniffers with a history of hospitalization for lead encephalopathy, and that correlated with blood lead levels and the length of time of sniffing petrol. Ex-petrol sniffers showed a qualitatively similar but quantitatively less severe pattern of impairment. Petrol sniffing was stopped completely in one of the study communities by modifying social, occupational, and recreational opportunities. After 2 years, we obtained biochemical and neurobehavioral (neurological, saccade, and cognitive) data from all available participants of the earlier study including 10 nonsniffers and 29 chronic petrol sniffers, with six of these individuals previously receiving hospital treatment for lead encephalopathy. Here, we report that blood lead was reduced and that neurobehavioral impairments improved, and in many cases normalized completely. The most severe petrol-related neurobehavioral impairment was observed among individuals who had longer histories of abuse and higher blood lead levels, and among petrol sniffers with a history of lead encephalopathy. Those with the greatest extent of neurobehavioral impairment showed the greatest degree of improvement with abstinence, but were less likely to recover completely, This is the first direct evidence that neurological and cognitive impairment from chronic petrol sniffing ameliorates with abstinence and may recover completely.

This concise survey showcases the work of Australia's indigenous artists from all parts of the continent. From Arnhem Land and the desert, the Kimberley and northern Queensland, to modern towns and cities, Aboriginal artists have built on traditions that stretch back at least 50,000 years, working in a variety of contexts from the sacred and secret realm of ceremony to more public spheres. Work across all media is included, from painting, sculpture, engraving, constructions and weaving to the most recent work in photography, printmaking and textile design. The story of Aboriginal art is brought into the 21st century in this revised and expanded third edition with a new chapter that maps the latest developments across each of Australia's geographical regions. Updated information and more than twenty-five new illustrations highlight, among other things, the impact of urban living, the growth of local art centres which support the work of indigenous artists, and the rise of women artists - all testifying to Aboriginal art's continued dynamism and vitality. Contents ch. 1 Introduction ch. 2 Patterns of power: Arnhem Land and its surrounds ch. 3 The art of place and journey: the desert ch. 4 Land of the Wandjina: the Kimberley ch. 5 Diversity: North Queensland and the Torres Strait Islands ch. 6 Artists in the town and city ch. 7 Into the twenty-first century.

Aboriginal Business is an ethnographic snapshot of the Warumungu people, the traditional owners of the country on which the remote Northern Territory town of Tennant Creek lie. The author examines both the colonial past and the contemporary practices of alliance-making that set the stage for an alternative future, rerouting the national and global narratives that still seek to confine Indigenous people to the margins.

The fine art market has grown into a $17bn industry. Yet only recently have art dealers and art buyers discovered the Internet as a viable marketing tool. As art galleries begin to move online, a fundamental question arises: are the major stakeholders willing to use this non-traditional means to buy and sell art? This paper uses three independent studies, of artists, interior designers and organisational buyers, in North America, to analyse the characteristics of those inclined to use the Internet for this service and considers the magnitude of purchases through this medium. Study results indicate that: (1) artists are under-represented on the Internet and disconcerted about technology issues; (2) targeting buyer segments, like interior designers, through the Internet is a viable and attractive alternative for fine art dealers; (3) organisational buyers often neglect Internet alternatives. Practical implications for those desiring to utilise the Internet to market fine art are discussed.

This thesis explores factors that determine the price for Australian art sold at auction. Using a large data set that comprises over 20,000 sale observations of Australian art works sold between 1995 and 2003 characteristics associated with the artist, the work and auction are included in a series of hedonic models. In addition to modelling the overall market, differences within defined market segments for Indigenous and Non-indigenous art are explored. The role of artist identity and critical acclaim, the period in which art works are created and the event of an artist death are areas of specific focus within the analysis along with an investigation of the risks and returns associated with Australian art investment. Not surprisingly it is found that artist identity is a crucial factor that drives price. The works by artists who are sufficiently acclaimed to be recorded in the Grove Dictionary of Art (2005), or who have represented Australia at the Venice Biennale or who are represented in Australia’s pre-eminent public gallery, the National Gallery of Australia, are associated with higher prices compared to other artists who are less well known and not reflected in these proxy measures of artist success and reputation. When specific artist identifier variables are incorporated into the hedonic modelling we witness the importance attached to particular acclaimed artists in driving price. It is not surprising then, that we find when the identities of these well-known artists are incorporated, the overall explanatory power of the hedonic models used throughout the thesis improves considerably. The most highly valued Non-indigenous art works are found to be created prior to 1900 although the market for Contemporary art produced post 1980 is associated with relatively high prices compared to the general trend that reflects falling prices as we approach the present time period. Distinctive differences also emerge between Indigenous and Nonindigenous art as we consider the period in which works are created and the influence this has upon price. Almost 90 per cent of Indigenous art sold at auction has been created since 1970 and it is works from the 1970s that command the highest prices for Indigenous art sold at auction. This is not unexpected given the rise of Indigenous Art in the early 1970s coinciding with the emergence of the Papunya Tula art movement. The death of an artist also proves to have a different influence upon price when we compared Indigenous and Non-indigenous art. For Non-indigenous art there is clear evidence of a death effect upon art prices which is akin to a nostelga effect, where prices typically rise around the time of an artist’s death before falling back somewhat with the passing of time. Although for some noted artists who have been dead for a long time prices are shown to rise further with the passing of time and as such historic works become more scarce. For Indigenous art the influence of a living artist’s conditional life expectancy upon price proves to be of greater relevance in explaining price whereas the artist ages and the term of their life expectancy reduces prices tend to rise. The analysis within this thesis finishes with the construction of a number of art price indices where it is found that returns to investment in Indigenous art are generally higher and less risky compared to Non-indigenous art. Australian art generally and Indigenous art in particular is found to have a relatively weak correlation with the stock market suggesting that Australian art has a role to play in a balanced investment portfolio especially taking into account the aesthetic utility that can also be derived as a result of holding art. The research contributes to understanding how the auction market for Australian art operates with emphasis paid to the distinctions and similarities observed within the sub-markets for Indigenous and Non-indigenous art. Insights from this research have the potential to inform public policy on a number of issues including the effect of resale royalties upon the operation of the auction market, and how indigenous economic development may be facilitated through a strong market for Indigenous art.

Uncommon Ground brings together a unique collection of essays about the complex roles played by white women in Australian Indigenous histories. It showcases some of the latest and most interesting work in Australia on gender and cross-cultural history. Each chapter highlights the work of a woman involved in Aboriginal issues, and with Aboriginal people, in a particular historical context. They include unknown and prominent public figures, activists, writers, and workers in missionary groups and administration (for instance Mary Bennett, Elizabeth Durack and Elizabeth McKenzie-Hatton), as well as leading Aboriginal woman activist (Pearl Gibbs) who worked closely with contemporary white feminists. The four thematic parts include: ‘The Home Front’: personal and domestic relationships, highlighting the prominence of the ‘home’ as institution as well as refuge in such cross-cultural relationships; ‘Shared Struggle’: collaborative relationships; ‘Public Lives’: addressing white women who took on public roles with regard to Aboriginal issues; and ‘Knowing the Aborigines’: the ambiguous roles played by white women who claimed the knowledge to represent Aboriginal people and issues, and who have had various impacts upon Aboriginal histories as a result. These lively and critical biographical studies trace the motivations, actions and impact of these women. The Indigenous and non-Indigenous contributors, both women and men, engage with some difficult yet fascinating questions of race, gender and identity in Aboriginal history. Uncommon ground is a unique exploration of the complex roles played by white women in Australian Indigenous histories. it showcases some of the latest and most interesting work in Australia on gender and cross-cultural history. Within a particular historical context, each chapter highlights the work of a woman involved in Aboriginal issues, and with Aboriginal people. Well-known as well as less prominent public figures, are included. There is a mix of activists, writers, and workers in missionary groups and administration as well as Pearl Gibbs, the leading Aboriginal woman activist who worked closely with contemporary white feminists. Contents 1. 'Light in the darkness' : Elizabeth McKenzie Hatton / John Maynard 2. 'The mother of the home' : Jennie Parsons Smith / Christine Brett Vickers 3. 'A devotion I hope I may fully repay' : Joan Kingsley-Strack / Victoria Haskins 4. 'Same bodies, different skin' : Ruth Heathcock / Karen Hughes 5. 'Never forgotten' : Pearl Gibbs (Gambanyi) / Stephanie Gilbert 6. 'Whatever her race, a woman is not a chattel' : Mary Montgomery Bennett / Alison Holland 7. 'Would have known it by the smell of it' : Ella Hiscocks / Anna Cole 8. 'For a brighter day' : Constance Ternent Cooke / Fiona Paisley 9. 'Bye and bye when all the natives have gone' : Daisy Bates and Billingee / Cynthia Coyne 10. 'A glorious thing is to live in a tent in the infinite' : Daisy Bates / Jim Anderson 11. 'I drew very close to these men, sharing their dilemma...' : Elizabeth Durack / Franchesca Cubillo 12. 'To put on record, as faithfully as possible' : Catherine Martin / Margaret Allen

Art Gallery of South Australia Series Title:Adelaide Biennial of Australian Art 2000 Survey of contemporary art. Artists: Eddie Chambers, Ian Abdulla, Destiny Deacon, Julie Dowling...

On contemplating this paper I found myself wondering what I should be talking about, or, more specifically, why I was floundering with its content. Steeped daily in the ‘authentic’ and possessing a naive sense that people will deal fairly, I have not given the problems much thought. It seems ironic, but the issue of authenticity is not one of great significance for us during our daily routine at Mangkaja Arts. The omnipresence of the debate surrounding these issues on the radio and television has not gone unnoticed in Mangkaja. Questions raised in the recent Four Corners program and the documentary titled Art from the Heart? are ones that we have discussed, but they do not impact on the artists to any great degree; and with that realisation, I am moved to ask why? Perhaps a brief overview of the operations of the art centres would be useful.

Cultural property -- Protection -- Law and legislation -- Australia. Aboriginal Australians -- Antiquities. Aboriginal Australians -- Material culture. Torres Strait Islanders -- Antiquities. Torres Strait Islanders -- Material culture. Intellectual property -- Australia. Aboriginal culture Arts Copyright Cases (Law)

Introduction and Aims.While petrol sniffing afflicts several isolated Indigenous groups internationally, few studies have examined the factors contributing to continued sniffing following treatment. This study aims to describe those factors in a group of Aboriginal Australian users. Design and Methods.During residential treatment, 56 petrol sniffers completed baseline demographic and substance use questionnaires and cognitive and psychological assessments. Eighty per cent were reassessed and interviewed an average of 9 months (SD = 4) later. Cognitive, psychological, substance use and sociocultural factors were compared between those who relapsed at follow up and those who maintained abstinence. Results.More males (n = 44) than females (n = 12) were studied. Of the 45 individuals followed up, 58% (n = 26) relapsed. Significant risk factors for relapse included the ready availability of petrol, living in urban centres, being unmarried and living with fewer people (P < 0.05). Other potential risk factors, indicated by P-values < 0.10, included younger age of first petrol use, having sniffed within 14 days prior to treatment, poly substance use, sniffing in response to negative emotions, and feeling lonely at baseline and having sleep problems at follow up. Discussion and Conclusion.This study identified psychosocial factors that may be associated with continued petrol sniffing among Aboriginal Australians post treatment. Future research, interventions and policy relating to petrol sniffing should consider these factors.

In his previous book, The Elusive Quest for Growth, William Easterly criticized the utter ineffectiveness of Western organizations to mitigate global poverty, and he was promptly fired by his then-employer, the World Bank. The White Man’s Burden is his widely anticipated counterpunch—a brilliant and blistering indictment of the West’s economic policies for the world’s poor. Sometimes angry, sometimes irreverent, but always clear-eyed and rigorous, Easterly argues that we in the West need to face our own history of ineptitude and draw the proper conclusions, especially at a time when the question of our ability to transplant Western institutions has become one of the most pressing issues we face. The White Man's Burden is about what William Easterly calls the twin tragedies of global poverty. The first is that so many are seemingly fated to live horribly stunted, miserable lives and die such early deaths. The second is that after fifty years and more than $2.3 trillion in aid from the West addressing the first tragedy, there is so shockingly little to show for it. We'll never solve the first tragedy, William Easterly argues, unless we figure out the second." "So what's going on? The ironies are many: We preach a gospel of freedom and individual accountability, yet we intrude on the inner workings of so-called developing countries through bloated aid bureaucracies like the IMF and World Bank that are accountable to no one for the effects of their prescriptions. We've cheered our victory over communism, but seven decades after Stalin's five-year plans, we're still imposing five-year plans of our own on the wretched of the earth. We take all the credit for the economic success stories of the last fifty years, like South Korea and Taiwan, when in fact we deserve very little of it. We deny all accountability for the fact that despite more than half a trillion dollars poured into Africa and other regions, and one "big new idea" after another, the majority of places in which we've meddled the most are in fact no better off or are even worse off than they were before. Could there be a connection? Could it be that we don't know as much as we think we do about the magic spells that will open the door to the road to wealth?" "Absolutely, William Easterly thunders in this sometimes angry, sometimes irreverent, but always clear-eyed and rigorous book. He argues that we need to face our own history of ineptitude and draw the proper conclusions, especially at a time when the question of our ability to transplant Western institutions onto foreign soil so that they take root has become one of the most pressing issues we face.

Surprisingly little research has been carried out about how Australian Aboriginal children and teenagers experience life, shape their social world and imagine the future. This volume presents recent and original studies of life experiences outside the institutional settings of childcare and education, of those growing up in contemporary Central Australia or with strong links to the region. Focusing on the remote communities – roughly 1,200 across the continent – the volume includes case studies of language and family life in small country towns and urban contexts. These studies expertly show that forms of consciousness have changed enormously over the last hundred years for Indigenous societies more so than for the rest of Australia, yet equally notable are the continuities across generations. Contents Introduction: Aboriginal Children and Young People in Focus PART I: CHILDHOOD ACROSS TIME: HISTORICAL AND LIFE SPAN PERSPECTIVES Chapter 1. 'Less was hidden among these children': Géza Róheim, Anthropology and the Politics of Aboriginal Childhood - John Morton Chapter 2. Envisioning Lives at Ernabella - Katrina Tjitayi and Sandra Lewis Chapter 3. Warungka: Becoming and Un-becoming a Warlpiri Person - Yasmine Musharbash Chapter 4. Fathers and Sons, Trajectories of Self – Reflections on Pintupi Lives and Futures - Fred R. Myers PART II: STORIES, LANGUAGE AND SOCIAL SPACE Chapter 5.Sand Storytelling – Its Social Meaning in Anangu Children’s Lives - Ute Eickelkamp Chapter 6.Young Children's Social Meaning-Making in a New Mixed Language - Carmel O'Shannessey Chapter 7.The Yard Craig - San Roque PART III: YOUTH, IDENTITY AND SOCIAL TRANSFORMATION Chapter 8. Organization within Disorder – The Present and Future of Young People in the Ngaanyatjarra Lands - David Brooks Chapter 9. Being Mardu: Change and Challenge for Some Western Desert Young People Today - Myrna Tonkinson Chapter 10. Invisible and Visible Loyalties in Racialized Contexts: A Systemic Perspective on Aboriginal Youth - Marika Moisseeff

The idea of modernity is increasingly called upon to describe and understand change in Indigenous societies, replacing the older paradigms of colonisation, culture change and the short-lived misnomer hybridity. This paper problematises such an approach in the field of Australian Aboriginal Studies, with special attention to the question of whether individualisation and individualism are real phenomena in Aboriginal life-worlds, or else what kind of subjectivities might be in the making. The focus is on childhood as a site of change towards, and resistance to, modern individualism in reference to the history of state and religious interventions into Aboriginal family life.

The next century will see more than half of the world's 6000 languages become extinct, and most of these will disappear without being adequately recorded. Written by one of the leading figures in language documentation, "Dying Words" asks what is lost to our collective intellectual heritage with the death of these languages. It explores the unique philosophy, knowledge, and cultural assumptions of languages, and their impact on our collective intellectual heritage. It questions why such linguistic diversity exists in the first place, and how can we can best respond to the challenge of recording and documenting these fragile oral traditions while they are still with us. It brings conceptual issues vividly to life by weaving in portraits of individual 'last speakers' and anecdotes about linguists and their discoveries.

Multi-Sited Ethnography has established itself as a fully-fledged research method among anthropologists and sociologists in recent years. It responds to the challenge of combining multi-sited work with the need for in-depth analysis, allowing for a more considered study of social worlds. This volume utilizes cutting-edge research from a number of renowned scholars and empirical experiences, to present theoretical and practical facets charting the development and direction of new research into social phenomena. Owing to its clear contribution to a rapidly emerging field, Multi-Sited Ethnography will appeal to anyone studying social actors, including scholars within human geography, anthropology, sociology and development and migration studies. Contents: Introduction: multi-sited ethnography: theory, praxis, and locality in contemporary research, Mark-Anthony Falzon; Arbitrary locations: in defence of the bounded field-site, Matei Candea; What if there is no elephant? Towards a conception of an un-sited field, Joanna Cook, James Laidlaw and Jonathan Mair; Scaling and visualizing multi-sited ethnography, Kim Fortun; In the right place at the right time? Reflections on multi-sited ethnography in the age of migration, Ester Gallo; Emplacement and environmental relations in multi-sited practice/theory, Caroline Gatt; Expanding sites: the question of 'depth' explored, Cindy Horst; Follow the missionary: connected and disconnected flows of meaning in the Norwegian Mission Society, Ingie Hovland; Localizing climate change: a multi-sited approach, Werner Krauss; Changing places: the advantages of multi-sited ethnography, Karen Isaksen Leonard; Multi-sited ethnography: notes and queries, George E. Marcus; Strong collaboration as a method for multi-sited ethnography: on mycorrhizal relations, Matsutake Worlds Research Group (Timothy Choy, Lieba Faier, Michael Hathaway, Miyako Inoue, Shiho Satsuka, and Anna Tsing); Bridging boundaries with a transnational research approach: a simultaneous matched sample methodology, Valentina Mazzucato; Contours of the field(s): multi-sited ethnography as a theory-driven research strategy for sociology, Eva Nadai and Christoph Maeder; Traversing cultural sites: doing ethnography among Sudanese migrants in Germany, Cordula Weißköppel; Afterword: the long march of anthropology, Ulf Hannerz;

Efforts to theorize globalization remain limited by an ethnographic data set obtained primarily through direct sensory experience. This article argues that such empiricism persists because the difference between connections and relations as methodological constructs remains blurred. Their conflation precludes a fuller view of how apparatuses organize global processes. Apparatuses decompose direct social connections and replace them with shifting constellations of indirect social relations. Unlike connections, relations are mediated by abstract third agents and have an arbitrary relationship in/to space and time. This weakens participant-observation’s ability to capture an apparatus’s operations. As a remedy, the article suggests ‘nonlocal’ ethnography, which examines how disconnected actors utilize an apparatus’s mediating agents – e.g. statistical calculations, probabilities estimates, high-scale moral narratives, and interpretative paradigms – to channel the global circulation of migrants. The argument for the apparatus’s theoretical value and nonlocal ethnography’s methodological value is illustrated through an illegal migration journey from Senegal to Italy.