Establishing interdisciplinary academic departments has been a common response to the challenge of addressing complex problems. However, the assumptions that guide the formation of such departments are rarely questioned. Additionally, the designers and managers of interdisciplinary academic departments in any field of endeavour struggle to set an organisational climate appropriate to the diversity of their members. This article presents a preliminary analysis of collaborative dynamics within two interdisciplinary university departments in Australia focused on sustainability. Social network diagrams and metrics of (...) coauthorship and cosupervision are analysed qualitatively. A "vicarious interdisciplinarity" was identified among key academics working narrowly in order to earn the resources that allow them to support others working interdisciplinarily. Those supported in this way appear to benefit from the esteem and nonredundant collaborative connections their mentors provide via this strategy, but they experience uncertainty about their own career opportunities in similar settings. This article thus unearths a conundrum of succession for interdisciplinary academic environments, and suggests that simple colocation of diverse academic stars is an inadequate strategy to achieve effective intradepartmental collaboration. (shrink)

History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity (...) and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling. (shrink)