The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

The time of vegetal life itself—denoted as plant-time in this article, following the work of Michael Marder—is essential to human-plant relations. Conceptualized as a multi-dimensional plexity, vegetal temporality embodies the endemic land-based seasons, rhythms, cycles, and timescales of flora in conjunction with human patterns. The contemporary poet Judith Wright invoked a time-space continuum throughout her writing as a means to convey the primordial character of Australian plants while resisting the imposition of a colonialist schema of time. Wright’s bold textualization of (...) vegetal temporality embodies her commitment to fostering botanical ethics and locally-grounded activism on behalf of Aboriginal people and the Australian environment. (shrink)

Since European settlement, the Western calendar has insufficiently accounted for the seasonal nuances and multiple temporalities of Australia. Beginning with Tim Entwistle’s recent proposal to revise the four-season Australian norm, this article traces the emergence of the Western calendar in Europe and its institutionalization ‘Down Under.’ With its emphasis on land-based calendars, the Indigenous Weather Knowledge Project is a partnership between Aboriginal communities and the Bureau of Meteorology aimed at preserving and promoting knowledge of the endemic seasons of Australian regions. (...) As themost recent addition to the IWKP, the six-season Nyoongar calendar of the South-West of Western Australia is based on meteorological conditions, such as wind directions and temperatures, but also on the procurement of food, maintenance of cultural knowledge, and performance of ceremonies. Through the fusion of phenomenological and phenological approaches, the endemic seasons of Australia can be appreciated in their depth and extent. (shrink)

_Forest Family_ highlights the importance of old-growth forests to Australian art, community, culture, history, and politics. The volume will be of interest to general readers of environmental history, as well as scholars in critical plant studies and the environmental humanities.

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital artworks for the future benefit of culture, with particular peference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved (...) in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape—marked by the centrality of digital technologies to everyday life—problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger. (shrink)