Jennifer L Biddle
Biographic Data
| ID | 156850 |
|---|---|
| NAME | Jennifer L Biddle |
| GIVEN NAMES | Jennifer L |
| FAMILY NAME | Biddle |
| SIGNATURE | BIDDLE J L |
| AFFILIATIONS | Visual Anthropology & Visual Culture, National Institute for Experimental Art (NIEA), University of New South Wales Art & Design, Paddington Campus, Cnr Oxford St. & Greens Rd. Paddington, NSW 2021, Australia |
| VERIFIED | No |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 12 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
The Artificial as an Intelligent Indigenous/Indigenizing System
This article explores the vital importance of the sensory at the nexus of the artificial and real life. Co‐existing within colonial histories, the artificial and lived are bound up with intractable violence and inequities driven by capitalist, militarist, and anthropocentric trajectories. Our collaborative article examines the 30‐year practice of the non‐binary, Gamilaraay/Wailwan/Biripi artist r e a. As we contend, r e a's experimental media art…
Tjanpi Desert Weavers and the Art of Indigenous Survivance
This article is about recent art of Tjanpi Desert Weavers, the not-for-profit, social enterprise of the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara (NPY) Women’s Council, as practices of eco-somatic feminist Indigenous ‘survivance’. Kuka Irititja (animals from another time) and Tjituru-tjituru (Tragedy, Grief and Sadness), produced in creative collaboration with non-Indigenous artist Fiona Hall, focus on death, extinction, annihilation. Who…
Not just ceremony, not just dance, not just idea
This article is a critical and creative discussion of Milpirri, the experimental Warlpiri ceremony produced in conjunction with Tracks Dance Company since 2005. It utilizes Warlpiri key words as a formal device to disrupt the ubiquity of English literacy and highlight the demands of translation. A radical Warlpiri initiative, Milpirri belies categorical definition. A complex, hybrid, multiplatform event, Milpirri is discussed as a highly strategi…
Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth
This essay introduces Visual Anthropology Review’s Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth,’ a special collection of essays on new media art, ceremony, animation, sensory immersion, and other hyperreal interventions by Aboriginal and First Nations artists, curators, and academics. This essay introduces the contributing Indigenous and non‐Indigenous authors who are working across this emergent field of cultural product…
My Name Is Danny
This paper offers a close reading of PAW Media animation 'My Name is Danny'. Drawing across a growing body of recent Central and Western Desert experimental cinema, this paper asks what is at stake in the turn to animation. Rather than escapism or otherworldly fabrications which have little to do with lived experience of the “real,” animation in this context has potent everyday exigencies and politics. The capacity for bringing to life literally …
Breasts, Bodies, Art
This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women. Contra to the dominant interpretation of these paintings as representations of 'country'-cartographic 'maps' of the landscape, narratives of Dreaming Ancestors, flora, fauna, species-my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in…
The Warlpiri alphabet and other colonial fantasies
This article is a critical interrogation of the alphabet as it has been used to write a so-called ‘pre-literate’ or ‘oral’ language, Warlpiri, an Aboriginal language of the Central Desert of Australia. The author compares a literacy-teaching chart called Warlpiri Letters with traditional Warlpiri inscriptive practices, and finds that both employ a culturally specific form of writing - a writing understood in terms of material ‘imprints’ or ‘trace…
The Anthropologist's Body or What It Means to Break Your Neck in the Field
Today the rider wore no smiles. She was tired, or head‐achy, or involved in relationships with human beings. (Patrick White, The Tree of Man )
Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth
This essay introduces Visual Anthropology Review’s Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth,’ a special collection of essays on new media art, ceremony, animation, sensory immersion, and other hyperreal interventions by Aboriginal and First Nations artists, curators, and academics. This essay introduces the contributing Indigenous and non‐Indigenous authors who are working across this emergent field of cultural product…
Not just ceremony, not just dance, not just idea
This article is a critical and creative discussion of Milpirri, the experimental Warlpiri ceremony produced in conjunction with Tracks Dance Company since 2005. It utilizes Warlpiri key words as a formal device to disrupt the ubiquity of English literacy and highlight the demands of translation. A radical Warlpiri initiative, Milpirri belies categorical definition. A complex, hybrid, multiplatform event, Milpirri is discussed as a highly strategi…
My Name Is Danny
This paper offers a close reading of PAW Media animation 'My Name is Danny'. Drawing across a growing body of recent Central and Western Desert experimental cinema, this paper asks what is at stake in the turn to animation. Rather than escapism or otherworldly fabrications which have little to do with lived experience of the “real,” animation in this context has potent everyday exigencies and politics. The capacity for bringing to life literally …
Breasts, Bodies, Art
This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women. Contra to the dominant interpretation of these paintings as representations of 'country'-cartographic 'maps' of the landscape, narratives of Dreaming Ancestors, flora, fauna, species-my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in…
The Warlpiri alphabet and other colonial fantasies
This article is a critical interrogation of the alphabet as it has been used to write a so-called ‘pre-literate’ or ‘oral’ language, Warlpiri, an Aboriginal language of the Central Desert of Australia. The author compares a literacy-teaching chart called Warlpiri Letters with traditional Warlpiri inscriptive practices, and finds that both employ a culturally specific form of writing - a writing understood in terms of material ‘imprints’ or ‘trace…
The Anthropologist's Body or What It Means to Break Your Neck in the Field
Today the rider wore no smiles. She was tired, or head‐achy, or involved in relationships with human beings. (Patrick White, The Tree of Man )
The Warlpiri alphabet and other colonial fantasies
This article is a critical interrogation of the alphabet as it has been used to write a so-called ‘pre-literate’ or ‘oral’ language, Warlpiri, an Aboriginal language of the Central Desert of Australia. The author compares a literacy-teaching chart called Warlpiri Letters with traditional Warlpiri inscriptive practices, and finds that both employ a culturally specific form of writing - a writing understood in terms of material ‘imprints’ or ‘trace…
Breasts, Bodies, Art
This paper is concerned with a culturally distinctive relationship between breasts and contemporary art from Central Desert Aboriginal women. Contra to the dominant interpretation of these paintings as representations of 'country'-cartographic 'maps' of the landscape, narratives of Dreaming Ancestors, flora, fauna, species-my argument is that these works bespeak a particular breasted experience and expression, a cultural way of doing and being in…
My Name Is Danny
This paper offers a close reading of PAW Media animation 'My Name is Danny'. Drawing across a growing body of recent Central and Western Desert experimental cinema, this paper asks what is at stake in the turn to animation. Rather than escapism or otherworldly fabrications which have little to do with lived experience of the “real,” animation in this context has potent everyday exigencies and politics. The capacity for bringing to life literally …
Not just ceremony, not just dance, not just idea
This article is a critical and creative discussion of Milpirri, the experimental Warlpiri ceremony produced in conjunction with Tracks Dance Company since 2005. It utilizes Warlpiri key words as a formal device to disrupt the ubiquity of English literacy and highlight the demands of translation. A radical Warlpiri initiative, Milpirri belies categorical definition. A complex, hybrid, multiplatform event, Milpirri is discussed as a highly strategi…
Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth
This essay introduces Visual Anthropology Review’s Hyperrealism and Other Indigenous Forms of ‘Faking It with the Truth,’ a special collection of essays on new media art, ceremony, animation, sensory immersion, and other hyperreal interventions by Aboriginal and First Nations artists, curators, and academics. This essay introduces the contributing Indigenous and non‐Indigenous authors who are working across this emergent field of cultural product…
Tjanpi Desert Weavers and the Art of Indigenous Survivance
This article is about recent art of Tjanpi Desert Weavers, the not-for-profit, social enterprise of the Ngaanyatjarra, Pitjantjatjara and Yankunytjatjara (NPY) Women’s Council, as practices of eco-somatic feminist Indigenous ‘survivance’. Kuka Irititja (animals from another time) and Tjituru-tjituru (Tragedy, Grief and Sadness), produced in creative collaboration with non-Indigenous artist Fiona Hall, focus on death, extinction, annihilation. Who…
The Artificial as an Intelligent Indigenous/Indigenizing System
This article explores the vital importance of the sensory at the nexus of the artificial and real life. Co‐existing within colonial histories, the artificial and lived are bound up with intractable violence and inequities driven by capitalist, militarist, and anthropocentric trajectories. Our collaborative article examines the 30‐year practice of the non‐binary, Gamilaraay/Wailwan/Biripi artist r e a. As we contend, r e a's experimental media art…
Sociology (7 works) · Art (6 works) · History (6 works) · History (6 works) · Philosophy (6 works) · Philosophy (6 works) · Aesthetics (5 works) · Geographies of human-animal interactions (5 works) · Archaeology (4 works) · Indigenous (4 works)