Jennifer Biddle
Biographic Data
| ID | 801724 |
|---|---|
| NAME | Jennifer Biddle |
| GIVEN NAMES | Jennifer |
| FAMILY NAME | Biddle |
| SIGNATURE | BIDDLE J |
| AFFILIATIONS | UNSW Sydney |
| ORCID | 0000-0002-0962-4552 |
| VERIFIED | Yes |
| TOTAL WORKS | 17 |
| TOTAL CITATIONS | 53 |
| WORKS AS AUTHOR | 17 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1993 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 3 |
Emily Kam KngwarrayCurated by
On Stones, Ethical Failures, and Epistemological Wormholes
This three-way conversation reflects on practice-based research and the thinking-making of artist, composer, and academic Suzanne Kite (Oglála Lakȟóta), in the context of a Social Sciences and Humanities Research Council of Canada (SSHRC) transnational research project on sensory new media. Departing from Kite’s award-winning collaborative article ‘Making Kin with Machines,’ the sculpture Ínyan Iyé (Telling Rock) and its different iterations, the…
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…
Inheritance
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…
Remote Avant-Garde
In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation.…
Milpirri
Jennifer Biddle interviews the artistic directors of Tracks Dance Company, Tim Newth and David McMicken, about the company's ongoing involvement in the Milpirri festival
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 …
What is Same but Different and why does it matter
A detailed outline of the Same but Different Desert Art forums held in Alice Springs in 2012 and 2013, and an introduction to the essays, interviews, films and images that make up the 'Same but Different' section of this issue of CSR
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…
Inscribing identity
The title of this chapter is in fact a misnomer. For to speak of ‘inscribing identity’ is to evoke the figure of the text: page, surface, stylus, mark. It is to posit a medium in advance, prior, as it were, to the act of inscribing, whether this be blank page, canvas or skin, for there must, after all, be some thing upon which inscription writes
Bruises that won't heal
This paper takes the form of a fictocritical account of a car accident in fieldwork; an accident used to figure the violent end of the intersubjective, the intercorporeal; the irreducible ambiguity of lived relations, and their effects. Drawing on the work of Merleau-Ponty, Judith Butler, Shoshana Felman and others, the paper traces the uncertain productivity inherent in the 'melancholic' anthropological imperative to know others. There is an exp…
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…
Shame
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 )
Shame
Remote Avant-Garde
In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation.…
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…
What is Same but Different and why does it matter
A detailed outline of the Same but Different Desert Art forums held in Alice Springs in 2012 and 2013, and an introduction to the essays, interviews, films and images that make up the 'Same but Different' section of this issue of CSR
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 )
Shame
Bruises that won't heal
This paper takes the form of a fictocritical account of a car accident in fieldwork; an accident used to figure the violent end of the intersubjective, the intercorporeal; the irreducible ambiguity of lived relations, and their effects. Drawing on the work of Merleau-Ponty, Judith Butler, Shoshana Felman and others, the paper traces the uncertain productivity inherent in the 'melancholic' anthropological imperative to know others. There is an exp…
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…
Inscribing identity
The title of this chapter is in fact a misnomer. For to speak of ‘inscribing identity’ is to evoke the figure of the text: page, surface, stylus, mark. It is to posit a medium in advance, prior, as it were, to the act of inscribing, whether this be blank page, canvas or skin, for there must, after all, be some thing upon which inscription writes
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…
Milpirri
Jennifer Biddle interviews the artistic directors of Tracks Dance Company, Tim Newth and David McMicken, about the company's ongoing involvement in the Milpirri festival
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 …
What is Same but Different and why does it matter
A detailed outline of the Same but Different Desert Art forums held in Alice Springs in 2012 and 2013, and an introduction to the essays, interviews, films and images that make up the 'Same but Different' section of this issue of CSR
Remote Avant-Garde
In Remote Avant-Garde Jennifer Loureide Biddle models new and emergent desert Aboriginal aesthetics as an art of survival. Since 2007, Australian government policy has targeted "remote" Australian Aboriginal communities as at crisis level of delinquency and dysfunction. Biddle asks how emergent art responds to national emergency, from the creation of locally hunted grass sculptures to biliterary acrylic witness paintings to stop-motion animation.…
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…
Inheritance
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…
Emily Kam KngwarrayCurated by
On Stones, Ethical Failures, and Epistemological Wormholes
This three-way conversation reflects on practice-based research and the thinking-making of artist, composer, and academic Suzanne Kite (Oglála Lakȟóta), in the context of a Social Sciences and Humanities Research Council of Canada (SSHRC) transnational research project on sensory new media. Departing from Kite’s award-winning collaborative article ‘Making Kin with Machines,’ the sculpture Ínyan Iyé (Telling Rock) and its different iterations, the…
Sociology (12 works) · Art (11 works) · Aesthetics (7 works) · History (7 works) · History (7 works) · Philosophy (7 works) · Philosophy (7 works) · Geographies of human-animal interactions (6 works) · Anthropological Studies and Insights (5 works) · Visual arts (5 works)