Browsing Australian Research Council (ARC) by Subject "Australia"
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ItemCultural value vs culture's value(Emerald Publishing Group, 2015) Meyrick, Julian; Barnett, Tully SarahThe problem of culture’s value is assayed by David Throsby in his seminal book Economics and Culture when he puts forward the proposition “the economic impulse is individualistic, the cultural impulse is collective”. This proposition asserts, first, that there is behaviour which can be termed “economic” which reflects individual goals and which is portrayed in the standard model of an economy comprising self-interested individual consumers seeking to maximise their utility and self-interested producers seeking to maximise their profits […] secondly, that there is behaviour, distinguishable from economic behaviour […] which can be termed “cultural”; such behaviour reflects collective as distinct from individualistic goals, and derives from the nature of culture as expressing the beliefs, aspirations and identification of a group as defined above. Thus the cultural impulse can be seen as a desire for group experience or for collective production or consumption that cannot be fully factored out to the individuals comprising the group […] Whatever the artistic products produced and consumed, the processes of producing and consuming them can be seen not only as individual enterprise, but also as expressions of a collective will which transcends that of the individual participants involved. ItemThe logic of culture: the fate of alternative theatre in the postwhitlam period(University of Queensland, Department of English, 2014-04) Meyrick, JulianThis article presents a general explanation of government subsidy to the arts, drawing on the historical experience of Australian alternative theatre from the late 1970s to the early 1990s - a period of expansion for the sector, but not for alternative theatre. It describes the strategic categories of measurement used by the country's major cultural provision agency at the time, the Australia Council, and presents an eight part model showing how natural language terms - 'excellent', 'innovative', 'experimental', 'accessible', etc. - were taken up and repositioned as functional operators of capture by the peer assessment process. Using the structural analysis adopted by Ernesto Laclau in the ground-breaking On Populist Reason (2005), most especially his theory of the 'empty signifier' and its role in organising 'equivalential chains', or broad-based alliances of social demand, it suggests how Australian theatre was fractured, fragmented and recuperated by the competitive grant system. 'Difference', an effect of creative activity, was expropriated as the mark of its value, a saleable symbol in a world of increasingly symbolic commodities. With the consolidation of the Australia Council's dominance over the theatre sector during the period, difference could be fed back as market difference with the government as a 'corporate regulator'. While the rebarbative rhetoric of alternative artists might have remained the same, a creusant in Mallarme's sense had taken place, a hollowing-out - and a return to the values that so many of them were trying to rebel against.