D r u i d

D r u i d

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Aahhhh weekends :))

Aahhhh weekends :))

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I’m going to quit the Internet after next week!!!!!!

I’m going to quit the Internet after next week!!!!!!

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This was posted 6 days ago. It has 5 notes. .
Two tram grubs cragggggy boys

Two tram grubs cragggggy boys

This was posted 2 weeks ago. It has 18 notes. .
Poppy helping me with tax omg she’s so rotund

Poppy helping me with tax omg she’s so rotund

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cragdavid

cragdavid

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reclaiming culture, living culture

thevariableconservator:

Understanding culture as fluid and not static is perhaps the most important principle when looking at the ningher canoe. The myth of complete Tasmanian Aboriginal genocide reflects within the significance of the ningher journey. As Lehman states, ‘the most widespread of these myths – that we are…

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thevariableconservator:

Brendon (Buck) Brown tends the fire that is an intrinsic part of the ceremony of canoe-making. Image courtesy Fiona Hamilton
In the case of the ningher canoe, online documentation moved beyond preservation and instead formed part of the work itself. A five-metre traditional ningher (‘canoe’ in palawa kani - Tasmanian Aboriginal language of today) was built onsite at the Museum of Old and New Art, Hobart in June and launched on the eve of the winter solstice of 2014 as part of the museum’s Dark MOFO festival. The canoe carried a sacred fire along the River Derwent, making this journey the first exhibition of Tasmanian Aboriginal maritime technology in action in over 180 years (Lehman 2014, online).
Master canoe-maker Brendon (Buck) Brown and community artist Jamie Everett drew on many generations of knowledge of canoe-making including oral histories, paintings and drawings, as well as archival material created by European colonisers such as diaries and letters to create the ningher. Their creative process was documented by storyteller Greg Lehman via Facebook and a blog. 

Dark MOFO 2014

thevariableconservator:

Brendon (Buck) Brown tends the fire that is an intrinsic part of the ceremony of canoe-making. Image courtesy Fiona Hamilton

In the case of the ningher canoe, online documentation moved beyond preservation and instead formed part of the work itself. A five-metre traditional ningher (‘canoe’ in palawa kani - Tasmanian Aboriginal language of today) was built onsite at the Museum of Old and New Art, Hobart in June and launched on the eve of the winter solstice of 2014 as part of the museum’s Dark MOFO festival. The canoe carried a sacred fire along the River Derwent, making this journey the first exhibition of Tasmanian Aboriginal maritime technology in action in over 180 years (Lehman 2014, online).

Master canoe-maker Brendon (Buck) Brown and community artist Jamie Everett drew on many generations of knowledge of canoe-making including oral histories, paintings and drawings, as well as archival material created by European colonisers such as diaries and letters to create the ningher. Their creative process was documented by storyteller Greg Lehman via Facebook and a blog. 

Dark MOFO 2014

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thevariableconservator:

Pipilotti Rist, Mercy Garden Retour Skin, 2014, six-channel HD video installation, sound, carpet, pillows. Installation view of the 19th Biennale of Sydney (2014) at the Museum of Contemporary Art Australia.

The notion of the dispositif borrowed from media studies may be an essential component of conservation theorisation of media art, works that are self-reflexive in nature, allows it to display the conditions of its production and also reflects on the ‘apparatus' in which production and reception are inextricable (Wahl 2013, p. 25).

Pipilotti Rist and the dispositif

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the variable conservator

Hahahahahahahah! as an assignment I had to create a digital essay using online platforms! if you have an interest in media art or anything to do with contemporary conservation, please take a look, reblog, like posts, etc! Using Tumblr demonstrates interactivity and hybridity! also feel free to make suggestions! 

This was posted 2 weeks ago. It has 4 notes.
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