Author: Janet McGaw File Type: pdf Metropolitan Indigenous Cultural Centres have become a focal point for making Indigenous histories and contemporary cultures public in settler-colonial societies over the past three decades. While there are extraordinary success stories, there are equally stories that cause concern award-winning architecturally designed Indigenous cultural centres that have been abandoned centres that serve the interests of tourists but fail to nourish the cultural interests of Indigenous stakeholders and places for vibrant community gathering that fail to garner the economic and politic support to remain viable. Indigenous cultural centres are rarely static. They are places of emergence, assembled and re-assembled along a range of vectors that usually lie beyond the gaze of architecture. How might the traditional concerns of architecture site, space, form, function, materialities, tectonics be reconfigured to express the complex and varied social identities of contemporary Indigenous peoples in colonised nations? This book, documents a range of Indigenous Cultural Centres across the globe and the processes that led to their development. It explores the possibilities for the social and political project of the Cultural Centre that architecture both inhibits and affords. Whose idea of architecture counts when designing Indigenous Cultural Centres? How does architectural history and contemporary practice territorialise spaces of Indigenous occupation? What is architecture for Indigenous cultures and how is it recognised? This ambitious and provocative study pursues a new architecture for colonised Indigenous cultures that takes the politics of recognition to its heart. It advocates an ethics of mutual engagement as a crucial condition for architectural projects that design across cultural difference. The books structure, method, and arguments are dialogically assembled around narratives told by Indigenous people of their pursuit of public recognition, spatial justice, and architectural presence in settler dominated societies. Possibilities for decolonising architecture emerge through these accounts. **About the Author Janet McGaw isSenior Lecturer in Architecture, University of Melbourne, Australia. Anoma Pieris isAssociate Professor in Architecture, University of Melbourne, Australia.

Author: Roberto Simanowski File Type: pdf On Facebook and fake news, selfies and self-consciousness, selling our souls to the Internet, and other aspects of the digital revolution.With these engaging and provocative essays, Roberto Simanowski considers what new media has done to us. Why is digital privacy being eroded and why does society seem not to care? Why do we escape from living and loving the present into capturing, sharing and liking it? And how did we arrive at a selfie society without self-consciousness?Simanowski, who has been studying the Internet and social media since the 1990s, goes deeper than the conventional wisdom. For example, on the question of Facebooks responsibility for the election of Donald Trump, he argues that the problem is not the fake news but the creation of conditions that make people susceptible to fake news. The hallmark of the Internet is its instantaneousness, but, Simanowski cautions, speed is the enemy of depth. On social media, he says, complex arguments are jettisoned in favor of simple slogans, text in favor of images, laborious explorations at understanding the world and the self in favor of amusing banalities, deep engagement in favor of the click. Simanowski wonders if we have sold our soul to Silicon Valley, as Faust sold his to the Devil credits Edward Snowden for making privacy a news story looks back at 1984, 1984, and Apples famous sledgehammer commercial and considers the shitstorm, mapping waves of Internet indignationincluding one shitstorm that somehow held Adidas responsible for the killing of dogs in Ukraine. Whatever gets you through the night, sang John Lennon in 1974. Now, Simanowski says, its Facebook that gets us through the night and we have yet to grasp the implications of this. ***