New Materialisms SIG: The Civilizing Process

New Materialisms SIG: The Civilizing Process. Bicycles Create Change.com 27th October 2021.
Source: National Museum of Danmark.

In this session, we are truly transcending time, space, place and bodies as we explore the NM potentialities of reimagining an inspirational, yet relatively, unknown WWII story.  

We are very excited to have guest presenter Jenny Ginsberg (University of La Trobe) presenting key insights of her recent Master’s research.   

Jenny is putting together a PhD submission and is keen to discuss this opportunity with the SIG to garner some initial New Materialisms ideas and suggestions as a launching off point for this exciting next step.  

…and yes, as you might have noticed from the similar surname, Jenny is my Mum!

This session’s provocation was:

What new possibilities might emerge from a New Materialist ‘return’ to the inspirational flight and return of the Danish Jews 1943-1945? 

Title

The Civilizing Process: moving from sociological understandings to Posthumanist materialities.

Abstract  

The genesis of this research lies in an extraordinary moment in history. It was one in which lives were saved; when courage, creativity and social cohesion combined and triumphed.  

This research merges a fortuitous and rare meeting of a wartime story of escape and return. It is the story of the flight of the Danish Jews in 1943 and their return home in 1945. Nearly 8,000 Danish Jews escaped directly to Sweden while 470 were imprisoned in Theresienstadt (Terezin) concentration camp. This project traces the extraordinary and unparalleled rescue of those imprisoned in Terezin, as well as the survival of more than 95 percent of the Jewish population of Denmark – a remarkable achievement at the time that was unmatched by any other Nazi-occupied European country.  

In her Master’s, Jenny used Norbert Elias’ concept of national habitus to foreground relational, long-term state formation processes as part of a theory of The Civilizing Process (Elias, 2000). Jenny’s project uniquely put to work national habitus to argue that the events of 1943 flight and the 1945 return, must be considered as an ‘entangled’ experience. This enables a close relational understanding of the significance of this point in time with(in) the inclusive and compassionate Danish national ‘habitus’ at that time. This project looks at the multiple figurations found in Danish society and the crucial role they played in the successful escape and return of the Danish Jews.   

Of particular interest for the NM SIG is the recognition of the often overlooked and under-appreciated contribution of Danish women to the wider occupation historiography, which was largely written and curated by men. Jenny invites the SIG to engage in the yet-to-be-explored materialities of this story – such as the boats used in the escape, letters, clothing, symbolisms and defiant collective practices adopted by the Danes – and myriad other material-affective-discursive forces and most notably, those co-contributing to the unified and compassionate leadership and the sustained, collective response to the urgent needs of fleeing and captive Danes.  

Some session snapshots

We had an amazing time! The warmup activities got us thinking beyond and making links that we were not able to arrive at individually. Jenny’ session was expertly put together and she is a highly engaging storyteller.

The rich materiality of this era gave us much to discuss and there were some great ideas on how Jenny could move forward using a posthumanism and/or New Materialist approaches.

Below are a few session highlights.

New Materialisms SIG: The Civilizing Process. Bicycles Create Change.com 27th October 2021.
NM SIG Activity

To start, we did a few collaborative thinking-writing activities. The first was a collaborative poll of keywords and ideas (see above). We then did a responsive, collaborative writing task using the chat box. That was great fun! Below is what we cocreated (names removed for privacy).

New Materialisms SIG: The Civilizing Process. Bicycles Create Change.com 27th October 2021.
Collaborative chat box writing activity

My 100-word worlding for this session

Jenny’s telling untold stories again. The WWII flight and return of Danish Jews. Snippets of materialities: no yellow stars, food parcels, clothes, boats, Red Cross visitations, propaganda films and the king defiantly riding his horse down Copenhagen’s main street. Ignoring German soldiers in bakeries. Leadership agreements. Unspeakable everpresent brutality. Inescapable – ineluctable. A nation-wide underground resistance: all locals were in on it. National Habitas. Protect all Danes. Homes preserved (not looted), goods boxed up, gardens watered for those ‘away’. Rescue missions, drunk signatures and white buses sweep for ‘others’. Secret fishing boat crossings. Flowers, chocolates and K1,000 compensation on return.  

*Postscript: As of March 2022, Jenny was accepted to do this topic as her PhD.*

CONGRATS to Jenny….

…and a massive thank you for sharing her hard work and this most remarkable story.

Presenter Bio

Jenny Ginsberg is an educator of 40+ years, a social activist and an artist.  She has taught at a range of Melbourne schools, including MLC as a leading teacher in gifted education and oral history. This September, Jenny is submitting her Master’s by Research (School of Social Sciences at La Trobe Uni, Melbourne) and is looking to undertake a PhD in 2022.

She aims to use the PhD to deepen and extend her Master’s project (see abstract below). Jenny’s research interests include the sociological theories of Norbert Elias, an emerging interest in Feminist New Materialisms, long-term historical/sociological processes, leadership, and the interconnectedness of all things.

As a mature-age researcher (74), she is growing old, with the emphasis on growing, and brings a wealth of knowledge and life experience to her work.  

Africaps – Ankara cycling caps with passion

Africaps - Ankara cycling caps with passion. Bicycles Create Change.com 20th October 2021.
Image: Africaps

Regular readers of this blog know my bicycles-for-education PhD fieldwork was with the local people and riders of Lunsar, Sierra Leone.  

The Lunsar Cycling Team has been gaining increasing attention recently, especially with the upcoming, ever popular annual Tour de Lunsar cycling event.

I was delighted to see AFRICAP is a Tour de Lunsar event supporter. AFRICAP cycling caps was founded by Hammer (from Sierra Leone!) who started it out of a love for cycling and a desire to bring something special to the sport.

Africap was created to merge two passions: African prints and cycling. Cycling caps are not traditionally made with African prints, so Africap saw an opportunity to change that. They create beautiful and stylish cycling caps made from traditional African fabrics.

Africaps - Ankara cycling caps with passion. Bicycles Create Change.com 20th October 2021.
Image: Africaps

Ankara Prints

Each Africap product is made with a unique African print. The prints are sourced from all over the continent, so no two products are exactly alike.

These cycling caps are handcrafted from Ankara material which is a traditional African fabric. Ankara textiles are wax-printed cotton fabrics commonly used across West Africa and each region has its own distinctive design. The material itself is great as it is very light, airy and absorbent which helps keeps riders cool.

Each cap is named after a particular region that the fabrtic is from. Africaps are not factory made, but released in limited editions so are collector’s items and highly sought after.

Africaps - Ankara cycling caps with passion. Bicycles Create Change.com 20th October 2021.
Image: Africaps

There are so many different African prints and textiles, it can be hard to know where to begin. One of the things that makes African prints so special is the range of colours and designs. Whether you’re looking for something bright and bold or more subdued and traditional, there’s an African print out there for you.

Ankara prints are unique for many reasons. One reason is that they are handmade. African prints are also usually made with bright, bold colors that reflect the vibracy and diversity of African cultures. Ankaras often have geometric patterns that are created by both hand-painting and block printing. African prints usually have a lot of symbolism. For example, certain animals may be used to represent different ethnic groups or ideas. All of these factors combine to create some truly beautiful and unique fabrics.

Africaps - Ankara cycling caps with passion. Bicycles Create Change.com 20th October 2021.
Image: Africaps

Africap’s STORE has a range of musettes and their groovy cycling caps are named after the regions the material comes from –such as Bo, Ngor, Cocody, Abduja, Odu and Regent.

I was super impressed to see that Africap supports sustainable practices and that no plastic materials are used during production or sales cycles. I can see why these caps have quickly become a favorite among cyclists in Africa and for those ‘in the know’ internationally.

Africaps is working to expand its reach beyond Africa, and has already partnered with several international cycling teams.

The company’s mission is to promote cycling in Africa and to help African cyclists reach their potential. And it was great to see them doing this with their renewed support of Tour de Lunsar 2022.

See more about Africaps and Hammer in Sylvie D’Aoust’s video below.

2021 Chicks in the Sticks. Singlespeeding Qld’s all-female 3 hr Enduro event.

2021 Chicks in the Sticks. Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 12th October 2021.
CITS Friends – A big thanks to Michelle & Nick from Pedal Inn (Brisbane)

Last week, I participated in Queensland’s premier all-female 3 hr Enduro (mountain bike) event – Chicks in the Sticks 2021.

…and I had a blast!

I was super excited this year to see for the first time, a new singlespeed-only category which I feel I had a small hand in encouraging over the years (see more below). So of course, I went to help populate the inaugural division and support the event.

This year I rode singlespeed as a solo 3-hr enduro.

And I rode it wearing a collaborative ‘Celebrating First Nations MTB’ outfit.

2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
L-R: Seb Mitaros, Michelle Woods, Nina & Michelle Sando

Event Highlights

It was great to see four other singlespeeders also doing solo 3hr. The singlespeed division was called ‘clipped wings’. While we were lined up at the start line, I turned on a mobile speaker I had attached to my bike and played a bike-themed, race-appropriate playlist – which was awesome! It got us all hyped and in the mood. Of course, I played Queen’s Bicycle Race while we were waiting for the starters gun. Then we were off!

My plan was to go out hard early for the first lap, then ease off and enjoy the rest. I was keen to see how I felt during the 3hrs as I hadn’t been riding a lot and it was a hot day – so I reminded myself I was riding, not racing.

At the start line, I shot out like a bat out of hell and gave the division a good run for their money. I pushed hard for the first lap and keep the tempo high. Just before the second lap, I was overtaken by a singlespeeder, which was my cue to ease off and get into a comfortable groove to cruise the rest of the event.

Having music keep my spirits high, and I made a point of chatting and encouraging other riders along the trail.

In time, Michelle from Pedal Inn (who is a friend) caught up to me. I asked her if she wanted to overtake, but she said no. Pedal Inn was sponsoring the event and she didn’t want to podium as it might look a little dodgy. Plus, like me, she was digging the tunes and just wanted to support the division!

So we ended up riding together for the rest of the event. Which was awesome!

By the fourth lap, I was getting a little tired from the heat and sugar overload, but I kept my head positive and legs moving. The track was made for singlespeed riding and although there were a few diversions around A lines I usually ride, I was happy with how it all unfolded.

I had a great time and completed five laps to finish 3rd.

A massive, big thanks to husband who was my event support and most especially to Michelle for her good company on track. What a superstar!

Congrats also to all the riders, friends and family who attended, as well as to the event organisers and volunteers.

  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
  • 2021 Chicks in the Sticks.Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.

*Images by Nina Ginsberg and Official RATS Event Images by Element Photography.

Previous Chicks in the Sticks

I’ve been supporting this event for many years.

My first CITS event was in 2016 with a mate Corin and another friend Claire as support. We were Team Bicycles Create Change! Our approach was casual, relaxed and have fun. Corin rode her MTB and I was on my singlespeed. Completely unfazed by other riders in ‘full gear’, I rode in less than traditional MTB biking attire, including a flower-decorated bike, helmet, and stretch pants, with not a stitch of lycra or a camelback in sight – which raised quite a few eyebrows. Read more about the 2016 CITS here.

For my second CITS, in 2017, I went to support the event and cheer on the riders. Because I was not on the bike this time, I had more time to chat with riders, families, and event volunteers and get a whole new perspective on the event. Off the bike, I was able to help out and enjoy the color, costuming, and fun in a completely different way – like being able to ‘watch the start’ (which I videoed) as opposed to ‘be in the start’. Read more about the 2017 CITS here.

In 2018, I was back on the singlespeed doing the 3hr solo. It was quite a different experience doing the full 3hr by yourself: pacing, food, ride plan, and mindset played a big part in completing the ride well. As previously, I kept reminding myself that I was there to support the event and not race and so I made an effort to connect with others and enjoy the ride – and not get sucked into chasing and racing. It was a super hot day and that had a big impact on riders. But I drew on my experience, knowing these trails are built for singlespeeds -and (as usual) I had a blast! Read more about 2018 CITS here.

2019 saw a new singlespeed mate, Jen and I team as team and we were the only riders and team on singlespeeds. Somehow, I managed to talk Jen into team-theming as boogie boarders (feigning a sport event confusion, ‘but we are here now with our SS, so we might as well ride‘) dress-ups. Suffice to say, we had far too much fun! Bless you, Jen! We entered as a soft-boiled double yokers team called (again) Bicycles Create Change and even though we were cruising and ‘riding not racing’ we still ended up coming second in our division – wow! We also ended up receiving an on-the-spot award for being the only all-Singlespeed team of the day! A good way to promote singlespeeds at the event – as we saw in the 2021 reiteration in which the event had for the first time an official singlespeed division! Woohoo! And yes, I do feel like we had a small role to play in making this happen!! Read Jen’s guest post of how the 2019 CITS event went here.

The 2020 event was cancelled because of COVID.

So, 2021 was the event’s well-anticipated return! And it did not disappoint.

See you there for 2022!

Chicks in the Sticks 2018. Bicycles Create Change.com 27th October, 2018
Image: Chicks in the Sticks

Decolonise mountain biking. Art bike for a 3hr Enduro

2021 Chicks in the Sticks. Singlespeeding Qld's all-female 3 hr Enduro event. Bicycles Create Change.com 5th October 2021.
Official Event Image by Element Photography

Celebrating First Nations in MTB

As regular readers know, I have been involved in a number of decolonial projects this year – including putting together the Cycle Shifting: Refiguring First Nations presences in Morton Bay Bikeway project.

The annual Chicks in the Sticks event was coming up and I was registered. This year, I wanted to continue conversations about the unbearable whiteness of cycling and lack of support/inclusion of First Nations riders, decolonising MTB, celebrating First Nation experiences and better recognising First Nations connection to country at MTB events.

CITS is Queensland’s biggest, annual all-female 3hr Enduro mountain bike event. Those who know me know I like to bring the fun – so a theme bike and outfit was in order, but not anything mainstream.

Chicks in the Sticks – Annual All-female 3 hr Enduro Event

At this event, there is a big emphasis on fun, inclusion, and ‘giving it a go’, so there is lots of costumes and colour: – there is a profusion of ladybirds, bees, rainbow tutus, Where’s Wallys amongst the more ‘serious’ riders.

In previous years, I have dressed up. For me dressing up means making-collating-constructing the outfit in a new and creative way, from second-hand materials (no buying anything new) and that uses the theme (if there is one) in an original way. For example, for the last CITS, Jen (my riding buddy) and I went as boogie borders (so good!). We had a great time – read more about how we went here.

I wanted to continue the good vibes, but also raise awareness of First Nations experiences. But ‘Decolonise MTB’ was not the right approach for this event.

So I came up with an idea to promote First Nations experiences in a way that was positive and clear, but not confrontational. My idea consisted of a costume that was comfortable to ride it that matched a uniquely decorated bike highlighting my key theme.

To bring my vision to life, I enlisted the help of two incredible women to make my idea happen. A massive thank you to both Alison and Nix for their collaboration!

My Outfit

The outfit centred mainly on a custom-made T-shirt. This was the visually impactful piece and meant I could still ride safety and comfortably. Alison is a creative mate who I have collaborated with on a number of previous projects, including prepping for Bike Hack 19. Alison was integral in producing my T-shirt vision.

The T-shirt was a bright yellow and had connecting circles and indigenous artwork prints on the front and the words ‘celebrating’ over the same indigenous print panel on the back. I specifically chose ‘celebrating’ as a present verb (ie doing) and it was a positive message. The print was sourced from a First Nations art Collective (to support artists) and the other material (black spots and yellow T) were sourced from Opp Shops.

My Bike

Then my artist friend Nix (who you’ll remember from the New Materialists Garden Retreat and the Ride4Justice + UN International Day of Forests Night Ride we did earlier this year).

Nix is a proud Quandamooka woman who is highly creative. I had the idea of decorating my bike in a way that combined the approaches of my previous Art Bike Projects CONS_U_Me Blues with the Kids Bikes are Hard Work …but also it needed to be lightweight, snag-free, and still easy to ride during the event.

We used recycled clothes from Opp Shops to decorate the bike in the colours of the Australian Aboriginal flag (red, black, and yellow) by strapping the frame in red and black with yellow hanging tassels (emulating the flag’s yellow sun) in the middle.

We added a large ball under the seat in the Torres Strait Islander colors.

On the handlebars we had a hint of the theme colous for front-facing reference.

We then decorated the helmet to match.

See the stages of development below.

It was a great project to collaborate with others and it ticked all the important boxes for me like being based on recycling and sustainable principles, increasing awareness for First Nation experiences, creating a new and original outfit to ride in, supporting the event by dressing up and bringing the good vibes, creating something we collectively made that was low-cost, sustainable, and low-tech, and I got to share quality creative time with people I admire.

A massive, big thank you to Alison and Nix – I love what we co-created!

In the next post, I’ll let you know how the event went.

To get more info about this event – see the official CITS website.

2021 Australian Walking and Cycling Conference

2021 Australian Walking and Cycling Conference. Bicycles Create Change.com 27th September 2021.

It’s that time of year again!

Woohoo!

The 2021 Australian Walking and Cycling Conference is on! Thursday the 30th of September and Friday the 1st of October – and this year it is all online!

This year’s theme is:  Global Lessons, Local Opportunities.

I have been to this conference a number of times in the past and I’ve always enjoyed it.

There is always a good mix of research, community, international and local perspectives, sustainability, urban planning, and new and interesting ideas.

I am definitely going to miss not seeing delegates in person, or doing the side-conference activities and events – they are a real highlight!

But even without the trimmings, I’m excited about this year’s program.

I’m looking forward to connecting with some old conference mates and meeting some new people and hearing what some of ‘the big issues’ are in cycling research.

I’ve been pouring over the abstracts and speakers, checking out the new projects, selecting what sessions to go to, and preparing notes to add to chat discussions during presentations.

Below are a few extra details -see more on the AWCC official website here.

I’ve listed the program at the end of this post for those interested.

For anyone going – I’ll (virtually) see you there!

2021 Australian Walking and Cycling Conference. Bicycles Create Change.com 27th September 2021.
AWCC 2019. Source: AWCC

Conference vision

The simple acts of walking and cycling have the potential to transform the places we live, our economies and how we engage with our environment. The Australian Walking and Cycling conference explores the potential for walking and cycling to not only provide for transport and recreation but solutions to challenges of liveability, health, community building, economic development and sustainability. As one of Australia’s longest-running, best-regarded and most affordable active travel conferences, we bring together practitioners and researchers from Australia and across the world to share their work and engage with conference participants.

The Australian Walking and Cycling Conference aims to send zero waste to landfill.

2021 Australian Walking and Cycling Conference. Bicycles Create Change.com 27th September 2021.
AWCC

Keynote speakers

I am very excited about the keynotes speakers – especially Meredith. I have been following her work for a while (total researcher fan-girl crush!) and she is kick-ass! Meredith is also a consummate speaker, so I can’t wait to hear her present on her current work. Double Woohoo!

Meredith Glaser is an American urban planner, lecturer, and sustainable mobility researcher, based in the Netherlands since 2010. At the Urban Cycling Institute (University of Amsterdam), her research focuses on public policy innovation, knowledge transfer, and capacity building for accelerated implementation of sustainable transport goals. She is one of the world’s most experienced educators for professionals seeking to learn Dutch transport planning policies and practices. She also manages academic output for several European Commission projects and sits on the advisory committee of the Cycling Research Board. Meredith holds master’s degrees in public health and urban planning from University of California, Berkeley.

Fiona Campbell has been working for the City of Sydney since 2008 and is the Manager Cycling Strategy. She is deeply committed to making Sydney a bike-friendly city and to helping others achieve similar goals. Fiona is currently managing the roll out of 11 new City of Sydney cycleway projects, three of which are permanent designs to upgrade temporary Covid-19 pop-up cycleways. Fiona mostly rides a Danish (Butchers and Bicycles) cargo trike, and on weekends accompanied by two Jack Russells. Fiona will present on “Global lessons, local opportunities”. This title is also the Conference theme.

Kungullanji EOI. Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway

Kungullanji EOI. Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway. Bicycles Create Change.com 22nd September 2021.
Indigenous Research Unit. Griffith University.

This week, I put in an EOI application for Kungullanji’s Summer Program.

Regular readers of this blog know that I have been working with Griffith’s Indigenous Research Unit (IRU) and Kungullanji as an Academic Skills Advisor for the last 4 years. But this is the first time I have put in to be a project mentor.

Kungullanji EOI. Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway. Bicycles Create Change.com 22nd September 2021.
Image: Griffith News

Recently, Kungullanji announced their Summer Expressions of Interest (EOIs). These are small research projects that will be offered to Griffith’s Aboriginal and Torres Strait Islander students for the Summer 2021- 2022 Program. Students get to pick which project they would like to work on. The projects need to be achieved within eight weeks (over Summer before T1 starts). Usually, projects include field work, laboratory work, data analysis and statistics, literature review, case studies, method development, and/or product design.

So, I thought I’d through my hat into the ring this year.

The project I pitched is based on my bikes-for-education PhD research and is unique in that it uses decolonising velo-onto-epistemological (VEO) research practices – an approach that has emerged out of my PhD.

It is an unusual project with experimental methodologies – so it’s a long shot that it will be attractive for an undergrad – but you never know! There might be a brave researcher out willing to try something a little different! We’ll see!

The process of writing up the abstract alone was a really helpful activity in helping me clarify aspects of the methodology and thinking through how to explain what VEO is in clear and simple terms.

Below is what I submitted.

I’ll find out in 6 weeks if a Kungullanji student-researcher chooses my project.

EOI: Project description

Title: Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway

Project supervisor: Nina Ginsberg (School of Education & Professional Studies)

Project description: 

Bike riding is a ubiquitous part of modern life and offers significant social, economic, environmental and health benefits. However, there is ‘an unbearable whiteness of cycling’ (Hylton, 2017) that is keenly evident. Bicycle trails are not free from the history, culture and politics in which they are built and used.

This project focuses on one section of a popular bikeway located on Narlang lands of the Quandamooka peoples (commonly known as the Morton Bay Bikeway (MBB), Wynnum-Manly, Brisbane). This bike path is the focus of this project which uses emerging mobile ‘riding-with’ research approaches that work to decolonise place.  ‘Riding-with’ research approaches are unique as they consider what bicycles can ‘do’ and ‘be’ beyond being just objects of transportation, utility or recreation.

This means paying close attention to what is seen, said, remembered, thought, felt, understood and experienced while bike riding researcher-community members move through particular environments – and in this case specifically, the Moreton Bay Bikeway. This project fits into an exciting and newly established research space that uses embodied and mobile methodologies to destablise current settler-colonial bike path logic and praxis – to look at what might be learned or discovered by cultivating more First Nations experiences as/into bike paths. The underlying aim is to bring forward possibilities for identifying and refiguring what is considered ‘normal’ on bike paths by promoting and celebrating First Nations presences – and that doing so will broaden and bolster similar conversations elsewhere.

The Kungullanji researcher will be encouraged to actively co-contribute to all aspects of the project process. There are opportunities for the researcher to communicate work undertaken (ie via publication, community bike tour, etc) which is highly encouraged, given time and interest. This project would suit a motivated, curious, mature and open-minded researcher who is interested in working with innovative research skills. The supervisor, Nina Ginsberg, will provide guidance at all stages of this project. 

Student responsibilities: 

  • Research mobile methodologies and local First Nations presences (around Wynnum-Manly area) 
  • Write short summaries/narratives based on key research themes
  • Co-develop (with supervisor) an approach to action key research themes
  • Develop and experiment with riding-with approaches
  • This project involves being able to go for regular bike rides along Wynnum-Manly foreshore (accessible by train) at a leisurely pace with regular breaks for about 10 kms. Must have a general level of fitness and know how to ride a bike safely. Ideally, the Kungullanji researcher will have their own bike (in good working order) and safety gear (if not, Nina can help arrange this).
  • Meet with Supervisor at least weekly for bike ride-meetings to discuss findings, progress and next steps.
  • Opportunity for a co-authored publication (Kungullanji researcher and Supervisor) and/or community bike tour to share findings (if time/interest allows).
Kungullanji EOI. Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway. Bicycles Create Change.com 22nd September 2021.
Morton Bay Cycleway. Image: Visit Queensland

The Kungullanji Program

The Kungullanji Research Pathways Program raises aspirations of Aboriginal and Torres Strait Islander students by providing an undergraduate research experience, professional development, and connections to the broader Indigenous research community. The idea is to provide an introduction to research and develop valuable skills for students to start their research journey.

The idea is that First Nations undergrads work alongside research staff (who may be an academic staff member, research fellow, postdoctoral fellow or HDR candidate) to gain hands-on research. Supervisors provide regular and ongoing mentorship, guidance, research-specific training, and experience.

This award-winning program is a key part of Griffith University’s strategy to “grow its own” First Peoples higher degree research cohort.

Kungullanji is an Aboriginal word from the Yugambeh language that means ‘to think’ – and this service is specifically for undergraduates.

Kungullanji offers practical research experience and opportunities to develop research skills and confidence not found elsewhere for undergraduates.  Students receive a scholarship and are provided with online and in-person research skills training, cultural experience activities, a transdisciplinary art-based workshop, and Peer Mentors provide additional guidance and support.  

Kungullanji EOI. Cycle Shiftings: Reconfiguring First Nation presences in Morton Bay Bikeway. Bicycles Create Change.com 22nd September 2021.
Image: Griffith News

Postscript: This year there was a remarkably high number of EOIs submitted (the highest ever!) – which speaks to the growing recognition and high caliber of this program! Ultimately, 46 projects were submitted. There were 23 students. My EOI was not selected – another time!

New Materialisms SIG: Thinking about affect work to queer performance

In this session, we explored:

How affect features in queer performance –

and what does gender and sexuality have to do with it?

We were very excited to have guest presenter Assoc. Prof. Alyson Campbell from the School of Theatre, Victorian College of the Arts (University of Melbourne) to lead us on this curious and provocative journey.

And what a fantastic session it was!

A/P Alyson Campbell. Source: Wrecked All Productions

NM SIG Session Abstract

Artist-scholar-makers: Thinking about affect work to queer performance.

My understanding of affect draws on Brian Massumi and cultural theorist Jeremy Gilbert. I’ve built on this general line of thinking to explore more particularly concepts and strategies for queering performance. This all springs from working with Reza Abdoh in Los Angeles in the early 1990s, where I encountered live performance in a way I never had before. Abdoh’s play Bogeyman was dealing with the AIDS pandemic and it has taken me many years to try to find ways to articulate how its queerness was based on something far beyond its content; it was the experience of it, or, in other words, its affect. I’m still trying to understand that interrelationship in my own and others’ work. One strand of this links directly back to Reza in thinking about affect as viral (Viral Dramaturgies, co-edited with Dirk Gindt, 2018) and another strand is as erotohistoriography (Freeman, 2010; e.g. Campbell 2015). As an artist-scholar the whole thing converges in trying to find specificity in language for this (e.g. through musicology/musical thinking, e.g. Campbell 2012) and rehearsal/making strategies.

My question for the session is: What are the gaps in the discourse around affect in performance?

What we did in this session…

… er… how to summarise this session … is very hard… we did so much!

It is so hard to explain all we covered and what stuck for each of us. I loved how Alyson took the time to just think-out-aloud her ideas and explain her motivations, musings, work, and connections – for me, that was so interesting and inspiring (we so rarely have those personal insights as to the process-thinking that goes into academic and performance work!).

I did capture some of what we did, discussed, thought-with, and activated in this session in a few 100-word worldings I wrote from this session. Here are my worldings:

Seek the Affect mechanism.

Freefalling with A/P Alyson Campbell’s Queer Dramaturies. Director process(es) unfolding: pertinent theatre movements, Phenomenology, Massumi’s ‘Affect’, Gormley’s ‘body’s first way of knowing’, Gilbert’s ‘affective specificity’, and Epstein’s ‘shaping affect’. More important than describing affect (as end point), is seeking the mechanism by which it is structured. Not ‘supposed’ to talk about the ‘real’ journey/process/practice. Various maker book think-throughs: Practice-as-research (Practitioners), Affect Explorations (Theory), or Queer Encounters (Personal). More on intersectionality, form and hybridity… maybe queer hybridity? How long does it take for language to move? Pondering practice-theory as contagion or miasma. A juggernaut of multiple threads.

What’s missing in Affect. 

With a new artist-scholar friend, we discuss what is missing in Affect. Thoughts disperse and range from uncomfortable school-based moments, to performance making, to the inescapable hard lines of capitalism, to points of deficit in myriad forms. A strong conversational start. Body sameness and what (im)presses. Someone mentions ‘anti-lack-thinking’. I like that idea. I settle into queering beyond what I think and know – and I’m excited by new viral suggestions. We talk of the joys of popping fuchsias and what is learned from migrating bodies. The importance of ‘accepting your in-thereness’ and of (missing) laughter. ‘Not just’ embodied jerks.

Bound up with affect.

I’m leaning into intense inquiries of somatic means and translations. Being led, hand-held, through body-emotion(s) that disregard mental training. I’m ‘bound up’ with affect, constipated by shifting ‘pulling a(part)s’. I’m intrigued by In your face theatre as an attempt to synthesize smaller audiences, funding, and affective capacities – and the aesthetics of what that might mean and do. I see inchoate segregised resistance, near-Punk tendencies, and pre-queering workings (t)here. Not just relying on arguments between characters or choreographies to drive dramatic interest. Activating experiential theatrics and what that actually means when working through ideas, bodies, and hearts. 

Grokking 4:48 psychosis. 

Moving within/without a binarized sociality bites. Invitations to re(un)see Amelia Carvello’s extraordinary bodies.  Being crossed out and knowing the marginalia is where it is at. Meeting a lang-scape for the first time. Considering body-affect as thinking-of-performative ‘affect’, or as queer dramaturgy applied to worlding and how to shape it all. The ‘roomness’ of the room stands out. Grokking 4:48 psychosis. Theories only get you so far, but new meanings and makings lead naturally into methodological spaces, processes, loops, actions, ambiguities, openness and speculations. Uncovering universal ‘truth(s)’ of research-making becomings seasoned with psychological implications and pre-intentional purpose.

Presenter Bio

Alyson’s main areas of research and supervision are in gender and queer theory/performance, directing and dramaturgy, phenomenological approaches to performance, social justice and disability in the arts.  Alyson’s focus is around the representation of women and the nexus of queer theories and feminism. She is committed to developing modes of practice led/as research throughout her teaching at all levels. Alyson is a freelance director and dramaturg with an astounding 30-year career, and teaching credits that feature the School of Creative Arts, the University of Melbourne, Queen’s University Belfast and Brunel University, London. 

For more of Alyson’s background, collaborations and performance work, a list of her publications here and some of her latest work like WreckedALL Prods (2020). 

Readings

Gilbert, J. (2004). Signifying Nothing: “Culture”, “Discourse” and the Sociality of Affect. Culture Machine, 4. https://culturemachine.net/deconstruction-is-in-cultural-studies/signifying-nothing/

Freeman, E. (2005) Time binds, or,  Erotohistography. Social Text, 23(3-4) pp. 57 – 68. (see attachment).

Campbell, A. (2016) Introduction: Queer Dramaturgies. Queer Dramaturgies, Spinger. pp. 1-26. https://link.springer.com/chapter/10.1057/9781137411846_1

See also Sexuality Summer School blog post: Theatre and the archives: Directing as erotohistoriograph – 

Showcasing The (bike) Mechanics of Adaption

Showcasing the (bike) Mechanics of Adaption. Bicycles Create Change.com 6th September 2021.
Nina with Kenly Grey’s Wheel (2021). Image: Nina Ginsberg

This month is Brisbane Festival month.

So this week, I headed down to Metro Arts to check out a wholly bike-inspired, free art exhibition called The Mechanics of Adaptation.

The exhibition was well laid out and had a variety of materials, forms, and mediums across two galleries. Each work was given sufficient space so viewers could walk around the installations and see them from different angles.

I decided to wander through the show first to get a sense of the artworks. It was interesting to see the different techniques used to fuse, fix and set each of the works together. It felt like these were not super technical pieces, which made them more relatable because it felt like anyone could have a go constructing some of these works.

After my initial look around, I grabbed a handout of the exhibition (see details below) which explained a little more of the context behind the exhibition.

The handout and the necessary artist’s name/title/year posted on the walls next to exhibits were the only pieces of info provided at the exhibition.

When I got home and looked for more online, there were heaps of other interesting info about this project! Why wasn’t this extra info promoted at the exhibition?

For example, this project had been awarded a $35,365 arts fund.

And the passing mention in the exhibition handout about the ‘collaboration’ was actually a vital part of the whole artistic process and overall project.

The collaboration was the part I found most interesting about this whole project, yet at the exhibition, there was very little info about it.

Online, I found a catalog that gave more details about the project (see below).

This catalog outlines the background and details the collaboration with Traction and Sycamore, which I think is where the real art story is at – see here!

Having established artists running a series of workshops with youths at risk (Traction) and young people living with Autism (Sycamore) to teach artistic and technical using bikes is a brilliant idea – and I love that the final works were being exhibited as part of the Brisbane Arts Festival.

As a visitor to this exhibition, I felt this key aspect of the project was missing.

I would have loved to have seen better recognition/focus in the exhibition about the involvement of the youth groups.

Even so, it was awesome to see more bike art being supported and showcased.

If you are in Brisbane and have the interest -consider popping in and checking it out!

More bike projects and art exhibitions like this one, please!

Project Background

Michael Deucamp’s Bicycle Wheel (1931) was one of the first ready-made sculptures which simply placed a bicycle wheel upside down on a stool.

Deucamp’s artwork changed the course of contemporary art by elevating ordinary objects to the status of art. In 2021, after 10 successful years and four million trips, the Brisbane CityCycle program is ending.

With access to decommissioned bicycles provided by JDDecaux, Metro Arts commission and five local artists to produce new work inspired by these now-defunct bicycles.

Over a series of workshops, with students from the Sycamore School (a school of young people living with Autism) and facilitated by Traction (a community organization providing bicycle mechanic training for youths in need), the artists have produced works that expressed their existing practices and inspired by this context and the materials.

This work captures the emerging world of ever-accumulating industrially produced items and the potential for found materials to be incorporated into artworks whilst also inviting a playful attitude into the rarefied context of art galleries.

Today, bicycles also represent the urgency of the need for environmental awareness and sustainability.

Within this context, the artists’ use of the decommission City Cycle bicycles reflects the opportunity for artistic experimentation that connects histories of art to environmental sustainability.

List of works

Window Gallery

Alisha Manning Bike Spin (HD video, 3 mins 2021)

Gallery One

(Clockwise from entrance left)

Susan Hawkins Joining Multiples (CityCyle wheel rims and handlebars, dimensions variable 2021)

Sarah Poulgrain A Set of New Skills: Aluminum Casting (handlebar and bike seat posts, plaster, towel and chain from studio, dimensions variable, 2021)

Ross Manning Orange Reflector Feild (CityCycle reflectors, 185cm x 125cm, 2021). Ross Manning is representing Miliani Gallery, Brisbane.

Alisha Manning Bike Pull (2-channel HD video, 9mins 42 sec, 2021).

Gallery Two

Kinly Grey Wheel (CityCycle LED modules and wheel rim, haze, dimension variable, 2021).

Showcasing the (bike) Mechanics of Adaption. Bicycles Create Change.com 6th September 2021.
Image: Brisbane Festival 2021

All images (unless otherwise attributed) and parts of this text are sourced from Metro Arts Brisbane.

Bespoke City Nostalgia

As we move into holiday mode, my thoughts turn to long, lazy afternoons enjoying the rich, inviting, creativity of a thriving bike community. I was nostalgic for a local event something along the lines of Bespoke City. Bespoke City was a super special, one-night-only art and design event held in Sydney some years back. A wonderful reminder of what can be achieved when creative minds come together. For those who missed it, this post explains the event. Here’s to hoping for more bespoke events like this! Enjoy. NG.

Bespoke City Nostalgia. Bicycles Create Change.com 1st September 2021.
Bespoke City. Image: UNSW Newsroom

The Bespoke City event was put on to celebrate a new generation of designers, makers, technologists and innovators who had teamed up with artists to re-imagine Sydney’s streets from the perspective of the cyclist.

Brilliant! There should be more city events like this!

The Bespoke City festival included a series of bike-inspired installations, projections, interactive artworks, unique sculptures, videos, kinetic artworks, demonstrations, and stalls. Curated by Laura Fisher and Sabrina Sokalik, Bespoke City invited audiences to reimagine Sydney’s urban environment.

It was held in a new community space in the heart of Oxford Street. This was the first time the event had ‘spilled out into the streets’ from the UNSW Art & Design Courtyard and Galleries.

Bicycles were central to all the artworks.

Bikes were used to generate light, colour, sound and energy, while other artworks used them as a metaphor for the city itself – reminding us that urban spaces can be deconstructed and remade and that we are all implicated in the politics of public space.

A key aim of the event was to spotlight the bicycle as a humble but brilliant piece of technology, and to share a vision of the city as open to being hacked, remapped and remade.

Bespoke City was part of UNSW Galleries’ First Fridays program, in which the Galleries stayed open late on the first Friday of each month to host lively events engaging in contemporary art and culture.

What a great idea! More, please!

Laura Fisher said Bespoke City appealed to everyone: “This is one for the makers, the pedalers and the whole family.”

Some of the more than 20 Bespoke City artworks, workshops and installations, included:

  • Pedal powered light mural – Climb on and peel back the layers of the city. See Sydney in flux as your pedalling efforts produce variations in light, colour and space. Artists: Jonathon Bolitho, Jeong Greaves, Jobe Williams, Mackenzie Nix.
  • Autonomous painting machine – A robot-painter that tracks human movements to create curious images, prompting viewers to think about how machine intelligence is influencing our lives. Artist: Jeffrey Wood
  • Bicycles that make music – Create a slow groove or some fast electronic beats as you collaborate with other riders to fill the campus with a unique and evolving sound piece. Artists: Milkcrate Events.
  • Microbiology in the urban wild – Examine the city at the molecular level using a bike-powered laboratory created by the first Citizen Scientist molecular biology lab. Artists: BioFoundry
  • A virtual ride from Paddington to Rozelle – ‘Veloscape’ is an immersive video work in which your pedalling takes you on a traverse of the city. Artists: Volker Kuchelmeister and Laura Fisher
  • Giant data visualisation – Watch the ebb and flow of rider movements around Sydney, with a specially commissioned work inspired by the City’s cycling data. Artist: Hanley Weng & Xavier Ho.

There were also lots of other things to do, like get a free bicycle tune-up, join the guerrilla knitters, make some custom reflective gear or get some food from one of the Cargo Bike businesses and pop up stalls.

Yes – a wonderful event that ticks so many boxes: artistic, fun, high community engagement, questioning urban design and mobility, bike-focused, collaborative, free, public event…(*sigh*).

I’d love to see more events like this during the holidays.

Ti wouldn’t be too much of a stretch given that most major cities already have some kind of public, night-time bike events like Ride the Night Brisbane or some kind of innovative bike infrastructure like the Starry Night Bike Path.

So let’s showcase more art and design collaborative artworks on two wheels!

Bespoke City Nostalgia. Bicycles Create Change.com 1st September 2021.

This post uses content originally posted by Laura Fisher for UNSW Newsroom and UNSW Galleries.

An experiment in don’t write of it: Posthuman research without punctuation

If you are visiting this blog for the first time – Hello! And a very warm welcome back to the regular reader. A warning before diving in here: this post is a break from my usual content that celebrates the myriad ways bicycles create positive social and environmental change. My current bicycles-for-education research puts to work feminist New Materialisms, which is a posthumanist approach that encourages creative and disruptive research methodologies. This post shares one of my recent NM experti-ments in discontinous writing. If you are not into that, maybe check out some of my other work, like Cycling for a better brain and happiness …or another good one is Dr. Kat Jungnickel’s Bikes and Bloomers. If you are feeling brave and up for something different – read on! NG.

An experiment in don't write of it: Posthuman research without punctuation. Bicycles Create Change.com 28th August 2021.
Image: SplitShire

Funny how when you try not to think of something, it ends up being all you can think about.

This week, I’ve been noticing researchers’ bodies…. and wondering.

Most academics and researchers don’t talk about, or acknowledge their bodies. Many don’t care for their bodies – literally and metaphorically. As a wholely embodied researcher, I think denying the sensorial is weird and unnatural and borderline unethical. As part of my posthumanist methodology to research-write differently, I set myself a task today to free write discontinously without punctuation, intent, or censorship. I allowed myself parenthesis. Obviously, thoughts about bodies were bubbling close to the surface because this is what I wrote:


Today I m thing-ing without punctuation s cultish and restrictive directionality 

whilst yonder canine h/barks

haloed by sunshines thaws 

next to that barista who is the second most important person in John s life 

after flexible nights roll on 

amidst majestic ironbark eucalyptus and mycelium running

drumming 

strumming 

humming 

and thrumming 

sexy relationality turned on

Don t speak of it

Don t write of it

But(t) right on it

sexy relationality turned on

sexy relationality (re)turn(ed) on

turn 

turned

turning

return 

returned

returning

differences between sensuality and sexuality

Bronwyn Davies (w)rites of Hollyoak intensities

It s (not) a graphic of a body (a)part

Researchers turned on 

60 

researcHER(s)

WeSEARCHers 

the participant is turned on 

the topic is topographical

and six of them say it s okay 

but (what) happens 

what happens when bodies are turned on in the middle of a site visit or walking through a field or during a meeting

Don t speak of it

Don t write of it

But(t) right on it

We know it happens but its a private personal world 

and not for (the) writing on the screen

or in online writing forums 

as people look down at their pages 

the cum face of writers as they write

I say this in a meeting 

I have said this twice in meetings now

just to gauge reactions 

they hear it

but no one acknowledges it

oddly (in)appropriate

just like us

but its out there now 

just like us

now they are all thinking about it

sensual

intimate

steamy

delicious

using all the senses 

feeling all the time 

being open 

being responsive 

being up and on and over and in and against and beside and into

blurring the lines 

awkward teenagers excited by theories that seduce adult researchers

careful and protective

how far

how far to go

how far can I go

how far can I push

how far to push  

push through  

push into   

push on  

push up

ever p(l)ushy

what of consent when I am researching bicycles 

there is a moment where I wonder if it is okay 

like surfing Rebecca Olive 

and how to make waves and move oceans

or riding Nina Ginsberg 

and how to be gold and meet pink flamingos

these are bodies that are moving 

thrusting and wrestling and pulling and stretching 

exerting 

sweating 

flexing

rubbing together 

rubbing on 

rubbing with 

other bodies and objects 

being sexualised and watched and commented on 

it s not just me 

but the REsearcHER

a body to move with

there is no separation 

this (body) is a/part of m(y)our reSEARCH

this body I move with

I go to academic meetings with my supervisors with this body 

I sat in six theory conferences with this body

Don t speak of it

Don t write of it

WEsearcHERs turned on