Reframing Junkspace: Zines in Altermodernity

Shirley Briones Innes

B.V.A.D., Dip. Ed. (Sec) / Grad. Cert. R.E.

Submitted in partial fulfillment of the requirements of the degree of Bachelor of Visual Arts and Design (Honours) 17 October 2011 School of Arts and Sciences (VIC) Australian Catholic University

Declaration by the Author

This is to certify that (i) (ii) (iii) the thesis comprises only my original work due acknowledgement has been made in the text to all other material used this thesis is less than 18, 000 words in length, exclusive of bibliographies

Shirley B. Innes

Date

Acknowledgements
I wish to acknowledge with immense gratitude the help and advice given by my supervisor Dr Catherine Bell, who has been an ongoing source of inspiration and encouragement. Without the combination of her enthusiasm and guidance as a mentor, and the sagaciousness of Dr Ross Moore, this thesis would not have eventuated. I would like to express my humble gratitude for a unique myriad of significant insights gained during the Bachelor of Visual Arts and Design degree at Australian Catholic University under the tuitions of Anita La Pietra, Dr Stephen Garrett, Dr Anne Wilson, Elvis Richardson, and the honours cross-institutional theory subjects taken by Dr Daniel Palmer at Monash University. I also want to extend my thanks to Dr Ellen Warne, Christine Small and Rosemary Shaw for their assistance, as well as the library staff, IT staff, and security at Melbourne ACU. In closing, I wish to thank my wonderful partner Cameron, family and friends including past classmates for supporting my practice in their assorted ways, and sharing their own extraordinary creative expressions with me. 2

Abstract
Zines are produced, published and distributed as non-commercial, non-professional, small circulation magazines. I investigate how they embody the theory of nomad thought within Nicholas Bourriauds conception of Altermodernity. In contemporary western culture, Zine production challenges the values of consumer capitalism. Zines subject matter is exploratorynaff, bizarre, brutal, critical and lovingits a world of expletivesbut not exploitation. I explore the zine as an egalitarian model of global participation. Zines contribute to the promotion of a subjectivity that enriches relationships with the world and merits the recognition and support of artistic communities. I combine this research with an exhibition that explores the evolution of twodimensional mixed media artworks collated into an artists book, and then unpacked via photocopying processes into a series of zines.

Table of Contents
List of Figures Introduction Chapter One: The Nature of Artists Books
Mechanical Reproduction and the Rise of Text

5 7 11
11

Chapter Two: The Nature of Zines

Price and Distribution Operating Under the Radar Form Technology The Digital Master-Zine Layout and Subject Matter Public Expression and Identity Propaganda Graphic Novels and Comics Artistry

25
26 27 28 29 30 31 33 35 37 38

Chapter Three: Alignment With Art Word Movements

The Death of Post-modernism and Altermodernity Zines as Nomad Thought The Body Without Organs Shamanistic Tenets Framing Junkspace

61
62 68 71 73 74

Conclusion Bibliography

75 83 4

List of Plates
Title Chapter One
Shirley Innes. Noctambulist (2011) Front cover and back detail Shirley Innes. Noctambulist (2011) inside spread detail Shirley Innes. Noctambulist (Untitled #1) Shirley Innes. Noctambulist (Untitled #2) Shirley Innes. Noctambulist (Untitled #3) Ed Ruscha. Twenty-Six Gasoline Stations (1962) Tom Phillips. A Humument (1892) Tatana Kellner. 71125:Fifty Years of Silence (1992) 1:1 1:2 1:3 1:4 1:5 1:6 1:7 1:8 17 (8) 18 (9) 19 (9) 20 (9) 21 (14) 22 (14) 23 (15) 24 (8, 14)

Figure

Page^

Chapter Two
Rosco E. Wright ed. Beyond #3 Fanzine (1944) Maximumrocknroll. May, Issue #300 (2008) The Sticky Institute. Melbourne VIC (2011) Loretta. Whilst I Was Away (2011) Y.O.U. (2011) Michael Chester. Slendasleazebag (2011) Cougar Flashy. Lifetimes Deep (2011)* Pat Grant. Douglas and Douglas (2010) Liam. Fuzzle Puzzle Christmas Magic #2 (2011) Bre Tepper. Sleeping Blackbird* 2:1 2:2 2:3 2:4 2:5 2:6 2:7 2:8 2:9 2:10 41 (25) 42 (25) 43 (26) 44 (28) 45 (28) 46 (28) 47 (29) 48 (29) 49 (29) 50 (31)

Diny Lee. The Strange Travel of Rabbit Ze-Ze, And Mrs. Swiss and Lonely Panda Ssul-Ssul-Yi * Dana Cooke. Dealing With Post-Human Abilities* Tobi Vale. Jigsaw #7 (1988) Beard #4 (2011)* Marjane Satrapi. The Pill from Persepolis (2003) Art Spiegelman. Maus (1980-86) Hannah Hch. The Coquette (1923-25) Magic Sweater. Teen Vomit (2011) Future Notes: Ghost Patrol (2011)* Plastic Knife #, Black Paint Gold Wire #8 a split zine (1999)* 2:11 2:12 2:13 2:14 2:15 2:16 2:17 2:18 2:19 2:20 51 (32)

Mr.

52 (32) 53 (33) 54 (34) 55 (38) 56 (39) 57 (40) 58 (40) 59 (40) 60 (40)

Chapter Three
Doris Salcedo. Shibboleth (2007) Cleste Boursier-Mougenot. Untitled (Series#3) Shirley Innes. Noctambulist (inter-dimensional) Shirley Innes. Noctambulist (soldier) Shirley Innes. Noctambulist Untitled Series #2 Noctambulist exhibition display (detail). zine (top) and zines (bottom) 3:6 82 3:1 3:2 3:3 3:4 3:5 77 (63) 78 (65) 79 (75) 80 (75) 81 Master-

* Please note, many zines do not feature conventional information such as publication dates, and others use pseudonyms or dont provide authors names ^ (x) = Pages where images are mentioned in the text

Introduction
The only acceptable goal of human activities, is the production of a subjectivity that constantly self-enriches its relationship with the world -Flix Guattari

My practice utilises traditional drawing, printing, painting and sculpting techniques for the production of stop-motion animations and performances documented for video. The prominent themes I investigate are trauma, containment and the natural environment. Art making is a vehicle to explore personal experience, psychological states and narrative. I also have a background in theatre and screen writing that informs my artistic practice and influenced my research into zine culture. My artwork has responded to this genres endorsement of low-fi technology in the form of books and pamphlets. Investigating zines from a writers perspective I was able to draw on art theory posed by philosophers such as Walter Benjamin, Michel de Certeau, Nicholas Bourriaud, Rem Koolhaas, Gilles Deleuze and Flix Guattari in order to contemplate topics such as the everyday, the end of postmodernism, consumer culture and the influence of mass media. I underpinned these concepts with social justice and ethical perspectives relevant to the production of zines and the appropriation of imagery. This thesis began with an enquiry into shamanistic performance practice and the collective unconscious represented in contemporary art practice. This study evolved into a consideration of the alternative culture of zines as it occurred to me that the errant nature of zine practice fills several roles assumed by the archetypal artist and shaman. Zine production contributes to inter-subjectivity through individuals acting upon their own particular language with unconventional results, drawing connections, positing meaning and revealing alternatives where there may be seen to be none. My research and exhibition questions zines as an example of individual creativity through narrative structures. I was also able to address the idea of zines as promoting ecorelational thinking by being a cultural site of miscellanea for generalists. This thesis will investigate how the form of zines contributes to the fostering of a selfenriching subjectivity in everyday communities. It will also establish the unique form of Noctambulist as an artists book and Noctambulist #1-6 as a zine series. Noctambulist (2011) is a professionally bound, hardcover book. It consists of accumulated quotes, short filmscripts, drawings, found images and photographs. I collated them into a single digital file, a book layout in Adobe InDesign. Adding text from Word, scanning and adding drawings 7

and digitally altered images from Photoshop, the book ballooned to 285 pages. Despite the pluralist mix of artistic media from lino print to digital photography and animation stills, the final product looks slick and homogenised in full-colour print. In order to convey to readers this is not a generic textbook, I replaced the conventional title and authors name on the cover with a silhouette of a person filled with swirling colour on the black, front cover and, as a contrast, a white barcode on the back (Figure 1:1, 3:6). Working simultaneously on both pages of a two-page spread in InDesign, it soon became evident there were three visual fields to each spread. It was important for me to develop connections between the page on the left, the page on the right, and the two pages together as one widescreen. In this way, text positioned on the left came to reflect or contest images on the right (and vice versa). With time, I felt the need to destroy certain details and began removing text and images. It became a cut-and-paste exercise with a bricolage of text and images that evolved into the text becoming image. The erosion of the textual narrative alludes to loss and memory. I felt the need to omit certain details so as to deliberately confound readers about the cultural identity of the protagonist and the events that contributed to their disposition. The protagonist is splintered into several characters, and a non-linear narrative develops around, and is completely dependent on, events that occur. The act of reading fragmented and broken text is intended to produce a slightly disorientating experience to mirror the fluctuating emotional states of each character, from the disconnected and anxious, to the confused and paranoid. Avid readers of books are well aware how pure text can incite and carry tides of emotion. In many places throughout Noctambulist, text is completely replaced with image and reading requires a different kind of engagement. Images can be more ambiguous than text and their reading relies heavily on subjectivity. However, the reading of images, compared to text, still involves the production of meaning and the drawing of connections to create unity in the mind of the reader. It was my intention that the visual fields (pages) of Noctambulist possess a flow of narrative that becomes clearer by the end and the overall experience should be like reading a visual novel. The work capitalises on visual elements as a literary mode to maintain a narrative throughout the book by accompanying or replacing what could be a script or poem with an image. These visual elements are also placed around and within the text according to the changing needs of the narrative. Two problems I encountered once I finished creating this book/novel/graphic diary was how to categorise it and how to present it. Noctambulist could be an artists book because the visual language employed takes prominence over the text, featuring broken text 8

interspersed with illustrations (Figure 1:2). It could also be categorised as a diary, a series of intraviews charting experiences or a personal exercise in experimental and exploratory creativity (writing from life). 1 Unintended for commercial gain, Noctambulist could also be a lengthy zine. With regards to presentation, it would be difficult for Noctambulist to be experienced by more than one person at a time because of the enclosed book structure. In contemplating the difficulty categorising Noctambulist and how to make it more accessible, I decided to explore the idea of Noctambulist as a zine.2 This resulted in the extension of the work into such pieces as Noctambulist (Untitled #1), Noctambulist (Untitled #2), Noctambulist (Untitled #3) (Figures 1:3 -5). I use the word extend not reduce deliberately, because the resultant zines are an extension of the project and working process. They are not a diminished replication of the original but only compared to the original in certain visual aspects ie. tonal quality and colour. The noticeable differences between my artists book, and the zines I have produced from it, are not discernable to a viewer unless they have access to both copies. Furthermore, regardless of which artwork came first, the selection, sequence and presentation of the visual language embodies the artists intent. A limited number of random pages from Noctambulist were photocopied, staplebound and disseminated as cheap pamphlets, and Noctambulist became a zine, Noctambulist (Untitled #1). The original bound hard-cover book is a master-perzine, the master copy of a series of perzines (personal zines).3 This process involved some of the same artwork moving from a book to a zine format, so technically the zine was born from the artists book. The following chapters will analyse the egalitarian ethic of participation in zine culture and what zines have to offer as a form of art. I will begin by establishing the unique format of artists books and zines in order categorise Noctambulist (2011). Chapter One will contribute to an understanding of zines-as-art by establishing the nature of artists books. Artists books are generally constructed in order to question the nature of the book itself, its physicality, function and purpose. A renewed focus on the craftsmanship of books has reintroduced a degree of prestige to books that has arguably been lost through mass mechanical reproduction. However, as single sculptural works, or limited
1

Intraviews are reactions, thoughts, reflections, assumptions, feelings that are not accessible by external observation (Johnson, 1999). 2 Zines expose the highly problematic nature of the artistic institutions desire to categorise and classify. By resisting simplified and reductive terminology, zines challenge such modes of knowledge accumulation. In this text I use the terms, zine and artist book with an awareness they are not mutually exclusive. 3 Master-perzine is a term I have invented. When an artists book, regardless of its dimensions, is converted into a two dimensional format via photocopying of text or subsequent images to become a zine, the original work becomes the master copy. Noctambulist is semi-autobiographical (as opposed to being about music or science) and falls under the loose category of perzine (Duncombe, 1997). Its worth noting that I had been using do-it-yourself zine processes before I discovered their conventional format.

editions, artist books emphasise the inaccessibility and unavailability of books before the invention of modern printing techniques. This research focuses on zinesters as book artists capable of encapsulating their own aura within the medium of zines. Despite the use of photocopying technology to reproduce zines for limited circulation, their physicality and highly subjective content contributes to a uniqueness that, I will contend, may herald the return of the aura in an age of mechanical reproduction. 4 Chapter Two will articulate the diversity of zines form and subject matter and how this contributes to a self-enriching subjectivity. I will examine the benefits and limitations of zinesters participatory ethic as self-publishers, by comparing zinesters and artists methodologies in relation to (self imposed) conventions and their use of technology. In addition this chapter will cover how the unobtrusive circulation of zines allows producers to escape being reprimanded by censorship authorities for politically incorrect and derogatory expressions. A discussion of zines contribution to public discourse and subsequent implications regarding propaganda will be blended into comics and graphic novels that employ nave imagery to tackle serious adult themes. This is in order to establish zines as capable of subversion and even provocation, despite associations as an amateur form of low art. Chapter Three focuses on zines alignment with art world movements and theoretical discourse. After positing the end of Post-Modernity I will articulate Nicholas Bourriauds conception of Altermodernity and specify how zine practice aligns with this theory. Here I will expand upon Bourriauds themes of exploratory and experimental wandering in thought and action and discuss Gilles Deleuze and Felix Guattaris concept of nomad thought. Combining nomad thought, as an alternative way of thinking and being in the world, with Rem Koolhaas depiction of mass consumer culture as Junkspace, I will posit zinesters as artists of the everyday who practice an artform indigenous to capitalised culture.

Walter Benjamin introduced the notion of the aura in The Work of Art in the Age of Mechanical Reproduction (1936). I will elaborate on this in Chapter One.
4

10

Chapter One: The Nature of Artists Books Artists books are the product of an arts practice (emerging during the late 1960s) which sought to express ideas too complex for single paintings or sculptures, or in most cases, to be investigations of the very nature of the book itself.5 For the purposes of this thesis the book shall be regarded as the physical package and text as the linguistic messages represented on its surfaces. Artists books come in an array of forms, from foldouts and pop-ups to free standing sculptures, using anything from handmade paper to metal, beads or feathers. Artists employ an equally diverse range of techniques ranging from collage to watercolour, ink drawing and etching to digital printing. Within Melbourne, artists books are readily found in the heritage collection of rare books within the State Library of Victoria and specialist books stores, such as Artisan Books6. The production of artists books usually incurs high costs, due to the use of specialised (or exotic) materials and processes (such as gold leaf, Fabriano paper, Japanese rice paper, shellac, bamboo, bronze gilding or intaglio images). Artists books are usually one of a kind, although some print-based works are made in limited series. Their prices range dramatically, for instance, in a single exhibition, such as in Opus: Artist Book Exhibition (2011) at Artisan Books, books varied from between $55 to $1200. Artists books are generally made from (high) quality materials with techniques that usually require a (high) degree of skill and this influences their higher prices and limited availability. Unlike zines, which are affordable ephemera, contemporary artists books can be rare and costly objects which replicate the inaccessibility and limited availability of books before the invention of modern printing techniques.

Mechanical Reproduction and the Rise of Text Art has always been an integral part of making books and before the fifteenth century the power and the significance of books rested as much in their tactile and visual qualities as in their texts (Benton, 2007). Books were usually sacred or religious in nature before the invention of mechanised printing processes that simultaneously stimulated the spread of literacy and their use for more secular purposes by changing the volume of material available for purchase (Eliot, 2007). As rare and costly objects, the ability to read the earlier books was even rarer (Benton, 2007). However, John-Paul Wilson notes there is evidence of the widespread use of writing for the everyday and mundane as early as the middle of the fifth
5 6

"Artists' Books," in The Concise Oxford Dictionary of Art Terms (Oxford Art Online, 2011). Artisan Books of Fitzroy in Melbourne featured 21 art works in Opus: Artist Book Exhibition, 13th of Aug until the 8th of September, 2011.

11

century (Wilson, 2009). After the impact of the Reformation in the sixteenth century, religious books were widely printed and circulated (Harris, 2002).7 Megan Benton (2007) regards the Protestant emphasis on personal Bible reading as being linked to the rise of the primacy of text that established many text-centered sensibilities which endure today. During that period, images slowly came to be regarded warily as rivals for readers attention, distracting, contradicting, distorting, or oversimplifying the text's message (Benton, 2007). David Shaws outline of the history of the book trade reveals that education was a growing consumer market for printed materials. Influenced by printing costs, many printers began reducing the page size and type size of the book so that the same amount of text could be fitted onto fewer sheets of paper (Shaw, 2007). This suggests a rise in the primacy of text and could be contributed to economic factors. Printers sought to produce smaller and cheaper texts. Colour features would have been compromised for multiplying production costs, thus leading to the general departure of images, and a rise in the dominance of text. The retreat of human skill and judgment toward the mechanical expedience printing provided resulted in books losing their prestige. However, during the last century visual artists have embraced the book as a new medium, treating the page, the object, and the very concept of the book as a vehicle for artistic expression (Benton, 2007). Through this process, artists have not only re-energised interest in the physicality of the book but triggered questions regarding its potential as a visual medium. The book trade expanded correspondingly with literacy to cater for theologians and lawyers, then Parish clergy and finally lay people. Books were predominantly religious then scholarly, before differentiating into popular fiction (Benton, 2007). This century, access to cheap printing by lay people led to self-publishing. The self-publishers were not only unhindered by dominant religious, State or economic powers, but the conventions they imposed. With artists books, importance is placed on human skill over mechanical expedience with handmade elements, significant tactile and visual qualities. Although zines utilise mechanical reproduction, they also capitalise on the visual (and sometimes tactile) qualities of their medium to achieve desired effects. For example, when a watercolour artist uses the medium of watercolour they put their brush to paper, aware of the ratio of water to pigment, as well as the length and timing of the brush stroke required to affect a section of the image they are working with. Likewise, when a zine producer (a zinester) is producing visual elements, whether abstract marks or writing, they are aware of
7

It is much disputed whether the Reformation could have happened without the power of the printing press to distribute its message (Shaw, 2007)

12

the effects of their medium -the photocopier. The colour of a mark may be lost in reproduction, but the motion and gesture may not. Zinesters use their judgment when selecting, cut-and-pasting, visual elements to the page, combined with a sufficient knowledge of the tonal octaves that will be transferred when they use their medium, the photocopier. If there is an octave of colour, from red to violet, which the watercolour artist may use, there is an octave of grey from black to white, used by the zinester. So, when the practiced zinester uses the medium of printing they put their paper to the printers screen, aware of the ratio of black to white that will be required to fill or empty an image. Accident and chance plays a minor role in the creative process for the artist and the zinester, and both practitioners have the capacity to experiment with various elements of their medium and achieve variable results. The zinester ethos, do-it-yourself, lo-fi, self-effacing, challenges mainstream consumer culture. If a printer etches a copper plate, prints an image onto paper and throws the plate away, the artwork is not lost, only the artists ability to reproduce it. In The Work of Art in the Age of Mechanical Reproduction (1936), Walter Benjamin developed the concept of the aura. According to Benjamin, the aura is the [radiance] of uniqueness and distance surrounding original works of art, derived from their residual cult value, which is eroded once they are mechanically reproduced (Jay, 2011). Unlike artists books which are usually one of a kind or limited edition, zines are uniquely intended for reproduction and as such their identical-ness is authentic to their being. Their cult value does not reside in the individual (the original) but in their many, multiple incarnations. It could be said that each zine retains and carries its own aura. When Benjamin speculated about the fading of the aura opening the way for a politically progressive mass culture, he was referring to letting go of a degree of inhibiting cult values and status an aura can attract. For example, a book (or celebrity for that matter) which attains an inordinate degree of status, in drawing audiences to itself leaves others unheard. This example is undoubtedly equating the aura with a degree of negativity based on the premise of mass experience. However, desire en mass for peace, human rights and environmental responsibility is hardly negative. These social issues are revealed or often critiqued in zines via accessible forms such as personal writing and visual expression. Zines are capable of embodying Benjamins idea of the aura through their ability to possess uniqueness. The trace of the author in their handmade physicality and highly subjective subject matter encourages a return of the aura to the cloned artwork in the age of reproduction. Based on that aura, zines can serve a potent artistic and political function.

13

Benjamin admitted art has always been reproducible and that the authenticity of an (original) artwork relies on its unique presence in time and space, its unique existence at the place where it happens to be (Benjamin, 1936). There are no traces of an original that has been lost to us in the zine, because the reproduction is the original. The fact it has been copied is negated as part of its unique creation process. A traditional brushstroke repeated on canvas now becomes an electrostatic charge, a flash of light and heat to paper. Zines fulfill Benjamins perceived desire of the masses to bring things closer spatially and humanly not with artifice but with authenticity to overcome spectacle (ibid., 1936). Readers of zines can be absorbed in the same way a man who concentrates before a work of art is absorbed by it (ibid, 1936). Zines are not experienced by many people simultaneously as a traditional painting may be, they are instead intended for private but shared and participatory communication. In participating, zinesters maintain a micro-community and network of subjective production and consumption. Self-publishing was Benjamins prophetic vision, blurring the distinction between author and public. The subject matter and visual elements such as wrinkled paper, intentional and accidental marks record the trace of the artist. For most zinesters the quality of the visual elements is generally subordinate to content.8 Zines invite respect through the modesty of their medium and content, utilising the form of the book as a means to transfer their producers voice.9 I use the term producer as an umbrella definition for artists, authors and creators of publications in general. Ed Ruschas Twenty-six Gasoline Stations (1962) (Figure 1:6) is widely considered to be the first modern artists book (book-as-art) and a precursor to the emerging culture of artists books during the 1960s, a period when fanzines were likewise emerging. Ruscha printed his book on his own press, taking its reproduction into his own hands as zine producers are inclined to do. Unlike generic art books that featured reproductions of art works, Ruschas book itself was the work of art, via its selection, sequence and presentation of images (Benton, 2007). While books in general accommodate focused, attentative reading, books-as-art strive instead to engage us [in] art and even forgo conventional text altogether (Benton, 2007). This is where we currently find Noctambulist (2011). There are two categories of books-as-art, those that feature notable artistry in their making, and those with exemplary artwork on their pages (Benton, 2007). A stunning example of the latter is from the 1960s British artist Tom Phillips who painted over large portions of pages of the
8

I decided to display a selection of zines I have collected alongside my exhibition. This was in order to provide people with the opportunity to explore zines diversity in form and content. 9 If the work of art, as Andr Breton says, is valuable only in so far as it is vibrated by the reflexes of the future (Benjamin, 1936), and zines can incite change with their regard for social and environmental concerns rather than economic or social exploitation.

14

novel A Human Document (1892) to produce A Humument (Figure 1:7). This process left legible only a few phrases, words, or parts of words [which] foregrounded a disruptive, partial, and hence new text embedded in fully visual fields rather than [the] conventional blocks of print surrounded by white margins (Benton, 2007). Noctambulist underwent a similar defacement of the existing conventional text, forgoing it in favour of cultivating visual elements. The purpose of the book as a vehicle for artistic expression allows it to be placed in the category of a book-as-art and it can be considered an artists book. As an artists book, Noctambulist challenges preconceptions about the definition of a book with the misuse of common elements such as text. It maintains a narrative despite severe disruptions to the element of text with the element of imagery (Figure 1:1). Compared to A Humument, the production of Noctambulist involved a process of painting over the initial document while it existed in a digital format. Whole sections, sentences, words and letters were erased and removed to create new visual fields. The alteration of the text in the visual field highlights existing points of interest and creates new ones. Destroying, shifting or intensifying the symbols and patterns which readers use to discern or construct meaning. Noctambulist uses the book as a multilayered medium, combining opportunities for simultaneous literary, visual [] and sequential expression (Benton, 2007) to present what appears to be a personal document embedded with social and political messages. A potent example of an artists book which relies on art more than text to convey personal reflections loaded with social and political inferences is Tatana Kellners 71125: Fifty Years of Silence (1992) (Figure 1:8). Concerned with her mothers Holocaust experiences, the book features a solid arm connected to the books spine at its centre, which the pages, cut to the shape of the arm, pass around. While images of Fifty Years of Silence may have been disseminated in photography and video, the internet has enabled a wider audience to view the work. A Humument is also available online in a series of photographs which are presented in a slideshow.10 The displacement of the works from their physical and analogue format to the electronic screen has resulted in a loss of finer details and viewers do not have the option of experiencing their physicality. In the case of Tatanas work this is significant because the containment of the disembodied arm, tattooed with a number, heightens the sensorial experience for readers. Shifting the work from book to screen format is something zine producers can negotiate. Zinesters can accommodate for changes to visual elements with a pre-print consciousness, an awareness of the effects of their medium. Zines tend not to

10

Slideshow available at http://humument.com/gallery/slideshow.html

15

challenge preconceptions about books because they usually utilise text and images in the traditional format of a book. Artists books intend to fulfill their creators or mediums artistic potential, with no limits on size, shape, matter or number, hindered only by their creators capacity to access or afford materials. Zines are generally intended to fulfill their producers expressive potential, limited by an ethic based on distaste for monetary systems. They are limited to the page, but not what type of paper nor what appears on it and this is where their unique strength lies, in content. Artists books tend not to feature literary elements unless they are being challenged. Most zinesters on the other hand, rely on literary techniques to convey their authors messages, and although visuals enter in the form of graphics and comics, they rarely challenge their indoctrinated systems. However, both of these mediums are approaching the phenomenon of experience in different ways. The artist producing the artists book considers the experience of a book and how far it can be stretched before it is no longer a book, using any means possible. Zinesters deliberately limit their means to maintain a degree of accessibility and affordability because zine ethos is freedom of expression, regardless of its appearance. The physical and tactile qualities of an artists book outweigh literary content. The zines physical qualities are subject to conditions based on a political ethos of accessibility and places great importance on their content. Zines are fertile ground for creative experimentation and Noctambulist evolves the zine structure to create Noctambulist (Untitled #1) which challenges the primacy of text and belittling attitudes of images in youth and adult literature.

16

Figure 1:1
Shirley Innes. Noctambulist (2011) Front cover and back detail

17

Figure 1:2
Shirley Innes. Noctambulist (2011) inside spread detail

18

Figure 1:3
Shirley Innes. Noctambulist (Untitled #1) (2011)

19

Figure 1:4
Shirley Innes. Noctambulist (Untitled #2) (2011)

20

Figure 1:5
Shirley Innes. Noctambulist (Untitled #3) (2011)

21

Figure 1:6
Ed Ruscha. Twenty-Six Gasoline Stations (1962)

22

Figure 1:7
Tom Phillips. A Humument (1892)

23

Figure 1:8
Tatana Kellner. 71125:Fifty Years of Silence (1992)

24

Chapter Two: The Nature of Zines Zines are an underground form of creative expression. Their unobtrusive circulation as home-made, self-published, lo-fi ephemera, makes them a form of expression for-thepeople made by-the-people. Circumventing galleries, libraries, publishing houses and museums, they are decidedly anti-establishment in their revolt against the aesthetic of [] mass-produced, big-budget, commercially controlled and globally marketed publication (Peace, 2011). Their roots begin with the fanzines (magazines by fans) of the 1930s to 1960s (Figure 2:1). These fanzines grew from the scrutinising letters of science-fiction fans, who began writing to one another after science-fiction magazines started publishing readers letters with their return addresses. During the 1970s in the UK and the USA, it was common for punk rock bands specifically to utilise cheap photocopying to make their own zines (Figure 2:2). The zine genres began proliferating and dispersing along diverse lines during the 1980s. Mike Gunderloy who wrote How to Publish a Fanzine (1988) and Why Publish? (1989) founded the American Factsheet Five. It catalogued and reviewed zines in no consistent order. By the 1990s, the editors of Factsheet Five could accurately refer to The World of Zines (Duncombe, 1997). Zines constitute an amateur art form that is produced and commonly encountered outside formal art institutions. When Graffiti art moved from the street to the gallery in 1983, critical opinion was sharply divided as to whether Graffiti art represented a form of social liberation or was merely a voguish exploitation of street vandalism by the commercial art market.11 Despite zinesters disinterest in the big game that is the straight world, zines may face equal threat of being discovered and cannibalised by a mainstream institutions and media which use alternative culture to create new styles and profits for the commercial culture industry (Duncombe, 1997).12 To produce a zine only for mass profit would invite calls of selling out as zinesters political, self-consciousness lies in their belief that what they do is an alternative to and strikes against commercial culture and consumer capitalism (ibid, 1997). For Duncombe, zines are a radically democratic and participatory ideal of what culture and society might be... ought to be (ibid, 1997). In Notes From the Underground, he argues convincingly that:
Zines and underground culture offer up an alternative, a way of understanding and acting in the world that operates with different rules and upon different values than those of consumer capitalism. It is an alternative fraught with
11 12

"Graffiti Art," in The Concise Oxford Dictionary of Art Terms (Oxford Art Online, 2011). The straight world meaning the conventions of western commercial culture

25

contradictions and limitations... but also possibilities. We can learn from both (Duncombe, 1997).

Some of the rules and values embraced by zinesters which differ from mainstream norms, can be found in zines form (deliberately lo-fi), price (usually non-profit), production process (do-it-yourself), subject matter and layout (wandering rants and essays to thumbnail sketches, from science fiction and punk rock to politics, aliens, beards and Bourkes Backyard to budgies). Below are cited several zine titles sourced in metropolitan Melbourne that are all 2011 issues unless otherwise stated. This is intended to provide a snapshot of the wide variety of zine authors from various countries of origin at a specific time and place.

Price and Distribution The construction and circulation of zines contrasts institutionalised, globalised and capitalist modes of textual production and reception (Poletti, 2008, 11). When it comes to price and distribution, few zines are free, most average $3. While most zines are sold in book and music stores, swapping zines through a barter system is common and part of the ethic of participation. They can be gifted, traded at music gigs, bought at zine fairs (increasingly organised by urban local councils, arts organisations and community groups) or discovered through zine review sections such as in Photocopy Press #2: The International Zine Maker Issue (2010). This zine provides positive zine reviews, interviews and excerpts. In an issue of Photocopy Press, zinesters from Australia, Austria, Canada, Israel, Japan, Northern Ireland, Scotland, Germany, Singapore, Spain, the United Kingdom and the United States of America, were asked How did you discover zines? Enthusiasts stumbled across zines in record shops, writing communities, during academic studies in other areas such as Riot Grrrls and internet blogs. Not all music or book shops promote zine culture, with only a few dedicating small sections to them like Polyester in Melbourne. Melbourne establishment Sticky Institute, dedicated entirely to zines, is positioned under Flinders Street Station, where thousands of commuters pass everyday. In a dimly lit, out-of-the-way, underground subway arcade, Sticky Institute is a not for profit Artist Run Initiative operated by volunteers (Figure 2:3). It preserves the alternative underground culture of zines, quite literally, underground. Zines are presented on solid shelves, typical of books, but also hung laundry style over string -another act of homage to an ethic of budget DIY culture. Sticky Institute stocks zines from Australia and overseas, and is organised around the principles of an art space rather

26

than a commercial outlet which relieves it from the pressures of making profit from sales (Poletti, 2008, 13). Operating Under the Radar Within Australia today zine producers are subject to the Copyright Act 1968. An artistic work, which is the production of a two-dimensional form into a three-dimensional form and vice-versa (s1), is considered published once it has been offered or exposed to the public (s29). At this time works are protected for up to 70 years, whether under the authors real name or a pseudonym. Copyright does not grant monopoly over the rights of a work but rather grants rights to the owner in respect of the reproduction of the ideas and information they express and how they are used. Therefore it does not prevent the use of the same idea or information. This allows people to share and advance what exists, promoting healthy discourse. This is something which zine producers desire, contribution to private and public opinion. Many zinesters are unique in their willingness or desire for the direct replication of their work by other people. Copyright of works in public places such as sculptures and buildings, are not infringed by painting, drawing, engraving, photography or cinematographic film (ss65-68), perhaps these reproductions are not considered exact enough (sub-section 29(4)) and this reasonably exempts publications using these images on the grounds they are merely colourable and [...] not intended to satisfy the reasonable requirements of the public. Therefore they do not constitute an infringement of copyright. Colourable is an ambiguous term and highlights the imprecision of this legislation prepared by legislature.13 Legislature shouldnt possess the power to enforce law upon creative acts, yet it does so, indirectly, by invoking the accountability of persons involved. In Australia the Commonwealth Parliament may restrict or censor speech through our censorship legislation because there is no legislation providing for freedom of speech either in the national Constitution or in other legislation (Jordan, 2002).14 Governments have also passed legislation to prevent free speech in certain circumstances (State and Territory defamation, racial vilification and censorship laws). However, the right to free speech is implied in our rights as free human beings. So how do zine producers get away with it? This may be due partly to the zines perceived lack of artistic sophistication and educational value. Also their lack of utilitarian and economic value, as small-scale ventures, pose no real threat to large-scale ventures. For example when public broadcasting stations (such as channel 31) connect with their local audience they are effectively renting a piece of a pond that is owned (by people who own the media network
13 14

The officially elected body of people vested with the responsibility and power to make laws for a political unit While Australia is a signatory to the Universal Declaration of Human Rights (UDHR), aspects within the treaty pertaining to free speech have not been incorporated into Australian law by Government as specific Acts of Parliament.

27

stations, such as Rupert Murdoch). Despite reaching a small segment of a national audience, restrictions on content (such as local bands not being able to show their Myspace site, advertise a gig or album release) are imposed in order to stunt serious competition (to the larger networks which produce more profit). Perhaps articles such as How to Fold Your Student Newspaper into an Origami Penis (in Stiff Magazine) and why John Howards a F*cking C*nt (from Jerks Backyard) would receive more attention from authorities if they were in wider circulation or possessed utilitarian or economic value as an exploitable form of entertainment. Zines lo-fi and low price ethic has generally equalled low distribution, allowing them to evade the attentions of prevailing authorities. However, if zines were to leave the underground and enter wider circulation, they would be thrown into the headlights of those (legislatures) who know, and perhaps exert more control over, the reasonable requirements of the public (Jordan, 2002).

Form Zines come in an array of forms and styles which reflects the diversity of the people who produce them. Some zines are printed in black and white, others in full colour or limited colour schemes. Zines are made with plain white paper mixed with coloured paper and lightweight card, even translucent, waxy and handmade papers, but are not always in booklet form. Whilst I was Away... by Loretta uses A4 size plain white, recycled and tracing paper folded in half and held by a single handheld string in the centre (Figure 2:4). Her booklet details moments of the Japan disaster with delicate ink and watercolour drawings. On the other hand, Alison Boyd & Emma Kirsop provide small colour copies of paintings and drawings inside a hand-stitched envelope with a wax seal in Disinflection #8. Zinester Luke, creator of YOU, experiments with different formats each time he produces a zine. For example, he has made a zine out of a postcard, a white tuckshop bag stapled closed with a handwritten note inside and what appears to be a sick-bag with a hospital outpatients notice on the front (Figure 2:5). YOU has even appealed for volunteers to help create papier-mch zines in a working-bee, hardly a conventional, cost effective, mechanised or alienating process of production. The DIY culture of handcrafting zines is a thoughtfully oppositional response to the passive consumerism endorsed by mainstream society. Zine sizes range from: 5 x 6 cm and smaller (such as Happy Crap and Evil a single centrefold staple); to A5 (The Beebers: Discover the Car Radio by Emily & Thomas Blatchford); and the most common A7 (Teen Vomit #2 by Magic Sweater, Slenda Sleaze Bag 28

by Michael Chester with greylead face portraits of boys and men printed on pink paper (Figure 2:6), Lifetimes Deep by Cougar Flashy in which two siblings play in a world of nature with sticks, stones and clouds (Figure 2:7), For Strength & Valour which questions cultures of honour and provides stickers, and Sleeping Blackbird by Bre Tepperand). Although larger still are A2 posters folded into smaller pamphlets such as The Story of Douglas and Douglas (2010) by Pat Grant (Figure 2:8). There is an exceptional way of scoring and folding single sheets of paper to make booklets, it requires the calculated placement of images in order for them to appear the right way up. Although not everyone adheres to this, such as Fuzzle Puzzle Christmas Magic #2: Map by Liam, a zine which appears to be an interactive Rubiks Cube and adds an element of fun for readers (Figure 2:9).

Technology Because zines are a two-dimensional medium, the photocopier is paramount to the production of traditional zines. While the photocopier is used for applications ranging from office copying to the reproducing of out-of-print books, artists and independent publishers like zinesters have been using them in purely inventive projects. Mike Parr produced a series of photocopied self-portraits in which certain facial features appear to dissolve (Murphy, 2011). Raymond Pettibon began his career creating photocopied fanzines to represent the failure of 1960s subculture to resist authority. Sandy Skoglund repeatedly crumpled and copied a piece of paper in Crumpled and Copies (1973). It is easy to underestimate the impact technology, such as the electrostatic dry-copying process of xerography, has had on the dissemination of information. Imagine reproducing cuneiform, the wedge shaped writing system impressed into soft clay tablets and hardened in the sun, for more than 5 or 50 people. How long would it take to reproduce the information from a single sheet of Egyptian papyrus or a Chinese pictograph on silk paper for a city of a few million? Paper was invented in China at the beginning of the 2nd century and for some 600 years it was confined to East Asia until Chinese and Arab armies clashed and the Chinese that were taken captive passed their knowledge to Arabs (Lechne, 2011). It was some time before the paper of the Islamic World reached Spain and Sicily in the 12th century and another three centuries before it reached Germany (ibid., 2011). Printing had to evolve through block printing, moveable type (first of clay then metal), then the movable type printing press of the 14th century, fast forward to the wood relief engravings (used for making graphics) and lithography (where we transferred images from stone surfaces) until the invention of photography. Dry-photography, 29

the photocopying of today, provided a fast efficient means of duplicating records in small quantities for personal or local use (ibid., 2011). Yet the evolution of technology for the dissemination of information continues unabated, in the western world with the electronic publishing industry and the digital formatting of information coupled with the rise of personal office and home printers. While zines have thrived on the accessibility of photocopiers, many are now available in digital format on the Internet. Places such as the ZineLibrary.info15 provide hundreds of free zines, on as many topics, for people to download (and perhaps photocopy again). An example of a zine in circulation as a digital file would be Azerbaijan #168 Loves Hip-Hop which examines the hip-hop scene and features a guest reviewer and music on a mix CD. Generally, zinesters prefer the booklet format as CDs require extra effort and resources to access their contents. The online publishing of information of personal interest, to personalised websites in a public sphere (otherwise known as Blogging) involves a process of life-writing and produces a similar (screen based) final product to zine-making, but traditional zines are ardently analogue. Unlike Bloggers, zinesters do not use the templates of paid designers, which have various limitations. As self-publishers, zinesters keep the design and dissemination (of themselves and their reality) in their own hands. The rewards include not being hassled to feature advertising within their personal space, and not having themselves mined for data (fingerprinted) by data collection agencies (such as BlueCava Inc.) for the benefit of advertisers, merchants and news services. Although zines reluctantly tribute the technological progress resultant of economic pursuits by using modern devices (such as photocopiers), zinesters unique practice of economic diversion (lo-fi, not-for-profit practice) is a form of moral resistance to economic systems. Anna Poletti, literary theorist and member of the management committee of Sticky Institute in Melbourne, investigates such discontent in the autobiographical writings of Australian zine culture. She published Intimate Ephemera: Reading Young Lives in Australian Zine Culture (2008) as well as Selfpublishing in the Global and the Local: Situating Life Writing in Zines (2005) which examines zines as a unique medium of life writing (recording memories and experiences). Unlike blogging and social networking, zines in their analogue format, whether music zines or perzines, deliver greater creative outcomes and merit them place in the field of (traditional) arts.

15

Go to http://zinelibrary.info/

30

The Digital Master-Zine Noctambulist straddles multiple genres, it identifies as an artists book and is the master-copy of a zine series (Untitled #1-3). It is against zine conventions to produce a book on compact disc (CD) for cheap copying and dissemination, despite the benefit of being able to share a larger work in full-colour and, in this case, enabling readers to experience a feature length (novel length) narrative. To make a CD would work against the benefits of a lo-fi ethic that provides greater access to material without the need for a computer or power source. To create the analogue zine version, pages of Noctambulist are selected at random. Sometimes they are placed in the chronological order in which they appear in the novel, to produce short-stories such as in Untitled #1. As readers discern the gaps of information, these select pages become (to borrow a film term) key frames main events captured with the intention of stimulating speculation about events before and after. The work within Noctambulist, which swaps between text and abstracted visual cues to maintain a lengthy narrative throughout, may even place it in the category of a novel. Noctambulist is an example of how images can be integrated more sporadically than in traditional formats (for example, childrens literature) where they are additional to text rather than essential to supporting actual narrative. It would be interesting to see how far this ratio of images to text could be pushed (outside of graphic novel conventions) in future artworks. It becomes clear that the traditional format of zine as paper pamphlets is ideal for providing easy access to material, when considering that in order to display the master-zine in digital format, whether as a slideshow or E-zine, one would need a computer screen for viewers to access.

Layout and Subject Matter Zines have no typical inside layout. They can contain: highly personalised stories like handscrawled diary entries (such as For Strength and Valour); critical rants or reviews (such as Hollywood Bollocks which rants about unfunny and offensive films such as 27 Dresses (2008) and The Heartbreak Kid (2007)); hand drawn illustrations (such as the bold stylisations of Teen Vomit, the simplistic ink drawings of Sleeping Blackbird (Figure 2:10), the sophisticatedly scribbled siblings of Lifetimes Deep, and the fragile post-apocalyptic, neotribal, naive scenes depicted in Future Notes (Supplement) by Ghost Patrol); paintings and mixed media (such as the richly layered and experimental art of The Strange Travel of Rabbit Ze-Ze, Mr. And Mrs. Swiss and Lonely Panda Ssul-Ssul-Yi by Diny) (Figure 2:11); or comics (Stupid Man and the Wrath of Wedgie Man by Ismail Tezcan). Plastic Knife #6/ Black Paint 31

Gold Wire #8: A Split Zine features typewriter written text and a cut-n-paste style spread of images. With an orange plastic knife sticky-taped to the black front cover, and a separately typewritten-then-cut-and-sticky-taped cover title, inside you find clippings of advertisements, magazine and newspaper images of random things such as women wrestling with pigs and Chubby Checker. Dealing with Post-Human Abilities (2009) issued by the Department of Post-Human Affairs (DHP) (Dana Maxwell Cooke) appropriates the style of official Australian government documents such as found in Centrelink (Figure 2:12). It offers an informative (and humorous) comprehensive overview of post-human abilities and subclassifications, helpful tips on coping with post-humanism, services offered to post-humans and relatives of post-humans by the DPH [...], how you and those around you can benefit from your miraculous abilities (Cooke). Zines physical format and layout is modestly minimal, but hardly less limited in its ability to convey visual matter than the surface of a painting. As artists, zinesters are free to appropriate and invent, limited by their knowledge of, or access to, relatively inexpensive materials (paper and ink).16 Many artists choose to receive formal educational training in the arts and use this knowledge to inform their practice. True to the spirit of art itself, the quality of artwork in zines ranges from the immediate gesture to the time-consuming and contrived. In Why Publish? Gunderloy states that for zinesters who spend their free time creating zines and often lose money, the question why publish? is as unanswerable as why exist? (Gunderloy, 1989) In other words, why not? The act of making the zine fulfils a creative impulse, but the individuals voice in the final product is more important than informed aesthetics. This creates a world of zines that is a diverse resource of experiences for all people. The subject matter of zines ranges from the personal to the political. They can range from simple photographic documentation without text such as found in Bacon to unsual historical stories on obscure topics in Bizarrism such as A Brief History of the Raelians and The Senile Surgeon Ferdinand Sauerbruch. Butch: A Zine about Budgies (2006) by Bettina Kaiser centres around the appearance, habits and adventures of a budgie. Its author writes, Butch taught me how to gently care for another living being and through him I witnessed for the first time, the action of death. Agreeably (as the author also writes) that is a profound thing to integrate at any age. Meine mutter erwartet zu viel von mir (My mother Expects too Much From Me) is a funeral zine and shares events surrounding a funeral that are deeply personal. More intense still are the detailed and sensitive recollections in I Was a Teenage Mormon. The musings within For Stength and Valour alone provides: commentary about the
16

Now, photocopiers are accessible in most libraries, education institutions and even service stations.

32

the effect of the economy on business through the recollection of experiences with cafe staff, and the rising expense of zines; criticism of the idea of artist in residency as Artist as Spectacle through a visit to the National Gallery of Victoria (NGV); a positive spin on watching episodes of Survivor with its masterclasses in strategy, scheming and expert manipulation and entertainment revolving around individual mindfucking and horribly selfdestructive inflated egos; a satirical commentary of our culture with the inclusion of a First World Checklist, replete with such items as fetishisation of oriental culture, torrent downloading, brand identity, macbook air, anti-depressant, seeing a psychologist, online shopping and detachment from and inbuilt suspicion of major art institutions; acknowledgement of the need for greater social awareness with a clipping of asylum seekers being deported and a call to action inviting people to stick humbled to be on aboriginal ground stickers around ones built environment in order to imbue [...] surroundings with a consciousness. Zines subject matter is exploratorynaff, bizarre, brutal, critical and lovingits a world of expletivesbut not exploitation.

Public Expression and Identity Zines personalise politics (Duncombe, 1997, 28) and contribute to public opinion, which as a process of interaction and mutual influence rather than a broad state of agreement (Davison, 2011) plays an important part in the social and political structures of western culture (White, 2005). During the 1980s, while art activists the Guerrilla Girls were taking on the mission of exposing the domination of white males in the art establishment with their artwork, Riot Grrrl in the world of zines was revealing a similar discontent with womens place in the (punk) community and initiating a critique of existing patriarchy (Figure 2:13). With the medium of zines, women were enabled to build a forum for selfexpression (Duncombe,1997, 66). Riot Grrrl facilitated expressions of the personal effect of growing up as a girl in a mans world (ibid., 1997, 66) that could be experienced by a wide group of people. This group included those (with similar experiences) whom they sought connection and those whom the authors sought to incite. 17 In zines, not people can express their discontent in varied tones (from disappointment to rage) over societys portrayals of them (such as in Hollywood Bollocks). Mass media, stimulated by consumer capitalism, ceaselessly continues to portray women as incomplete by bombarding them with idealised images of what they should look like with [] lipstick, mascara, perfume,
17

Almost every Riot Grrrl zine is at least one (and usually more than one) poem, rant, experiential scream about having been sexually abused, often by a male friend or relative (Duncombe, 1997).

33

deodorant, and weight-loss advertisements whose purpose is to convince a girl that she is (sans product) incomplete (Duncombe, 1997, 67). As exampled in numerous Just For Men hair colour product television advertisements, women continue to be portrayed in advertising as rewards for men who choose the right product. In the world of art, this antiquated way of perceiving women died with modernity and an awareness of gender (and cultural) stereotypes is implicit in the works of (professional) contemporary artists. Whether ingrained through experience or education, arguably this stems from most (professional) artists sensibilities regarding how another may experience their work (the effects on individuals, communities and even global audiences).18 Zine artists continue this tradition of rejecting stereotype and pointedly challenge pervasive conventions. For example, with a consideration of the conventional practice of professional men in western culture to be clean shaven, Beard #4 adopts a celebratory tone in its commentary on the status of beards in society. It features quotes ranging from Orson Welles and Edward Lear to Ivan the Terrible about beards (Figure 2:14). These are coupled with drawings and photos of bearded men of varying ages and cultural backgrounds. If Beard was intended to carry a specific social message regarding the status of beards in society, it has done so inconsequentially. For the producer, the individuals portrayed, and the readers who experience Beard, it is a light-hearted affair based on participation and the results espouse joy. Participation in zine production offers people a way to reject definitions given by the dominant society and replace them with their own (Duncombe, 1997, 67). Similar to the art world, the world of zines either appropriates current culture and employs irony to critique and expose the conceit of mainstream commercial culture (through its low-fi form and highly personal content). This is evidenced in the way zine producers tend to prefer the style of free-formed personal letters over strategically structured essays (such as by YOU) and drawings over digitally enhanced images (such as in Lifetimes Deep). Utilising stories over statistics19 to expose inequality and prejudice (such as in For Strength and Valour), zinesters share their personal connections to the facts (Duncombe, ibid.), grounding them in reality for their readers and effectively personalising the political. Many zinesters possess a sensibility that is coupled with an awareness of commercial systems of representation (such as employed in advertising) and how they are used to manipulate or deceive people.

18

There will always be times when the truth of an experience will, and should, dominate the imperative to walk on eggshells (such as when revealing social injustices). 19 None of the [aforementioned zines] print reams of statistics on class inequality, prejudice against gays and lesbian, or election funding. Instead, they tell stories (Duncombe, 29).

34

Zinesters control the formulation of their own identity in opposition to a media which confronts them with a world of stage-managed falseness (Duncome, 1997, 32) and homogenises all genders and cultures as consumers.20 In controlling the means of production, by utilising access to low-fi technology such as photocopiers in conjunction with low art materials such as pen and paper and out-dated typewriters, zine producers control the means of producing (their) identities which may be received by others. And they can do this with the reflexivity common to post-modernismIm letting you know, that I know that you know, why Im talking this way. They cut through the contrivances of society, its conventions of manners, norms, and communication to connect with an authentic self, one without artifice, without hypocrisy. What they lack in professionalism, they replace with enthusiasm and excitement (ibid., 1997, 33). Anna Polettis literary based research addresses how zines promote the perspective of young people without creating the spectacle usually associated with youth subcultures.21 By resisting the persistent trivialisation of youthful experience through the production of (personal) zines, young people can communicate their experiences and provide valuable additional material to the analysis of the issues facing youth in contemporary Australia (Poletti, 2008, 3). Because zines encourage interaction and mutual influence, whilst fostering subjective awareness of systems of representation prevalent in consumer culture, the voices of zine producers are invariably a positive contribution to public opinion.

Propaganda Unlike the majority of articles distributed in commercial mass media culture, zines are fundamentally lacking in strategy. They embody an act of making that is without a means or an end (Duncombe, 1997). While they are often specialised, based on the personal interests of the publisher, collectively zines manage to articulate (either explicitly, or as is often the case implicitly) the problems of the present cultural, economic and political system (ibid, 1997). Zines communicate directly the information and experiences that are not found in a media setting which relies on editors, sub-editors and writers producing articles up to three months in advance of print. Nor do zines represent or are bound in anyway to the
20

In an era when every conceivable identity has been catalogued and packaged, yet ordinary people have little to say in this process, zines offer a way for their publishers to package the complexity of themselves and share it with others. [] The notion of who and what one is in a zine is potentially very flexible. [Zinesters] have the opportunity to assume identities of their own choosing, and not be moulded into beings they dont want to be (Duncombe, 1997)
21

Such as resisting through rituals, dressing strangely, striking bizzare attitudes, breaking rules, breaking bottles, windows, heads, issuing rhetorical challenges to the law (Poletti, 2008)

35

interests of media owners (whose increasingly concentrated powers of ownership in Australia has caused public concern). Zines are about self-publishing and are produced by the creators themselves, safeguarding a do-it-yourself culture. Marginalised people with little power over their status in the world still retain a powerful weapon: the interpretations they give to the circumstances and conditions that surround them, and the ideals and character traits they possess (ibid, 1997). I Was a Teenage Mormon is a physical document and a profoundly subjective account with serious implications for rational social, religious and political factions. It does not speak with anger or force, but assumes an authoritative influence because the events recalled are in the voice of the individual who experienced them the source. The article becomes imbued with a power to persuade, a power to affect its readers, primarily through its producers lack of power. Vulnerability and inability to change the past are real emotions associated with memory. Unlike strategising news media that parades itself as objective, this zine is objective in so far as it does not deny itself being a subjective account. While zines conventionally write about topics through a highly subjective lens, they are distinctly frank, out-spoken and guileless (ibid, 1997). History proves zines capacity for persuasion and propaganda. Contemporary zines today are generally not produced for political reasons or to strategically influence the opinions and behaviours of their readers. Early underground media which personalised the news includes eighteenth-century pamphlets, little booklets of only a few pages, unbound and without covers, [which sold] for a shilling or two (Duncombe, 1997). Thomas Paines Common Sense (1776), produced in America, is the best known and most influential of such pamphlets (ibid, 1997). Common Sense attacked George III and [the] monarchy in plain, direct language any literate adult could understand (Purvis, 1997). With regards to American independence, Paine was able to exert great influence over public opinion via the modest mediums capacity to carry its authors message. Zines today, dependant on their producers, contain no less potential for political influence because they can be disseminated widely and cheaply. However, in general, zines are usually produced for personal interests and, subject to their content, potentially reveal political opinion or the political landscape itself. Love Letters by Ben Kenobi from Japan exhibits information on organic lifestyles and ecology. While his subject matter is informative and objective, it is a personal response to issues which are contentious in the realm of politics. The political is the flip-side of the personal, because political motivations, decisions and actions affect (directly and indirectly) peoples everyday situations. In bringing his zine into the public sphere where it can interact with a greater part of the social fabric, Kenobi is enabling discourse between the personal and the 36

political, not just for himself, but for others. Zines have the potential to stimulate discussion on political issues through the revelations of personal experiences. When the zine Jerks Backyard proclaims John Howards a f*cking c*nt, it reminds us of the fact that zines endorse freedom of speech and simultaneously propagate discourse which can subdue, counter or negate derogatory or heinous statements. Most zinesters have taken it upon themselves to expose the conceit of economic entities, such as the mass media and corporations, not only with their subject matter but the form of the zine itself.

Graphic Novels and Comics In many western cultures images in adult literature carry a stigma of immaturity, despite their capacity to tackle serious issues. Comics and graphic novels have challenged and changed such conceptions. In Comics and Sequential Art (1985) Wil Eisner applied the term sequential art to comics and in Understanding Comics (1993) Scott McCloud said comics [juxtapose] pictorial and other images in deliberate sequence, intended to convey information and/or produce an aesthetic response (Murray, 2011). Comics are a series of sequential images that convey a story (Herdling, 1997) and comic books are a bound collection of strips, each of which typically tells a single story or a gag in a few panels or else a segment of a continuous story (Britannica, 2011). The term comics derives from the socalled funny pages that were found in late 19th and early 20th century newspapers (Murray, 2011). By 1935 reprints of newspaper strips and books with original stories were selling in large quantities and during World War II there were comic books that dealt with the themes of war and crime (Britannica, 2011). Despite comic books being blamed for juvenile delinquency in the 1950s, cheap staple-bound comic books came to be the vehicle for comic strips aimed at readers of adventure stories. Comic zines are the independently produced comics in minor circulation. Many popular comics that reach wider circulation are collected over a period of time and published in book form. Graphics novels combine words and images like comics, however the contentious term graphic novel most commonly refers to a complete story presented as a book rather than a periodical (Murray, 2011). While the word comics denotes a periodical for children, the word graphic novel is usually taken to mean a long comic narrative for a mature audience; published in hardback or paperback and sold in bookstores, with serious literary themes and sophisticated artwork (Murray, 2011). The distinctions between comic books and graphic novels are somewhat spurious, as comics are found in all shapes and formats, appeal to many different groups and age ranges, and 37

encompass a huge variety of genres and styles. Moreover, graphic novels are usually original publications but some are repackaged collections of serially produced comics (Murray, 2011). For example, Marjane Satrapis autobiographical graphic novel Persepolis (2000) uses comic style artwork to touch on the Islamic Revolution, religious oppression and the executions of close friends to secular freedoms pitfalls (Figure 2:15).22 Similarly, zine series can be packaged into professionally bound anthologies, such as Nicole Georges Invincible Summer and Koraly Dimitriadis Love and Fuck Poems. Noctambulist is a master-copy of a zine series as opposed to the packaging of a series of zines into book format. Noctambulist is distinguished from a graphic novel because even though it still relies on the sequencing of text and images in page sections, where the text is divided between script scenes within full page sections, it does not have sufficient panelling in the traditional sense of this genre. It is not a graphic novel, but an artists book. Christopher Murray suggests graphic novel may be a marketing term intended to resituate comics for an audience uncomfortable with or embarrassed by the associations that surround them (i.e., that a reader of comics is juvenile and sub-literate). American and British (western) prejudices towards comics contrast with those of continental Europe and Japan where no term equivalent to graphic novel is required because the acceptance of comics as both an art form and a literary mode is unproblematic (Murray, 2011). Another reason for comics struggle for a stronger hold in the US may lie with the Comics Code Authority established in 1954.23 Created by the comics industry to police itself, the Authority had a chilling effect on creativity. Publishers dared run only the tamest of stories; sales plummeted; and a once-thriving medium [became] disposable entertainment for children (Ray, 2005). Not until the 1980s had most publishers dropped the codes certification stamp from their books and a flood of creativity followed (Ray, 2005).

Artistry In Europe and Asia, the acceptance of comics as reading matter suitable for adults has contributed to the production of more sophisticated products, both visually and thematically (Herdling, 1997). Mainstream media gave the term graphic novel currency by focusing on the notion that books such as Frank Millers The Dark Knight Returns (1986), Alan Moores
22 23

Publishers Weekly. August 31, 2004. http://www.iranian.com/Books/2004/August/Satrapi/3.html The codes preamble recognised comic books as a unique and effective tool for instruction and education and states that: members of the industry must see to it that gains made in this medium are not lost and that violations or standards of good taste, which might tend toward corruption of the comic book as an instructive and wholesome form of entertainment, will be eliminated. From Code of the Comics Magazine Association of America,. Inc.. Adopted on October 26, 1954.

38

Watchmen (1986-87) and Art Spiegelmans Maus (1980-86) were materially different from the comics children read, when in fact they had all originally appeared as serial publications in comic or magazine form (Murray, 2011). Some 21st century comics in book form that are artful and literate publications which have achieved something comparable to the complexity and density that can be achieved in a novel while transcending the novel formats limitations with artwork include: Jimmy Corrigan, the Smartest Kid on Earth (2000) by Chris Ware; Persepolis (2000) by Marjane Satrapi; From Hell (1991-98) and Lost Girls (1991-2006) by Alan Moore;24 and Y: The Last Man (2002-08) and Pride of Baghdad (2006) by Brian K. Vaughan25 (Murray, 2011). Autobiographical and surreal, The Birth Caul (A Shamanism of Childhood) was staged as a reading performance by Moore in 1995 and subsequently released on CD. Eddie Campbell adapted the texts of Alan Moores art-as-magic performance pieces The Birth Caul and Snakes and Ladders into comics form in A Disease of Language (2005), thus transforming Moores ecstatic monologues on the implications of art and the imagination (Santala, 2006) from spoken word and gesture to paper and ink. The collaboration resulted in an intellectual comic akin to Art Spiegelmans critically acclaimed graphic novel Maus. Maus appeals to educated audiences with its emphasis on a serious theme and topic, his fathers experiences in a nazi concentration camp. It is a work of non-fiction that uses animal characters to depict the horrors of the Holocaust (Ray, 2005). Spiegelman utilises the comic book as the textual medium for a story of the Holocaust and subverts the assignment of the comic to a [low] genre of kitsch [tastelessness] and popular culture. Spiegelman achieves this subversion by superseding the traditional genre in terms of its scope of presentation with loaded poetic and emotionally loaded illustrations and by presenting a catastrophe in a medium usually reserved for hero construction and morality play (Leventhal, 1995). See (Figure 2:16). Comics and graphic novels, like zines, come in all shapes and formats, [appeal to children and adults alike], and encompass a huge variety of genres and styles (Murray, 2011). Similarly, it stands to reason that, like their counterparts, zines are capable of subversion, as demonstrated by Paines Common Sense pamphlets, and even provocation, such as evidenced by the formation of The Comics Code in America.26 Dada was an art historical movement which encouraged exploration, independent of orthodoxy, and sought to confuse principles of logic, reason, authority, and tradition (Ades,
24 25

With artwork by Eddie Campbell and Melinda Gebbie With artwork by Pia Guerra and Niko Henrichon 26 The independent and unorthodox practices of zine producers today, continue to blaze trails established by past expressionists and dissenters.

39

2011). Zines cut-and-paste aesthetic, enabled by the low-fi device of photocopying, echoes the Dadaists photomontages and collages that sought to mock rational expectations (Figure 2:17). Dadaists were a part of the underground press of the 1960s as it was a neutral place to make offensive statements (ibid, 2011). Dadaist ethos challenged nationalist and materialist values, sickened by the butchery of [the First World War] and reacting to the supposed rational society that had produced it (Ayers, 2011). The anger about western pretensions that had produced the war is similar to contemporary concerns in the wake of post-colonialism. In both instances, discomfort about western pretensions (and its foundations of knowledge) has led to a rejection of conventions in art and thought. The artworks of the Dadaists was intended to be problematic and, in the most extreme case, subversive of the institutions, values and practices fundamental to arts existence (Humble, 2002). While zine illustrations such as those found in Lifetimes Deep or Teen Vomit (Figure 2:18) may appear nonnaturalistic and savage compared to Future Notes (Figure 2:19) or Slendasleazebag, they are not nihilistic (negating meaning, value or purpose). Duchamps typewritten postcards Rendezvous of Sunday (1916), which contained seemingly grammatical sentences that did not express propositions, were deliberate non-sense - intended to defeat our habitual response to find meaning in the written word (Humble, 2002). Zines lack this strength of hostility towards the aesthetic plane, because their producers lack interest in art institutions, movements and subsequently its theoretical preoccupations. Dada had a tradition of assemblage and a reliance on ready-made discarded materials and found objects.27 Although zines are generally a two-dimensional medium, in so far as they dont usually become threedimensional sculptures, they are akin to the Dadaist aesthetic of integrating eclectic and absurd materials such as feathers (in Me With a Gun) or the plastic knife of Plastic Knife #6 (Figure 2:20).

27

As a piece of anti-art, Marcel Duchamps famous ready-made Fountain (1917) was deliberately intended to not be aesthetically delectable for its audience. It is a case in point for the argument of whether or not art is meant to be beautiful or aesthetically pleasing, it challenges the definition of art.

40

Figure 2:1
Rosco E. Wright ed. Beyond #3 Fanzine (1944)

41

Figure 2:2
Maximumrocknroll. May, Issue #300 (2008)

42

Figure 2:3
The Sticky Institute. Melbourne VIC (2011)

43

Figure 2:4
Loretta. Whilst I Was Away (2011)

44

Figure 2:5
Y.O.U. (2011)

45

Figure 2:6
Michael Chester. Slendasleazebag (2011)

46

Figure 2:7
Cougar Flashy. Lifetimes Deep (2011)

47

Figure 2:8
Pat Grant. Douglas and Douglas (2010)

48

Figure 2:9
Liam. Fuzzle Puzzle Christmas Magic #2 (2011)

49

Figure 2:10
Bre Tepper. Sleeping Blackbird

50

Figure 2:11
Diny Lee. The Strange Travel of Rabbit Ze-Ze, Mr. And Mrs. Swiss and Lonely Panda Ssul-Ssul-Yi *

51

Figure 2:12
Dana Cooke. Dealing With Post-Human Abilities*

52

Figure 2:13
Tobi Vale. Jigsaw #7 (1988)

53

Figure 2:14
Beard #4 (2011)*

54

Figure 2:15
Marjane Satrapi. The Pill from Persepolis (2003)

55

Figure 2:16
Art Spiegelman. Maus (1980-86)

56

Figure 2:17
Hannah Hch. The Coquette (1923-25)

57

Figure 2:18
Magic Sweater. Teen Vomit (2011)

58

Figure 2:19
Future Notes: Ghost Patrol (2011)*

59

Figure 2:20
Plastic Knife #, Black Paint Gold Wire #8 a split zine (1999)*

60

Chapter Three: Alignment with Art World Movements The basic impulse of modernism was to create previously unimagined objects and new ways of seeing them. Modern artists sought to provoke the shock of the new, [] reveal the present [and] consign the recent past [as out of place]. This meant many traditions came to be viewed as a hindrance to progress, such as the idea of God. They invented forms, compositional formats and systems of visual signage that paralleled those of the forces of modernisation due to industrialisation (Bell, 2011a). However, modernism incorporated aspects of non-European cultures as estranging devices and signals of primitive otherness, significant work by women artists were excluded, and the portrayal of women as aesthetic objects was persistent.28 From a post-colonial perspective it can be seen as a legacy of imperialism (Bell, 2011a). Combined with the pirating of popular and commercial visual cultures, despite its claims to maintain a critical distance from the everyday life of modernity, modernisms contradictory pattern of incorporation and exclusion contributed to its decline and end in the 1960s. Emerging to override modernism during the 1970s, post-modernism quotes early modernist practices and strategies but rejects its exclusivist narratives by embracing all manner of given representations and styles, while querying all notions of essence (Bell, 2011b). This perceived lack of direction (having rejected the imperative of progress upheld by modernism) and certainty (due to widespread experimentation) contributed to postmodernism being palpably derided by art critics as a period of art history plagued by weak and ever-looser connotations (Bell, 2011b). However, as a response to a global condition in which subjects are bound to experience the world as consumers surfeited with a plurality of processed images and packaged information, among which no narrative can establish privilege (Bell, 2011b), post-modernisms refusal to comply with received methods of representation [may also be] seen as asserting critical opposition to the surrounding culture of capitalism (Bell, 2011b). Aligned with post-modern ethos, zines as artists books embrace all manner of representation and styles whilst asserting a critical opposition to the surrounding culture of capitalism. This is evidenced in their low-fi, handmade, advertisement-free productions and subject matter satirising mainstream commercial culture. Zinesters dont have an essential agenda involving the rejection of traditions per se, but take the present as the focus of their concern. Without historical a prioris (ascertained

28

Noteable artworks that mark a later shift in attitudes toward women and identity in art include Hotline for Troubled Teens (1970) by Jo DeMers and numerous works by the Cindy Sherman.

61

through inclusion in specific social, educational or artistic groups), zine producers critique the everyday. As a result their subject matter is usually extremely subjective (and often politically incorrect), yet by way of its eyewitness accounts and experiences, inherently reflects the political, social and economic situation of the environment. These accounts of personal and political landscapes are produced by a decidedly non-exclusivist community of people. Individuals of any gender, cultural background or age can make zines, whether they are amateurs or professionals. Zines provide the means of a voice (for anyone with access to pen and paper) and (via their reproduction) cultivate discussion in a public forum (outside academic institutions), between individuals and groups.

The Death of Postmodernism and Altermodernity For visual artists, post-colonial theory and history influence attitudes surrounding contemporary art by facilitating an understanding of the social and cultural temporality of late modernity (Enwezor, 232). 29 Such discourse also continues to affect the judgment, production and reception of contemporary art works. Ongoing themes within post-colonial discourse include the Western30 penchant for classification, strategic motivations, domination, and the shaping of linear histories through the control of borders. Historical problems, relating to the Wests approaches to the acquisition of knowledge, form the basis of questions surrounding inclusion and exclusion in art institutions such as museums and academies. Surpassing dated conventional notions, todays discourse (including art works that combine historical perspectives with contemporary observation) should demonstrate an awareness of systems of representation influenced by political forces and support established anti-colonial currents.31 The espousal of this socially responsible ethic is evidenced in the

29

The age of modern colonialism began about 1500, following the European discoveries of a sea route around Africas southern coast (1488) and of America (1492) (Magdoff, 2011). Western colonialism is a political-economic phenomenon whereby various European nations explored, conquered, settled, and exploited large areas of the world (Magdoff, 2011) 30 A civilisation is usually regarded as the largest cultural unit about which a linear history can be written (Birken, 453). Western civilisation developed in the continent of Europe and was carried to [...] areas in other parts of the globe that were colonized by people from Europe. [...] Among all peoples of the ancient world, the one whose culture most clearly exemplified the spirit of Western society was the Greek or Helenic (Birken, 451). The Western World as a current temporal and spatial phenomenon with Classical-Christian and Germanic heritage may also be called the Modern World (Birken, 451-457). 31 Ideological grandiosity that treats Western (modern) civilisation as a central civilization relevant to all humanity provokes sexual, ethnic and racial dissidence. This type of attitude portrays it as an anti-civilisation which stands in the way of the self-understanding of [non-western people] without history (Birken, 459). In What is Western Civilisation? (1992) Lawrence Birken suggested rejecting such ideological grandiosity in the form of a more modest approach which involves restoring the notion that the West was merely one civilisation among others and giving it a place within a conception of a world civilisation which might help to reunite an ever more pluralistic [country] on a new and fairer basis (Birken, 459). Todays art world is similarly reacting to rises in coexisting cultural strata and the mixing of local, traditional and global influences by integrating what has been exposed through post-colonial discourse into art theory.

62

expressions of some zinesters (consider For Strength and Valour) who may be considered as participating in a form of philanthropic behaviour. In post-colonial theory, the first phase didnt engage with the ambivalent condition of the colonial aftermath [its history and motivations. Instead it focused on] discursive and textual production of colonial meanings and, concomitantly, the consolidation of colonial hegemony (Gandhi, 64-65). Later theory, such as that of Edward Said in Orientalism: Western Conceptions of the Orient (1978) challenged the foundations of Western knowledge. It gave attention to the violence of imperialism32 and elaborated an understanding of imperialism and colonialism as an epistemological and cultural attitude rather than just a simple act of accumulation and acquisition (Said, 1993). Most post-colonial literature features concern with place and displacement; the crisis of identity due to dislocation or cultural denigration and the linguistic alienation that results from imperialism.33 The misrepresentation and exclusion of the works of minorities (women, immigrants etc.) is revealed in post-colonial discourse and subsequent artworks that draw on anti-colonial currents. Shibboleth (2007) indirectly provokes an awareness of the current art worlds selfknowledge (arising from post-colonial discourse) of its prior complicities in the exclusion or misrepresentation of minorities. Doris Salcedo, a Columbian born artist in America, drew on her personal experiences of racism as an immigrant to create Shibboleth, a disruptive chasm stretching the length of the Turbine Hall at the Tate Modern (an iconic museum of modern art) (Figure 3:1).34 Elements of the artwork fuel connections to unsound foundations and subversively promote discourse regarding unsound ideological foundations based on untold histories those of the marginalised, excluded and missing. The void and disfigured space was filled in and presently remains a discernable scar in the foundations of an authoritative modern art institution. Shibboleth reflects the western art worlds past involvement in fashioning linear histories based on problematic systems of analysis and classification. As Mike Gunderloys experiences with Factsheet Five will attest (see page 25), zines tend to
32 Imperialism was the result of capitalist development and an expression of its maturity. (Arrighi, 2002). The concept of imperialism is used to deal theoretically and practically with the development of the capitalist world-economy. Rosa Luxemburg concieved imperialism as the political expression of the accumulation of capital in its competitive struggle for what remains still open of the non-capitalist environment (Arrighi, 2002). Luxemburg identified the forcible incorporation of peoples and territories into processes of capital accumulation as a constant feature, [as] agents of capital accumulation [attempt] to overcome chronic overproduction tendencies (Arrighi, 2002). Rudolf Hilferding identified tendencies (such as, the increasing concentration and centralisation of capital, the spread of monopolistic practices, and the organic domination of finance capital over industrial capital) that (at some stage of thier development) heightened interstate territorial rivalries (Arrighi, 2002). 33 Susan Hillers The Last Silent Movie (2007) address the topic of endangered languages and the affects of Apartheid are addressed within the works of South African artist William Kentridge. 34 Peoples movements legal and illegal- have usually been dictated by cultural, political and economic powers. Besides exploiting and dispossessing the native indigenous inhabitants for economic gain, strategic colonialist settler projects have moved thousands of people from Europe into America, Asia and Africa. On a separate note, a unique aspect of Shibboleths title word, lies in its historical use as a test word by an Israelite Judge to test the nationality of wayfarers near Jordan.

63

resist classification. Zinesters chance to create more authentic depictions of identity and location as they freely traverse and blend genres, produce without restrictions on subject matter and the enforcement of naming and dating procedures that would reduce them to mere annals. The world of zines is thus fashioning a non-linear history of an unlocatable present. Rising from the historical breach that has opened up today within the context of contemporary art (Enwezor, 2008), is the term Altermodern. Invented by French curator and author of Relational Aesthetics (1998) Nicholas Bourriaud, the term was intended to herald and define the multiplicity and otherness of the event after postmodernism within the art world. Bourriaud used the death of postmodernism as the starting point for reading the present (Bourriaud, 2009). This may be evidenced in such exhibitions as Postmodernism: Style and Subversion 1970-1990 (2011 2012) at the Victoria and Albert Museum. Its website discusses post-modernism in past-tense, suggesting it collapsed under the weight of its own success after a fatal encounter with money as it became the preferred style of consumerism and corporate culture (VAM, 2011). Reflecting on post-modernism as a movement that shattered established ideas about style [and brought] radical freedom to art and design, through gestures that were often funny, sometimes confrontational and occasionally absurd Victoria and Albert Museum essentially held a retrospective exhibition that aligned with Bourriauds position that post-modernism is passing. Spearheaded by Bourriaud, the shared artistic and theoretical moment of Altermodern was a contrived reaction to a perceived rise in coexisting cultural strata (the mixing of local, traditional and global influences in art) towards a globalised state of culture and against standardisation.35 Furthermore, the concept sought to reject multiculturalist dogma.36 Themes of (crossing) borders, travelling and exile (the experience of wandering) contributed to the Tate exhibition Altermodern in 2009. Altermodern was not an exhibition to illustrate a theory but a process of collective thinking, an attempt to re-examine the
35

In response to the terminology globalised state of culture being described as a new cosmopolitanism [] accessible to relatively few, Bourriaud responded that, for artists like Pascale Marthine Tayou, born in Cameroon and living in Belgium, [] globalised state of culture is already a matter of fact: in every spot of the planet, you can see this new cultural stratus, coexisting with the layer of traditional culture and some local specific contemporary elements. (Bartholomew, 2009) 36 When Edward Said challenged foundations of Western knowledge in Orientalism: Western Conceptions of the Orient (1978). He questioned underlying assumptions that form the foundations of Orientalist thinking, and argued that the word itself connoted the prejudice and reductive outsider interpretations of Eastern cultures and people, presenting them as an exoticised other for Western delectation.36 It is similarly argued that multiculturalism, with its emphasis on difference and ethnic identities, may constitute a new form of imperial divide and rule. In Australia and the United States, multiculturalism, critics argue, masks race realities, eases the liberal concience and undercuts a more radical anti-racism to preserve the status quo [...] (Bush, 57-58). Multiculturalist dogma which requires the acceptance of every culture despite difference in values and behaviour becomes problematic when cultures which are educationally or economically lacking are unable to attain the same levels of success of the larger society because they decline or are refused the opportunity to behave according to the cultural norms of the larger society. To force minorities into behaving according to widely accepted norms is cultural imperialism in action. The discursive engagement between groups with fundamentally different value standpoints is always in danger of regressing into a strategic play for power.

64

present(Bartholomew, 2009). Bourriaud admitted in March 2009 that the definition was far from being complete. Global Feminisms: New Directions in Contemporary Art (2007), was an exhibition which similarly sought a nationwide re-evaluation in order to bring a story up to date, represent a global sweep and diversification and a timely assessment of advances made and obstacles remaining (Heartney, 155). Both exhibitions, posed with problematic titles, sought to reconsider historically placed institutional obstacles through a comprehensive survey of artists work. In a technologically advanced social networking, media age, zinesters have been privy to the increase of cultural strata in major cities and remote areas (a result of people migrating globally). While individuals in cultures where mass media is prevalent are limitedly exposed to the cultural diversity of other geographical locations, many zinesters are truly from diverse cultural backgrounds (concentrated as they are in metropolitan areas). Zines varied authors evidence the rising mix of co-existing cultural strata. They also challenge standardisation by mainstream culture by sharing information that is considered unimportant and disregarded by companies dependent on generalisations (such as stereotypes) in their objectives (strategies for making profit). In drawing on everyday experience, zinesters are accessing the same source Bourriaud insists artists should be cultivating, the everyday. Bourriaud maintains that art exists not within borders but in everyday life, and that the aesthetic challenge of contemporary art resides in recomposing [the montage that is reality, so we can] realise alternative, temporary versions of reality, with the same material.(Bartholomew, 2009). By embodying this ethic, zinesters recreate new meanings in an environment felt to be increasingly impersonal and alienating to draw new connections between diverse individuals. In this way, they cross personal borders, sharing the experiences of their travels through everyday life. Their personal expressions, reflections and responses, in their diverse range of voices, critique, celebrate and represent the diverse landscape they are a part of. The egalitarian climate created by zine culture has potent potential to positively affect societys fabric.37 In an attempt to loosely summarise the decreasingly Eurocentric contemporary art world in a climate of epistemological challenges, where universalised conceptions are fragile and modernisms historical conceit has been exposed (Enwezor, 2008), a poetic reading of Untitled (Series#3) by contemporary artist Cleste Boursier-Mougenot38 yields themes of transition and temporality towards a vision of a population of nomadic hybrids. It
37

Especially in light of the way Sept 11 changed our psychological landscape inducing a climate of fear that is buoyed by mass media (through its skewed portrayals of war on terror). 38 (Untitled (Series #3), 2011)

65

materialises through sound- the slippage of memory after an encounter and from a distance, the mechanics of the archipelago of Altermodernity Bourriaud describes (Figure 3:2). Various sized bowls, the proliferation of personal and cultural strata, floating, compose a series of constellations in motion. Inspired by John Cage, who considers music the medium through which humans most commonly experience the intangible and abstract, Mougenot combines the technical with the aesthetic and sensorial in order to amplify the feeling of the present moment and encourage viewers to witness their own present time (GoMA, 2011).39 Zinesters witness, record and share their own present time as nomadic hybrids. They are individuals who seek to embrace their authentically complex selves, against the reductive stereotypes formed of them in mainstream culture. Their world of zines embodies an intersubjective archipelago of diverse personal and cultural units, nomadic shifting, connecting and changing. It is plausible that the world of zines has always embodied the emerging ethos of Altermodernity. It is only now that the world of art is similarly poised to embrace it. In What is Contemporary Art? (2009) Terry Smith identifies major currents within the flow of contemporary art. After mentioning the shaping of art by local, national, anticolonial, independent values within a postcolonial climate, he describes a current regarding the outcome of a generational change occurring. Five aspects of Smiths work which echo Bourriauds notions of an Altermodernity include: less and less regard for fading power structures (the collapse of the monolith of modernity); more concern for interactive potentialities (various material media, virtual communicative networks, open ended modes of tangible connectivity. (Smith, 2009)); artists seeking to arrest the immediate and grasp the changing nature of time, place, media and mood today (time depicted in complex and multiple dimensions (Bourriaud, 2009)); artists seeking to raise questions of the nature of temporality (displacement as a method of depiction (Ibid., 2009)); and placemaking vis--vis dislocation (Smith, 2009) (the artist as cultural nomad (Bourriaud, 2009)). Zines identify with each of these particular aspects of contemporary art described by Smith and Bourriaud in various ways. Zines do not intentionally regard the conventions of art world movements and have never subscribed to the manifestos of modern artists. They have thrived organically to fulfill the specific needs of everyday people, from amateur artists and musicians to film fans and political dissenters. They already epitomize disregard for power structures. Zines have
39

John Cage is a musician, born in Los Angeles, California (191292). An influential composer and a leading figure in the, art, philosophy, and Poetry. (Fleming, 1997)

66

naturally developed communicative networks for that is their purpose (to communicate, regardless of whether its as oneself or an anonymous individual). Zines interactive potential is achieved while selling, sharing and swapping, attending zine fairs and meeting their artists, and the sharing of contact details on zines themselves. They arrest the immediate and grasp the changing nature of time and place because their producers source of inspiration and content is the everyday. Collectively, zines depict time in complex and multiple dimensions. For example, they can speak about such things as current bands, or reminisce, resurrect or refabricate late bands from the perspective of lovers, players, workers, or aliens and in the process make perfectly clear their disposition in and across time. This documentative or imaginal process consequently not only raises questions of the nature of temporality but embraces it and contributes to zines ephemeral quality. Zinesters capture the moods of their changing circumstances in their poetry and artistic depictions (whether a love poem or photo of an MP with devil-horns). Zines displace deeply private experiences into a public sphere and create new spaces for readers to experience otherness. Australian zinesters can read of the experiences of American mormons or Japanese tsunami and nuclear disaster survivors, women can read about male experiences of relationships and men are privy to female experiences of IUD transplants. There is no higher power stringently regulating, censoring or homogenising the voices of what effectively becomes a community talking to itself. The world of zines revolves around the present and the person; typically theres no point to conversation other than the experience of conversation itself. Its for many of these reasons that for an individual accustomed to walking into a library or bookstore may find a zine retailers shelves (or online booklist) chaotic. They resist categorisation by subject because the plethora of everyday experiences is similarly interconnected, complex and difficult to categorise. For example, one would be hard pressed to decide whether to place a zine about the death of a budgie in: pets, death, grieving, birds or non-fiction; or a zine about dealing with post-human abilities in: paranormal, superheroes, instructional, humor or fiction. The ambiguity that zines incite, their resistance to categorisation exemplifies Altermodernity. Bourriauds Altermodernity calls for us to acknowledge and embrace mobility, chaos and complexity, but have artists, and by token zinesters, not been doing this all along? Intertwining strategic motivations, hegemony, and the shaping of linear histories, through framing and controlling borders, coupled with the Western penchant for classification; one might be led to assume Bourriaud seeks to characterise and identify an art world in a way that frames and arguably reduces its heterogeneous nature into something more tangible for a

67

patternistic thinker to wrestle future visions.40 In calling for a framework of a new modern movement based on heterochrony Bourriaud may be universalising and labeling a period of time with a similar action that produced, repetitively, the canons of modern art.41 Calls for freedom to explore suggests our freedom was limited, Altermodernity calls for the opening of doors, to a change in attitudes, namely how art is received. A key aspect of Altermodernitys developing ethos involves the inclusion of art from the everyday by everyone. Bourriauds theory of Altermodernity suggests zines belong inside the now cracked walls of the art world as much as they do outside of it. Such is Bourriauds conception of Altermodernity, it is a theoretical moment occurring everywhere all at once.

Zines as Nomad Thought The most promising aspect of zines ability to exemplify contemporary art, in the conceptual climate of Altermodern, is their capacity to embody and promote nomad thought. Nomad thought is the kind of thought which does not [enclose] itself in the edifice of an ordered interiority [but] moves freely in an element of exteriority (Massumi, 1987). This type of thought that Gilles Deleuze and Felix Guattari called for in Anti-Oedipus, was experimented with in their collaborative sequel A Thousand Plateaus (1980). Contemporary artists exemplify nomad thought, as people who (along with revolutionaries and seers) know that desire clasps life in its powerfully productive embrace and are content [being] objective (Seem, xxiv).42 Exploratory and experimental, nomad thought can forge unforseen connections in (unchartered) territories. This is particularly important in founding and promoting alternative realms of value and ways of being in the world. The overcoming of personal neuroses and degrees of modern alienation may be attained in taking on the everyday and the commonplace in unconventional ways. Economic structures and policies tend not to maintain a subjectivity which has the potential to form changes in production, ways of living and axes of value. Michel Foucault addresses the way techniques of power are invented to meet the demands of production in his analyses of power relations.43 In capitalised western societies, which no longer exercise
40

Much of what controls the world is hidden from direct view, so our minds have evolved to infer the existence of things we cannot see. One problem with linking cause and effect is that we can infer the actions of forces when there may be none, and the other is that we tend to link events that are not actually even related (Hood, 27). 41 Bourriaud appears to be an organic intellectual,41 on the move and on the make. While inventing terms, trying to define whats next...whats emerging... hes cosmopolitan in the sense of being open to a global, diversified and dematerialised world (Becker, 3). 42 For Immanuel Kant the core of aesthetics is disinterest, a freedom from desire. 43 By examining technologies of power such as Jeremy Benthams Panopticon he reveals an apparatus of total and circulating mistrust, because there is no absolute point (Foucault, 1980).

68

spectacular punishment,44 the inspecting gaze has been interiorized, where each individual [is] thus exercising this surveillance over, and against, himself (Foucault, 1980). In capitalist culture the corporation operates through challenges and contests (Deleuze, 1992). It can promote an atmosphere, which encourages and rewards competitive behaviour and rivalry which pits one against another and runs through each, dividing each within (Deleuze, 1992). Systems under which people live affect their manner of living and relations with others, people tend to formulate unique ways of resisting. This is illustrated by practices of economic diversion (La perruque), where nothing of value is stolen, and subversive practices of zine making is an ethical response to capitalist commercial mainstream.45 Such practices of moral resistance highlight the desire for a return of a sociopolitical ethics into an economic system (De Certeau, 1984). Within his sprawling schizo text Junkspace (2002), Rem Koolhaas discusses capitalisms endless desire to construct new forms of consumption and the consequent spaces that disrupt humanistic social traditions.46 Despite external spaces of leisure and work indifferent to humanistic activity, Foucault offers consolation in saying that all these spaces are still nurtured by the hidden presence of the sacred (Foucault, 2002). In Of Other Spaces (2002), Foucault credits Bachelard and the descriptions of the phenomenologists that have taught us that we live not in homogenous and empty space but in one imbued with qualities [that are] perhaps thoroughly fantasmatic(Foucault, 2002). Zines tend to expose the humanistic qualities overlooked by mass producers (and consumers) within the Junkspace, that is consumer culture, and herald a return to Peoples Architecture.47 Individuals are capable of fulfilling unrecorded spiritual needs through art processes, like zine making, that experiment with experience through gestures and responses to the everyday. Effectively, tending to internal structures, as opposed to the external and materialistic structures of consumerist Junkspace. In Everything That Surrounds: Art, Politics and the Everyday (1998), Nikos Papastergiadis supports the concept of the everyday as
44 45

This was how monarchical power operated, violently. (Foucault, 1980) In France, la perruque is called the wig (De Certeau, 27). It is only one case among all the practices which introduce artistic tricks and competitions of accomplices into a system that reproduces and partitions through work or leisure. There are countless ways of making do. When work and leisure flows together, they repeat and reinforce each other. Cultural techniques that camoflage economic reproduction with fictions [which] [] spread throughout the workplace. (De Certeau, 1984). 46 Earthlings now live in a kindergarten grotesqueJunkspace thrives on design, but design dies in Junkspace. There is no form, only proliferationRegurgitation is the new creativity; instead of creation, we honour, cherish, and embrace manipulation The shiniest surfaces in the history of mankind reflect humanity at its most casual Flamboyant yet unmemorablea domain of feigned, simulated order, a kingdom or morphing Brands in Junkspace perform the same role as black holes in the universe: they are essences through which meaning disappears. (Koolhaas, 2002) 47 As Rem Koolhaas states in Junkspace, [] our concern for the masses has blinded us to Peoples Architecture (Koolhaas, 2002). Peoples architecture being the complex structures of human psychological space as oppossed to external material space.

69

supplement to Marxs concept of alienation and its ability to create an art which is freed of theoretical baggage and pretensions and seeks to heighten our senses to the proximity of the marvelous [and] find significance in commonplace signs (Papastergiadis, 1998). Nikos Papastergiadis posits that in the early 1990s young artists who were emerging began demanding that their work be stripped of [...] theoretical baggage (Papastergiadis, 1998). Papastergiadis essay posits that creativity can be over determined by preoccupations with psychoanalysis and politics and that art with a direct contact to life, the domain of noneconomic work, could illuminate the complex ways in which subjects exercise their potential to be emancipatory and critical (Papastergiadis, 1998). In detaching from systems that tend to maintain objectivity and rationality they may access germinations that could regenerate our being in the world (Suquet, 1995) as Joseph Beuys believed art was capable of doing. In drawing on the everyday and freed of theoretical occupations, zines allow everyday people to employ imagination and intuition. The influential Joseph Beuys is renowned as a shamanic artist who focused on how art could exercise healing effects upon society and the individual by countering rationality that seeks to diminish emotions. As a political activist and environmentalist he used shamanistic tenets, such as ritualised movement and unconventional materials, in many performances such as How to Explain Pictures to a Dead Hare (1965). Parallels between visual arts methodology and shamanistic practice include a grounding in self and subjectivity. Both explore the human condition, and their practitioners are sophisticated producers of meaning (Narby, 2001). Shamans are commonly thought of as spirit guides, who utilize magic with the purpose of divining the hidden and healing. Their unique desire to alleviate sickness and trauma through visiting other worlds, entering altered states of dreaming consciousness in pursuit of high-level insights, has been interpreted as a cognitive technique applied by animistic thinkers (Charlton, 2002). In Dreaming with Open Eyes: The Shamanic Spirit in Twentieth Century Art and Culture (2008), Michael Tucker describes how artists in the twentieth century have taken on the role of the Shamans of pre-history (Michaelson, 2009). By challenging the unconscious mind in its native grammar modern artists can strip away the filters of contemporary experience and perceive the world in a metaphoric, archetypal way (Adcox, 2008). In Towards a Shamanology: Revisioning Theory and Practice in Art (2007), Tucker went on to align himself with Joseph Beuys (and Kenneth White) in saying that approached in the right spirit, the ancient archetype of Shamanism has much to offer an art world where certain types of theoretical attitudinalising can do much to stifle, rather than expand, students potentiality (Tucker, 2007). As a specialist in Shamanism, 70

Tucker may not be aware of art concepts such as the everyday that support the easing of theoretical occupations in art production. Similarly he may not be aware of work such as that by Deleuze and Guattari which have negated the notion of archetype in order to build such theories as nomadic thought and the body without organs essential to it. The Body Without Organs Anti-representationalists Gilles Deleuze and Felix Guattari confronted psychoanalysis with Anti-Oedipus: Capitalism and Schizophrenia (1977) by explaining how Oedipus causes neurosis (by shaming desire) as opposed to neurosis being caused by an oedipal complex. Their theory attempts to link schizophrenia to capitalism, here I will only be focusing on their concept of experience as the body without organs (BwO). Rejecting psychoanalysiss views (on neurosis) and methods, they proposed schizo-analysis as opposed to psychoanalysis in order to reveal the stratas of domination that were responsible for neuroses. Rather than withdrawal into reductive codes (such as those imposed by institutions) they proposed escaping Christian duality into multiplicity.48 They also supported expansion from making experimental and inventive connections by the relay of ideas into action. The Christian concept of the body and the mind as separately functioning entities is overcome and there is but one body with organising machines imposed upon it so as to see, hear, eat, feel etc. This means that external forces (culture, school, state) that dominate corporeal experience build and shape an organism in a fashion not dissimilar to the construction of an ego. Deleuze and Guattari posit an act of resisting these dominating strata which involves shedding these organising forms imposed upon the body, breaking it with a small death, to become a body without organs. This is likened to the death of the psychological construct, the ego, by means of a destructive dismantling.49 This state, as a body without organs, is brief as individuals must return to the systems that sustain them (eating, dressing, going to work etcetera) however, this cognitive action briefly opens a window into the unknown, potentially allowing access to high-level insights otherwise blurred by usual occupations. It is a temporal escape into alternate strata.50 Thus individuals can experience free and experimental wandering (as nomads) in the territories whose inhibiting structures can thus become exposed.51 Deleuze
48

All multiplicities are flat, in the sense that they fill or occupy all of their dimensions: we will therefore speak of a plane of consistency of multiplicities, even though the dimensions of this "plane" increase with the number of connections that are made on it. (Deleuze and Guattari, 1987) 49 Egolessness involves loss over the construction of a sane mind, so it inevitably is fraught with complications. 50 Where psychoanalysis supports individuals being defined in terms of common and external goals, following a predetermined (and doctrinally precise) map with the ends of achieving a conflict free existence, Deleuze and Guattaris theoretical endeavours propose schizo-analysis as a means of deciphering and exposing cultural superstructures that dominate corporeal experience, thus allowing the body to become a body without organs for temporal escapes (tracing lines of flight into alternate strata). 51 Withdraw allegiance from the old categories of the Negative (law, limit, castration, lack, lacuna), which Western thought has so long held sacred as a form of power and an access to reality. Prefer what is positive and multiple, difference over

71

and Guattari expanded and experimented with the nomad thought called for in AntiOedipus, in their collaborative sequel A Thousand Plateaus (1980). While psychoanalysts desire to construct a rational consciousness, (schizo-analysts) Deleuze and Guattari support subjectivity through a rejection of the systematic simplification and mapping of human changes with totalising systems. To highlight the Deleuzian body without organs (BwO) as the anti-thesis to archetypes which reside in a collective unconscious, I will reiterate some major differences. Archetypes pose the world as a finite space (a collective unconscious ground in virtual matter to which we are all connected), composed of simple (archetypal) components where everything is predetermined (by these omnipresent models). The BwO exists in an undefinable and therefore infinite world (only our experience of it is infolding), freedom is limited by ones faculties (of transformation such as thought and feeling) beyond which things are deformed (Massumi, 1999)52. The nomad thought of the BwO exists in a repeating process of (recognising territories) deteritorialising and reteritorialising the complex surfaces (environments) it traverses, not aimlessly but experimentally. Here, not all things have a cause and delineated movement, it is about encounter (one after another after x + y + z... continually) and becoming;53 about repeating (this process) to differ. It is about travelling, speed and being in between.54 There are no predetermining systems or maps, but lines of flight that compose a rhizome network.55 So the concept of an archetypal realm, to the Deleuzian BwO, is yet another form that may be imbricated by the body. This is consistent with the ideology of a linguistic universe where the unity of a text lies in the reader (Barthes 1968). It is also key to understanding how to negate archetypes as deeply entrenched ways of conceptualising that can inhibit the flexibility necessary for personal and spiritual change and growth (Meadow, 192).
uniformity, flows over unities, mobile arrangements over systems. Believe that what is productive is not sedentary but nomadic. Michel Foucault (Deleuze and Guattari, 1977) 52 (On mans inability to comprehend anything completely) No matter what instruments he uses, at some soint he reaches the edge of certainty beyond which conscious knowledge cannot pass.(Jung, 21) 53 A rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo. The tree is filiation, but the rhizome is alliance, uniquely alliance. The tree imposes the verb "to be" but the fabric of the rhizome is the conjunction, "and ... and ...and..." (Deleuze and Guattari, 1987) 54 Where are you going? Where are you coming from? What are you heading for? These are totally useless questions. Making a clean slate, starting or beginning again from ground zero, seeking a beginning or a foundation-all imply a false conception of voyage and movement (a conception that is methodical, pedagogical, initiatory, symbolic ... ). (Deleuze & Guattari, 1987) 55 The rhizome is altogether different, a map and not a tracing. Make a map, not a tracing. The orchid does not reproduce the tracing of the wasp; it forms a map with the wasp, in a rhizome. What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce an unconscious closed in upon itself; it constructs the unconscious. It fosters connections between fields, the removal of blockages on bodies without organs, the maximum opening of bodies without organs onto a plane of consistency. It is itself a part of the rhizome. The map is open and connectable in all of its dimensions; it is detachable, reversible, [and] susceptible to constant modification. It can be torn, reversed, adapted to any kind of mounting, reworked by an individual, group, or social formation. It can be drawn on a wall, conceived of as a work of art, constructed as a political action or as a meditation. (Deleuze and Guattari, 1987)

72

In seeking a contemporary reality, the concept of the BwO: limits postmodern selfreflexivity (even though infolding occurs, the embrace of desire for exploration and experimentation is encouraged); it emboldens fragmented and hybridized ways of being (by not just problematising but exposing the perspectival foundations of systems); and embraces a chaotic and random world (by leaving behind the self-conscious condition of postmodernism to embrace nomadic exploration). When the BwO, exemplifies nomad thought, by moving freely in an element of exteriority rather than an ordered interiority (Massumi, 1987), it is embodying the plane of immanence (smooth space). These notions of nomadic movement through chaos and complexity compliment Nicholas Bourriauds notion of Altermodernity (2009) which addresses global themes of borders, travelling and exile and answers Deleuze and Guattaris calls for immersion in the changing state of things (Seem, xxii). Altermodernity is similarly focused on travelling as opposed to definable locales (and individuals being defined by these locales), as Deleuze and Guattaris notions of constantly being in-between.56

Shamanistic Tenets Artists of the everyday, zinesters, embody nomad thought and are capable of the kind of temporal escapes suggested by the concept of the body without organs. They can counter the social exploitation and psychic repressions of epistemological influences and embody the shamanic artists ability to deconstruct and reconstruct elements of the psychological process in the service of renewal (Ronnberg, 210). Daniel C. Noel posits that the West could validly develop a contemporary neo-shamanistic imaginal shamanism that could have psychological benefits. With this there must be a consideration of the problem of neoshamanism as a Western construction of cross-cultural fantasy contributing to simulated spiritual practices, or a form of neo-colonialist misappropriation of indigenous cultural property (Tucker, 2007). The history of zines and its entropic growth within Western culture, evidences it as an artform and phenomena indigenous to modern culture that is capable of beneficially catering for diverse individual and group needs because they embrace multiplicity, timelessness the known and unknown. Zinesters have the potential to personify the neo-shamanic artist. Zinesters can represent the every person, employing unconventional and exploratory art practices, to tap into the complex, symbolic and profound aspects of the
56

The middle is by no means an average; on the contrary, it is where things pick up speed. Between things does not designate a localizable relation going from one thing to the other and back again, but a perpendicular direction,[...] (Deleuze and Guattari, 1987)

73

everyday. Zinesters challenge the Junkspace of consumer culture and are advocates for the emotional and consequently spiritual benefit of individuals and their communities.57 Framing Junkspace To produce a work of art the artist becomes a conduit for the passage of a frame, to a screen (in matter) you could call it a refrain which has tamed the virtual.58 After the extraction of qualities from chaos, if the screen can provide and amplify sensation, autonomous of the creator, it becomes art proper (Grosz, 7).59 Art enables matter to become expressive [] (Grosz, 4). To quote Elizabeth Grosz: Chaos here may be [now] understood not as absolute disorder but rather as a plethora of orders, forms and wills. Forces that cannot be distinguished or differentiated from each other, both matter and its conditions for being otherwise, both the actual and the virtual indistinguishably. (Grosz, 5). This violate scene of repetition and difference, virtual (manifest) and latent (unmanifested) potential is where territorialisation, deterritorialisation and reterritorialisation as a continuous process of framing, unframing and reframing occurs. Territorialisation (whether by architecture or art) is the movement of joining the body to the chaos of the universe itself according to the bodys needs and interests (Grosz, 18). This movement breaks up systems of enclosure and performance while the body is impacted by what it encounters (Grosz, 18). It is possible to consider Koolhaas Junkspace as a chaos zinesters can navigate nomadically, relatively free of cultural impositions such as popular aesthetics and political correctness. Their movement of framing the elements and qualities of everyday experiences in the form of zines, reveals fragments of systems of enclosure and performance they are subjected to. The individual, family, cultural, and political standards they respond to and their affects are situated in their literary and visual refrains. In Noctambulist, visual elements framed by way of their assemblage reveals fragments of systems of enclosure and performance. Unnumbered pages and asynchronistic narrative passages delineate time and fragment the similarly fragmented heros quest. The book as a whole is constructed of small screens, a multiplicitous assemblage. Scripted scenes provide randomly occurring accounts of corporeal experiences, which have the potential to mirror a readers experience of wandering experimentally, in an effort to discover patterns
57

John Adcox, when reviewing Tucker states At their best and most unfiltered, modern artists are heirs to their ancient ancestors that painted on caves. Theyre reaching into [...] an altered state of conciousness. As a result, they tap into something primal in the collective mythoconciousness of humanity, something complex, symbolic, and profound (Adcox, 2008) 58 The emergence of the frame is the condition of all the arts and is the particular contribution of architecture to the taming of the virtual. (Grosz, 17) 59 Framing is how chaos becomes territory and territory frames chaos provisionally (Grosz, 16-17).

74

and make connections. The intensity and affect of sensations produced by ambiguous references is entirely dependent upon the reader, who is invited to play an active role in constructing the text because so much is missing. The action of leaving the text, the origin of the page, include talk of inter-dimensional portals (Figure 3:3) and the edge of a page (Figure 3:4), space beyond human activities. When a reader attempts to build a linear narrative, by filling in the gaps, the work of origin dissolves as the volume of narrative invented by the reader increases.60 Previous passages of experience are self-reflexively relived but soon abandoned in search of a new clue, another experience. If this free exploration could be traced like lines of flight between different strata, and the sites visited locked, a shifting rhizome would appear. In constructing narrative, the edge of the frame, the point beyond which conscious knowledge cannot pass, may be the limit of the information supplied whether in text of image (Figure 3:4). In a climate where transnational and global images can find their way into the readers mind, the interpretation of symbolism is not nearly as pertinent as knowledge of others. Elizabeth Grosz says, art is the opening up of the universe to becoming other.

Conclusion This research has led me to consider a new body of work, a science-fiction masterzine. I envisage this master-zine will generate an unknown series of traditional soft-cover and pamphlet style zines. It will be interesting to discover whether my methodology will change, knowing that a conventional zine series will follow from the book. I would like to know if people who purchase the zine collection in the future would feel differently about the masterzine, as a feature length visual novel. Would this master-copy receive any interest from zine aficionados? Might it be absorbed into the existing zine scene? I would also like to investigate how much technology can be incorporated into the ezine format before it is no longer a zine or outside of their ethic. In conclusion, zines are an artform developed organically within capitalised culture to endorse aspects of subjectivity overlooked in mainstream thinking. As not-for-profit, original works of art and literature; they continually challenge preconceived notions of books. Producers of zines invite readers to sense the sincerity or sarcasm in their intimate subject matter and forms. The zine is replete with human touches such as hand-tied string, staples and rough cut pages or flawed amateur cut-and-paste visual text and images. It is easy to
60

Flesh is the only developer which disappears in what it develops: the compound of sensation. (Grosz, 23)

75

feel like many are a joy to create as much as they are to receive. There is no underhanded manipulation going on here, if any norms of mainstream media appear in the world of zines they enter alone, stripped naked of their supporting systems of influence, isolated and exposed as weak and comical attempts at persuasion. Zine production is, to borrow Michel de Certeaus terms, a tactic that seeks a return of the ethical, of pleasure and of invention within the scientific institution and jungle of functionalist rationality (de Certeau, 28; ibid, xviii). It is a way of making do in an environment where the television viewer cannot write anything on the screen of his set (de Certeau, 31). Zinesters produce their own sets, screens and realities, responding to and rewriting the narratives produced by consumer capitalism. Their ethic of passion overriding profit and exercising freedom of press stands in opposition to consumer capitalists interests. Zines encourage participation in the act of expression and allow people to control the formulation of their own identity and subsequent understanding. Anyone with access to poor mediums such as pen and ink can create a zine. Presenting zines are part of an egalitarian subculture which fosters the type of inclusion desirable of a democracy. You dont need an art education to produce them or a commercial gallery to show them. The nature of underground culture ensures zines are not widely known about and are more difficult to locate than a generic gallery. They are usually kept in the rare books collection of libraries or have limited availability in alternative bookstores. Zine culture merits promotion by galleries, community groups and councils through events such as organised fairs, because zines provide a place to absorb, and participate in, creative endeavours, that nurture subjectivity.

76

Figure 3:1
Doris Salcedo. Shibboleth (2007)

77

Figure 3:2
Cleste Boursier-Mougenot. Untitled (Series#3)

78

Figure 3:3
Shirley Innes. Noctambulist (detail, inter-dimensional)

79

Figure 3:4
Shirley Innes. Noctambulist (detail, soldier)

80

Figure 3:5
Shirley Innes. Noctambulist Untitled Series #2 (detail)

81

Figure 3:6
Noctambulist exhibition display (detail). Top: Master-zine. Bottom: zines

82

Bibliography
Achbar, Mark, and Peter Wintonick. "Manufacturing Consent: Noam Chomsky and the Media." 167min. Canada: The AV Channel Pty Ltd, 1992 Adcox, John. "Dreaming with Open Eyes: The Shamanic Spirit in Twentieth Century Art and Culture by Michael Tucker." In John Adcox Reviews Pretty Much Anything, 2008. http://johnadcox.wordpress.com/2009/10/04/dreaming-with-open-eyes-theshamanic-spirit-in-twentieth-century-art-and-culture-by-michael-tucker/ Accessed 28/09/2011. Ades, Dawn, and Matthew Gale. "Dada." In Grove Art Online: Oxford Art Online, 2011. http://www.oxfordartonline.com/subscriber/article/grove/art/T021094. Accessed 11/09/2011. Alan, Male. "Illustration: A Theoretical & Contextual Perspective." Sussex: Ava Pub Sa, 2007. "ANC (African National Congress)." In A Dictionary of Contemporary History, edited by Duncan Townson: Blackwell Publishing, 1999. "Artbeat: Cleste Boursier-Mougenot at Empac [Get Visual]." Nipper Town (2011), http://www.nippertown.com/2011/09/12/artbeat-celeste-boursier-mougenot-at-empacget-visual/. Accessed 17/10/2011. "Artist of the Week #30: Peter Coffin." (2009), http://www.guardian.co.uk/artanddesign/2009/feb/25/artist-week-peter-coffin. Accessed 30/05/2011. 83

"Artists' Books." In The Concise Oxford Dictionary of Art Terms: Oxford Art Online, 2011. Ayers, Andrew. "Dada." In The Oxford Companion to Western Art, edited by Hugh Brigstocke: Oxford Art Online, 2011. Bachelard, Gaston. The Poetics of Space. Boston: Beacon Press, 1958. Baker, Alan. The Enigmas of History: Myths, Mysteries and Madness from around the World. Edinburgh: Mainstream Publishing Company Ltd, 2008. Barthes, Roland. "The Death of the Author." In Participation. Cambridge, MA Whitechapel Gallery. The MIT Press, 1968. Bartholomew, Ryan. "Altermodern: A Conversation with Nicholas Bourriaud." Art in America (2009), http://www.artinamericamagazine.com/newsopinion/conversations/2009-03-17/altermodern-a-conversation-with-nicolasbourriaud/. Accessed 10/05/2011. Basualdo, Carlos, ed. William Kentridge: Tapestries. New Haven. London: Philadelphia Museum of Art, 2008. Becker, Carol. Surpassing the Spectacle: Global Transformations and the Changing Politics of Art. Oxford: Rowman and Littlefield Publishers INC., 2002. . Surpassing the Spectacle: Global Transformations and the Changing Politics of Art. Edited by Henry A. Giroux, Culture and Politics. Oxford: Rowman & Littlefield Publishers, Inc, 2002. Beinart, William. Twentieth-Century South Africa. Oxford New York: Oxford University Press, 2001. Bell, Julian. "Postmodernism." In The Oxford Companion to Western Art: Oxford Art Online, 2011a. http://www.oxfordartonline.com/subscriber/article/opr/t118/e2113. Accessed 13/09/2011. Bell, Julian. "Modernism." In The Oxford Companion to Western Art: Oxford Art Online, 2011b. http://www.oxfordartonline.com/subscriber/article/grove/art/T058785. Accessed 22/09/2011. Benton, Megan L. "The Book as Art." In A Companion to the History of the Book, edited by Simon Eliot and Jonathan Rose: Blackwell Reference Online. http://www.blackwellreference.com/subscriber/tocnode?id=g9781405127653 chunk g978140512765337. Accessed19/09/2007. "Beyond #3 Fanzine (1944) Early Science Fiction Zine." Fanzines (2011), Image. http://www.lewiswaynegallery.com/beyond-3-fanzine-1944-early-science-fiction-zine-p1710.html. Accessed 2/10/2011. Bhabha, K. Homi. "The Other Question: Stereotype, Discrimination and the Discourse of Colonialism." In The Location of Culture, 66-84. London: Routledge, 1994. Bishop, Claire, ed. Participation, Documents of Contemporary Art. Cambridge, MA: Whitechapel Gallery. The MIT Press, 2006. Bodeen, Christopher. "Chinese Artist Ai Weiwei under House Arrest." Associated Press (2010), http://www.signonsandiego.com/news/2010/nov/05/chinese-artist-ai-weiweiunder-house-arrest/. Accessed 17/06/2011. Bourriad, Nicolas. Altermodern. London: Tate, 2009. 84

. "Relational Aesthetics." In Relational Aesthetics. http://www.scribd.com/doc/24073032/Relational-Aesthetics-by-Bourriaud. Accessed 23/03/2011. Broderick, Damien. Theory and Its Discontents. Melbourne: Deakin University Press, 1997. Bush, Barbara. Imperialism and Postcolonialism. Edited by Alun Munslow. History: Concepts, Theories and Practice series. Great Britan: Pearson, 2006. Bussey, Marcus "The Healing Eye: Artistic Vision in the Thought of P.R. Sarkar." http://futuresevocative.com/Articles/Marcus/the-healing-eye-artistic-vision-in-thethought-of-pr-sarkar.html. Accessed 19/04/2011. Cameron, Dan, Carolyn Christov-Bakargiev, and J. M. Coetzee, eds. William Kentridge. New York: Phaidon Press Inc, 1999. Campbell, Joseph. The Hero with a Thousand Faces. Third ed, The Collected Works of Joseph Campbell. Novato, California: New World Library, 1949. Campbell, R. John, and Alan Rew. "The Political Economy of Identity and Affect." In Identity and Effect, 1-36. London: Pluto Press, 1999. Cardinal, Roger. "Jean Dubuffet." In Grove Art Online: Oxford Art Online, 2011. Casey, Damien, Gerard Hall, and Anne Hunt, eds. Foundations of Christian Faith: An Introduction for Students. Melbourne: Social Science Press, 2004. Charlton, G. Bruce. "Alienation, Neo-Shamanism and Recovered Animism." Medical Hypotheses (2002), http://www.hedweb.com/bgcharlton/animism.html. Accessed 25/03/2011. Chesler, Phyllis. The Death of Feminism. New York: Palgrave Macmillan, 2006. "China Alleges Huge Tax Evasion by Artist Ai Weiwei." Bright House Networks (2011), http://www.cfnews13.com/article/news/ap/may/248444/China-alleges-huge-taxevasion-by-artist-Ai-Weiwei. Accessed 17/06/2011. "Christian Bchel, Simply Botiful, Hauser and Wirth Coppermill." Review: Art Exhibitions in London (2007), http://artreview.wordpress.com/2007/05/19/christian-buchel-simplybotiful-hauser-and-wirth-coppermill/.Accessed 06/06/2011. Christov-Bakargiev, Carolyn. "On Defectibility as a Resource: William Kentridge's Art of Imperfection, Lack and Falling Short." In William Kentridge, edited by Melissa Larmer, 29-38. Italy: Castello di Rivioli Museo d'Arte Contemporanea, 2004. Cohn-Sherbrook, Dan (ed). "Shibboleth." The Blackwell Dictionary of Judaica (1992), Image. http://www.blackwellreference.com/public/tocnode?query=shibboleth&widen=1&res ult_number=1&from=search&id=g9780631187288_chunk_g978063118728824_ss1370&type=std&fuzzy=0&slop=1. Accessed 17/05/2011. "Comic Book." In Encyclopdia Britannica Online Academic Edition: Encyclopdia Britannica, 2011. http://www.britannica.com/EBchecker/topic/127569/comic-book. Accessed 20/09/2011. "Copyright Act 1968." edited by Commonwealth Consolidated Acts. Online: Australiasian Legal Information Institute, 2011. http://www.austlii.edu.au/au/legis/cth/consol act/ca1968133/. Accessed 12/10/2011. 85

Costello, David, and Jonathan Vickery, eds. Art: Key Contemporary Thinkers, 2007. Craig, Saper. "Electronic Media Studies: From Video Art to Artificial Invention." SubStance. Special Issue: Deleuze & Guattari,no. 66 (1991), http://www.jstor.org/stable/3685183. Davis, Erik. "A Review of Deleuze & Guattari's What Is Philosophy?". Summer (1994), http://www.techgnosis.com/dg.html#top. Davison, Phillips W. "Public Opinion." In Encyclopdia Britannica: Encyclopdia Britannica Online Academic Edition, 2011. de Certeau, Michel. "Trajectories, Tactics and Rhetorics: La Perruque & Making Do." In The Practice of Everyday Life. Berkley: University of California Press, 1984. . "Walking in the City." In The Practice of Everyday Life, 91-93. Berkeley: University of California Press, 1984. De Domizio Durini, Lucrezia. The Felt Hat: Joseph Beuys, a Life Told. Rome: Edizioni Carte Segrete, 1991. de Duve, Thierry. "Joseph Beuys, or the Last of the Proletarians." October 45, no. Summer (1988): 47-62. Debord, Guy, ed. Society of the Spectacle. London: Rebel Press, 2006. Deleuze, Gilles. "Postscript on the Societies of Control." October 59, no. Winter (1992): 3-7. Deleuze, Gilles, and Felix Guattari. Anti-Oedipus: Capitalism and Schizophrenia. New York: Penguin, 1977. . "Introduction: Rhizome." In A Thousand Plateaus. Minneapolis: University of Minnesota Press, 1987. Demetrio, R. Francisco. "The Shaman as Psychologist." Asian Folklore Studies 37, no. 1 (1978): 57-75. Detweiler, R. "Postmodernism." In The Blackwell Encyclopedia of Modern Christian Thought, edited by Alister E McGrath: Blackwell Publishing, 2005. http://www.blackwellreference.com/subscriber/tocnode?id=g9780631198963 chunk g978063119896318 ss11-1. Accessed 06/05/2011. "Diary Studies." In Encyclopedic Dictionary of Applied Linguistics, edited by Keith Johnson and Helen Johnson: Blackwell Reference Online, 1999. Docx, Edward. "Postmodernism Is Dead." (2011), http://www.prospectmagazine.co.uk/2011/07/postmodernism-is-dead-va-exhibitionage-of-authenticism/. Dorothy, Spears. "Laughter in the Dark." Art in America,no. 11 (2009). Douglas, Susan J. "Mass Media: From 1945 to the Present." In A Companion to Post-1945 America, edited by Jean-Christophe Agnew and Roy Rosenzweig: Blackwell Reference Online, 2006. Doyon-Bernard, Suzette. "Jackson Pollock: A Twentieth-Century Chavin Shaman." American Art 11, no. 3 (1997): 8-31.

86

Duncombe, Stephen. Notes from the Underground: Zines and the Politics of Alternative Culture. Edited by Mike Davis and Michael Sprinkler, The Haymarkey Series. London. New York: Verso, 1997. Eco, Umberto. "The Poetics of the Open Work." In Participation, edited by Claire Bishop, 20-40. London: The MIT Press, 1962. "Ed Ruscha: Twentysix Gasoline Stations." photo-eye (2011), Image. http://www.photoeye.com/auctions/Enlargement.cfm?id=4890. Accessed 17/10/2011. Eisner, Will. Graphic Storytelling and Visual Narrative. US: Poorhouse Press, 1996. Enwezor, Okwui. "The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition." In Antinomies of Art and Culture: Modernity, Postmodernity, Contemporaneity, edited by Terry Smith, Okwui Enwezor and Nancy Condee, 20734. Durham: Duke University, 2008. . "(Un)Civil Engineering: William Kentridge's Allegorical Landscapes." In William Kentridge: Tapestries, edited by Carlos Basualdo. New Haven.London: Philadelphia Museum of Art, 2008. Falconer, Morgan. "William Kentridge." Oxford Art Online: Grove Art Online, 2002. Fisher, Mark. "Capitalism and the Real." In Capitalist Realism: Is There No Alternative?, 1620. Ropley: Zero Books, 2010. Fiske, Shanyn "Hades and Hellenism: Underworlds of the Victorian Mythopoeic Imagination." (2004), http://repository.upenn.edu/dissertations/AAI3125818. Accessed 09/04/2011. Flaherty, Gloria. "The Performing Artist as the Shaman of Higher Civilization." The John Hopkins University Press 103, no. 3 (1988): 519-39. Fleming, Peter. "'Lines of Flight': A History of Resistance and the Thematic of Ethics, Death and Animality." Ephemera: Critical Dialogues on Organisation (2002). Fleming, Richard. "Cage, John Milton." In Dictionary of Cultural and Critical Theory, edited by Michael Payne: Blackwell Publishing. Blackwell Reference Online, 1997. Foster, Hal. "The Crux of Minimalism." In The Return of the Real, 35-60. Cambridge, MA: MIT, 1996. . "Obscene, Abject, Traumatic." October 78, no. Fall (1996): 107-10. Foucault, Michel. "The Eye of Power." In Power/Knowledge: Selected Interviews and Other Writings, 1972-1977, edited by Colin Gordon, 146-65. New York: Pantheon, 1980. . "'Of Other Spaces' in Nicholas Mirzoeff." In The Visual Culture Reader. London: Routledge, 2002. Freud, Sigmund. "The Uncanny." In Collected Works (1919), 219-26. Gallagher, Michael P. "Question 20." In Questions of Faith, 77-80. Dublin: Veritas, 1996. Gallery, Greenaway Art. "Gordon Bennett." 2011. Gandhi, Leela. Postcolonial Theory: A Critical Introduction. NSW, Australia: Allen and Unwin, 1998.

87

Gandy, Matthew. "Contradictory Modernities: Conceptions of Nature in the Art of Joseph Beuys and Gerhard Richter." Annals of the Association of American Geographers 87, no. 4 (1997): 636-59. Glissant, Edouard. "Poetics of Relation." In Participation, edited by Claire Bishop, 71. London: The MIT Press, 1990. Godfrey, Tony. "Susan Hiller. Liverpool." The Burlington Magazine Publications, Ltd 138, no. 1117 (1996): 269-70. "Graffiti Art." In The Concise Oxford Dictionary of Art Terms: Oxford Art Online, 2011. http://www.oxfordartonline.com/subscriber/article/opr/t4/e809. Accessed 12/09/2011. Grosz, Elizabeth. Chaos, Territory, Art: Deleuze and the Framing of the Earth. New York: Columbia University Press, 2008. Hagar, Liz. "Hannah Hch: The Quiet Girl with a Big Voice (Part Ii)." Venetian Red Image. (2010), http://venetianred.net/tag/raoul-hausmann/. Hagberg, L. Garry. "The Institutional Theory of Art: Theory and Antitheory." In A Companion to Art Theory, edited by Carolyn Wilde and Paul Smith, 2002. Hall, Gerard. "Christian Mission and Religious Pluralism." In Foundations of Christian Faith: An Introduction for Students, edited by Damien Casey, Gerard Hall and Anne Hunt, 146-57. Southbank: Social Science Press, 2004. Hall, P. Manly. The Secret Teachings of All Ages. New York: Penguin, 2003. Harris, Bob, and H. T. Dickinson. "Print Culture." In A Companion to Eighteenth-Century Britain: Blackwell Publishing. Blackwell Reference Online, 2002. Havilah, Lisa. " I Am Not a Number or a Postcode. I Am Not the Same as I Was Last Year. This Moment Changed Me." Artlink 31, Diaspora, no. 1 (2011). Heartney, Eleanor. "Worldwide Women." Art in America, no. June/July (2007): 154- 65. Held jr., John. "Correspondence Art." In Grove Art Online: Oxford Art Online, 2011. http://www.oxfordartonline.com/subscriber/article/grove/art/T019621. Accessed 20/09/2011. Herdling, Glenn A. "Comics." In Dictionary of Cultural and Critical Theory, edited by Michael Payne: Blackwell Reference Online, 1997. Hill, Brennan. "Who Is God?" In Exploring Catholic Theology: God, Jesus, Church and Sacraments, 41-69. Mystic, CN: Twenty Third Publications, 1995. Hiller, Susan, and David Coxhead. Dreams: Visions of the Night. London: Thames and Hudson. Hughes, Gordon. "Hal Foster." In Grove Art Online: Oxford Art Online, 2011. http://www.oxfordartonline.com/subscriber/article/grove/art/T2085789. Accessed 07/09/2011. Humble, Paul N. "Anti-Art and the Concept of Art." In A Companion to Art Theory, edited by Paul Smith and Carolyn Wilde: Blackwell Reference Online, 2002. Iverson, Margaret. "Barthes on Art." In A Companion to Art Theory, edited by Carolyn Wilde and Paul Smith, 2002.

88

Joel, Weishaus. "Interview with Daniel C. Noel." (2007), http://www.cgjungpage.org/index. Accessed 19/04/2011. Jordan, Ray. "Free Speech and the Constitution." In Law and Bills Digest Group: From the Parliamentary Library. Parliament of Australia, 2002. Jovanovic, Rosalia. "A Brief Visual History of Riot Grrrl Zines." (2010),Image. http://flavorwire.com/128822/a-brief-visual-history-of-riot-grrrl-zines. Accessed 17/10/2011. Jung, G. Carl. Man and His Symbols. London: Penguin Book Ltd, 1964. . Memories, Dreams, Reflections. 9th ed. London: Random House, Inc, 1963. Kelley, Mike. "Playing with Dead Things: On the Uncanny." In The Gothic, edited by Gilda Williams, 174-82. London: Whitechapel, 2007. Kelly, Tony. "The Meaning of the Creed." In The Creed by Heart, 14-24. Blackburn: Harper Collins, 1996. Kentridge, William. "Drawing for the Film Stereoscope [Felix Crying]." Charcoal, pastel and coloured pencil on paper. New York: MoMA 1998-99. . "Felix in Exile." animation film installation: Patrons of New Art through the Tate Gallery Foundation 1998, 1994. . "Film Still of Shadow Procession." 1999. . "History of the Main Complaint." Animation film installation: Patrons of New Art through the Tate Gallery Foundation, 1996. . "Mine." A drawing from animation. Charcoal on paper: University of Essex, 1991. Kieran, Matthew, ed. Aesthetics and the Philosophy of Art, Contemporary Debates in Philosophy. USA: Blackwell Publishing, 2006. Klonk, Charlotte. "Interdisciplinary and Visual Culture." In A Companion to Art Theory, edited by Carolyn Wilde and Paul Smith, 2002. Komonchak, Joseph A., Mary Collins, and Dermot A. Lan, eds. The New Dictionary of Theology. Dublin: Gill and Macmillan, 1987. Koolhaas, Rem. "Junkspace." October 100, no. Spring (2002): 175-90. Kristeva, Julia. Powers of Horror: An Essay on Abjection. Translated by Leon S. Roudiez. New York: Columbia University Press, 1982. Kushner, Seth, and Christopher Irving. "Art: Spiegelman: Still Movin' with Comix." NYC Graphic (2010), http://www.nycgraphicnovelists.com/2010/11/art-spiegelman-stillmovin-with-comix.html. Accessed 17/10/2011. Kwon, Miwon. "One Place after Another: Notes on Site Specificity." October 80, no. Spring (1997): 85-110. Lane, Dermot A. "Eschatology: Hope Seeking Understanding." In Exploring Theology, edited by Anne Hession and Patricia Kieran, 146-58. Dublin: Veritas, 2007. Larmer, Melissa, ed. William Kentridge. Italy: Castello di Rivioli Museo d'Arte Contemporanea, 2004. Lechne, Robert. "Printing." In Encyclopdia Britannica: Encyclopdia Britannica, 2011. 89

Leeming, David A. "Myth and Therapy." Journal of Religion and Health 40, no. 1, Memorial Issue for Barry Ulanov (2001): 115-19. Leja, Michael. "Peirce's Visuality and the Semiotics of Art." In A Companion to Art Theory, edited by Carolyn Wilde and Paul Smith, 2002. Leventhal, Robert S. "Art Spiegelman's Maus: Working-through the Trauma of the Holocaust." (2011), http://www2.iath.virginia.edu/holocaust/spiegelman.html. Lingwood, James, ed. Susan Hiller: Recall. Gateshead: Baltic, 2004. Macgregor, Elizabeth Ann. "Foreword." In William Kentridge, edited by Melissa Larmer. Italy: Castello di Rivioli Museo d'Arte Contemporanea, 2004. Mackey, J. Linn. "The Collective Unconcious and the Akashic Field." Jung Journal: Culture and Psyche 1, no. 2 (2007): 2-15. Macleod, Katy, and Lin Holdridge. Thinking through Art: Reflections on Art as Research. Edited by Colin Beardon, Innovations in Art and Design. New York: Routledge, 2006. Majumdar, Rochona. "Writing Postcolonial History." Malouf, David. The Happy Life: The Search for Contentment in the Modern World, The Saturday Age: Black Inc, 2011. Marino, Gordon. Basic Writings of Existentialism: Toronto: Random House, 2004. Massumi, Brian. "Deleuze." In A Companion to Continental Philosophy, edited by Simon Critchley and William R. Schroeder: Blackwell Publishing, 1999. . A Users Guide to Capitalism and Schizophrenia: Deviations from Deleuze and Guattari. The Swerve Edition ed. London, England: The MIT Press, 1992. Meadow, Mary J. "Archetypes and Patriarchy: Eliade and Jung." Journal of Religion and Health 31, no. 3 (1992): 187-95. Merleau-Ponty, Maurice. Phenomenology of Perception. Translated by Colin Smith. London: Routledge, 1962. Michaelson, Susan. "The Visual Arts and the Healing Process." 2009. Moore, B. Willard. "Untitled." Journal of Folklore Research 34, no. 2 (1997): 169-74. Morin, Dominique. "The Philosophical Approach." In How to Understand God, 4-8. London: SCM Press Ltd, 1990. "The History of God." In How to Understand God, 913. London: SCM Press Ltd, 1990. Morrisson, S. Mark. "The Periodical Culture of the Occult Revival: Esoteric Wisdom, Modernity and Counter-Public Spheres." Journal of Modern Literature 31, no. 2 (2008): 1-22. Murray, Christopher. "Graphic Novel." In Encyclopdia Britannica Online Academic Edition: Encyclopdia Britannica, 2011. Narby, Jeremy, and Francis Huxley. Shamans through Time: 500 Years on the Path to Knowledge: Thames and Hudson, 2001.

90

Nichols, Aidan. "The Habit of Theology." In The Shape of Catholic Theology: An Introduction to It's Sources, Principles & History, 14-26. Collegeville: The Liturgical Press, 1991. Nietzsche, Friedrich. Thus Spoke Zarathustra. England: Penguin Books Ltd, 1961. O'Collins, Gerald. Catholicism: A Very Short Introduction. Oxford: Oxford University Press, 2008. Olesen, Alexa. "China Blocks Well-Known Artist Ai Weiwei from Boarding Plane to Hong Kong." (2011), http://www.artdaily.com/index.asp?int_sec=11&int_new=46246&int_modo=1. Accessed 17/06/2011. Papastergiadis, Nikos. "Everything That Surrounds: Art, Politics and the Everyday." In The 11th Biennale of Sydney: Everyday, 21-27. Sydney: Biennale of Sydney, 1998. Pappe, Ilan. "Zionism as Colonialism: A Comparative View of Diluted Colonialism in Asia and Africa." In Settler Colonialism, edited by Alyosha Goldstein and Alex Lubin, 611-33. Durham: Duke University Press, 2008. Patterson, Bryan. "A-Z of Generation Y." (2007), http://www.heraldsun.com.au/news/sunday-heraldsun/a-z-of-generation-y/storye6frf92f-1111113909372. Accessed 19/09/2011. Peace, Eloise. " Zines." Space Invaders (2011), http://nga.gov.au/Exhibition/SPACEINVADERS/Default.cfm?MnuID=3&GalID=8. Accessed 30/09/2011. "Peter Coffin." Barbican (2009), http://www.barbican.org.uk/artgallery/eventdetail.asp?ID=8379. Accessed 06/06/2011. "The Pill: Marjane Satrapi's Comic Strip Memoir, Vol. 2. August 31, 2004." Iranian Archives (2011), http://www.iranian.com/Books/2004/August/Satrapi/3.html. Accessed 17/10/2011. Poletti, Anna. "Intimate Ephemera: Reading Young Lives in Australian Zine Culture." Melbourne: Melbourne University Publishing, 2008. Posel, Deborah. "Apartheid and Race." In A Companion to Racial and Ethnic Studies, edited by David Theo Goldberg and John Solomos: Blackwell Publishing, 2002. Potts, Alex. "Susan Hiller's 'Magic Lantern." The Burlington Magazine Publications, Ltd 130, no. 1080 (1988): 51. Privateer, Paul. "Chaosmosis: An Ethico Aesthetic Paradigm (Gacy)." In Thinking Culture, 2004. Publishing, Tate Gallery. Mark Rothko 1903 - 1970. London: Tate Gallery Publishing, 1996. Purvis, Thomas L. "Common Sense." In A Dictionary of American History: Blackwell Reference Online, 1997. QAG. " Exhibition Review: Cleste Boursier-Mougenot." http://qag.qld.gov.au/exhibitions/current/21st_Century/artists/celeste_boursiermougenot. Accessed 05/10/2011. Ray, Gene, ed. Joseph Beuys: Mapping the Legacy. New York: D.A.P./Distributed Art Publishers, Inc, 2001. 91

Ray, Michael. "Graphic Novels: Not Just Comic Books: Year in Review 2004." In Encyclopdia Britannica Online Academic Edition: Encyclopdia Britannica, 2005. http://www.britannica.com/EBchecked/topic/1517723/Graphic-Novels-Not-JustComic-Books. Accessed 15/09/2011. Ronnberg, Ami, ed. The Book of Symbols. Germany: Taschen, 2010. Rosenthal, Mark, ed. William Kentridge: Five Themes. New Haven & London: SF MoMA, NMA & Yale University Press, 2009. Sadeghi, Amirali "Untitled (Shibboleth)." KHAT Studio (2011), http://www.khatstudio.com/index.php?showimage=35. Accessed 17/10/2011. Santala, Ismo. "Disease of Language by Alan Moore and Eddie Campbell." (2006), http://www.readysteadybook.com/BookReview.aspx?isbn=0861661532. Accessed 20/09/2011. Seem, Mark. "Introduction." In Anti-Oedipus: Capitalism and Schizophrenia, xv-xxiv. New York: Penguin, 1977. Shaw, David J. "The Book Trade Comes of Age: The Sixteenth Century." In A Companion to the History of the Book, edited by Simon Eliot and Jonathan Rose: Blackwell Publishing. Blackwell Reference Online, 2007. Shore, Cris. "Myth." In The Blackwell Dictionary of Modern Social Thought edited by William Outhwaite: Blackwell Publishing, 2002. Smith, Terry. What Is Contemporary Art? Chicago: University of Chicago Press, 2009. Snyder, Mark, Decker Elizabeth Tanke, and Berscheid. Ellen. "Social Perception and Interpersonal Behaviour: On the Self-Fulfilling Nature of Social Stereotypes." In Readings About: The Social Animal, edited by Joshua Aronson and Elliot Aronson, 507-21. New York: Worth Publishers, 2007. Stayton, Jeffrey H. "The Time Signature: Nomad Thought in Faulknerian Time." Texas Tech University, 1999. "Sublime." (2004), http://www.blackwellreference.com.ezproxy2.acu.edu.au/subscriber/uid=2294/tocnod e?query=lacan+sublime&widen=1&result_number=3&from=search&id=g978140510 6795_chunk_g978140510679520_ss1-227&type=std&fuzzy=0&slop=1. Accessed 20/05/2011. Suquet, Annie. "Archaic Thought and Ritual in the Work of Joseph Beuys." RES: Anthropology and Aesthetics 28, no. Autumn (1995): 148-62. tate. "Altermodern." Youtube, 2008. . "Tateshots Issue 16 - Rothko." 2008. "Thomas Paine (1737-1809)." In The Blackwell Dictionary of Western Philosophy, edited by Nicholas Bunnin and Jiyuan Yu: Blackwell Reference Online, 2011. Thompson, David. "Rothko's Rooms: The Life and Works of an American Artist." 60 minutes. USA, 2000. "Tom Philips: A Humument." The List, no. 589 (2011), http://www.list.co.uk/article/5483tom-phillips/. 17/10/2011.

92

Tomei, D. Christine. "Untitled." The Slavic and East European Journal 41, no. 2 (Summer) (1997): 371-73. Tucker, Michael. "Towards a Shamanology: Revisioning Theory and Practice in Art." In Reflections on Creativity: Exploring the Role of Theory in Creative Practices: Duncan of Jordanstone College, 2007. "Untitled." (2011) Image. http://www.agipunk.com/porcamadonna.htm. Accessed 17/09/2010. "Untitled (Series #3)." (2011) Image. http://empac.rpi.edu/events/2011/spring/celeste/. Accessed 05/10/2011. Vergine, Lea. Art on the Cutting Edge: A Guide to Contemporary Art Movements. Translated by Rhoda Billingsley. First ed. Italy: Skira Editore, 1996. "Victoria and Albert Museum." http://www.vam.ac.uk/content/exhibitions/postmodernism/postmodernism-about-theexhibition/. Accessed 19/09/2011. Vidler, Anthony. The Architectural Uncanny: Essays in the Nodern Unhomely. Cambridge, MA: MIT Press, 1996. Virilio, Paul. "The Overexposed City." In Architecture Theory since 1968, edited by Michael K. Hays, 542-46. Cambridge, MA: The MIT Press, 1998. Waldman, Diane. Mark Rothko, 1903-1970 a Retrospective. New York: Harry N. Abrams, Inc, 1978. Warner, Marina. From the Beast to the Blonde: On Fairytales and Their Tellers. London: Random House, 1995. Weiler, Craig. "The Holographic Universe." In The Weiler Psi, 2009. Weintraub, Linda. Making Contemporary Art: How Modern Artists Think and Work. London: Thames and Hudson Ltd., 2007. Weishaus, Joel. "Interview with Daniel C. Noel." (2007), http://www.cgjungpage.org/index.php. Accessed 21/04/2011. "What Does Copyright Protect?". (2009), http://www.ag.gov.au/www/agd/agd.nsf/Page/Copyright_Whatdoescopyrightprotect. Accessed 30/09/2011. Wiedemann, Julius, ed. Animation Now. London: Taschen, 2004. Wilson, John-Paul. "Literacy." In A Companion to Archaic Greece, edited by Kurt A. Raaflaub and Hans van Wees: Blackwell Publishing. Blackwell Reference Online. "Women of the Book: Tatana Keller. B-11226:50 Years of Silence." (2011), Image. http://colophon.com/gallery/womenofthebook/page3.html. Accessed 17/10/2011. Wright, Frederick A. "From Zines to Ezines: Electronic Publishing and the Literary Underground." Kent State University, 2001.

93