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		The Seduction of Reality
What		Faced with art’s newfound fascination with the banalities of contemporary urbanity and the direct intensity of experience, is it possible to find a new critical language? Marie Bonnal, director of the Bureau of Ideas, discusses authenticity and illusion in the representation of reality with Julian Goddard (Perth), Rex Butler (Brisbane), Alan Cholodenko (Sydney), and Juliana Engberg (Melbourne).
Where		Sydney Australian Centre for Photography
When		2:00pm - 5:00pm 18th September 2004
Julian Goddard Silent moment		This paper will discuss the coupling of silence and stillness as evident in the photo works of Baudrillard and others, as a radical alternative to the noise and spectacle of conventional stories of modernism. The collapse of the rhetoric of meaning in such work is argued as a metaphor for the larger possibility of quietitude and the desire for peace, which are seen as the real products of modernist/democratic culture. The paper also addresses the problem of the aestheticising of reality through the spectaculiarisation of culture as opposed to its lived experience. Julian is an academic, a writer and a gallerist.
Rex Butler Photography in the Age of the Post-Medium		In this paper, the author will take up the idea of the "post-medium" in recent art, as developed by the critic Rosalind Krauss in a series of writings on the artists James Coleman, William Kentri dgeand Jackson Pollock, amongst others. In what ways is this idea a repudiation of Krauss' earlier theorisation of the "post-modern"? In what ways is it a return to the "modern"? This paper will particularly investigate the role of photography in today's "post-medium" condition. If everything resembles the photographic, is photography itself any longer possible? Rex Butler is an academic, a writer and an art critic.
Dr Alan Cholodenko Still Photography?		The paper explores such questions as: what is still photography? Is still photography still? (Correlatively, should Stills Gallery change its name?!) What is the relation of photography to film, to television, to the computer, to new media? What has the digital done to photography? Especially, what is the relation of all of them to drawing and animation, indeed to drawing as the graphematic and animation as the animatic, and to the spectre and the crypt? And what has befallen them all in the era of hyperreality, hyperwar and O9/11¹? Reference will be made to key writings on photography, including those of Walter Benjamin, André Bazin, Roland Barthes, Samuel Weber, and especially Jean Baudrillard, as well as to my essay 'The Illusion of The Beginning: A Theory of Drawing and Animation', in AFTERIMAGE, July/August 2000. Alan Cholodenko is a senior Lecturer in Film and Animation Studies (ret.), and an Honorary Associate in the Department of Art History and Theory at the University of Sydney.
Juliana Engberg The fragmented image		The seemlessness of digital imaging, video manipulation and so forth has created a new, subversive collage. Subversive because it hides, to some extent, the choices and deceits employed by the artist. This happens commonly in popular media, advertising, film and magazine culture. What does this mean for the politics of picturing? Are we on the threshold of a new fabrication which is valueless and vapid? Can fragmentation save meaning? Juliana Engberg is the artistic director of ACCA in Melbourne.

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