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Objects in Flux - RMIT Research Repository - RMIT University

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<strong>Objects</strong> <strong>in</strong> <strong>Flux</strong><br />

76<br />

structures and modes of operation. These common threads may be<br />

organised <strong>in</strong>to a number of recognisable themes which <strong>in</strong>clude:<br />

• Diversity: Practices actively seek diversity, construct<strong>in</strong>g alternatives<br />

to ma<strong>in</strong>stream, normalized social relations. This tendency to<br />

take up divergent and, at times, deliberately oppositional positions<br />

is often applied to the practice itself, produc<strong>in</strong>g a high degree of<br />

diversity with<strong>in</strong> the practice.<br />

• Dynamic and emergent: Practices are quick to adapt to chang<strong>in</strong>g<br />

social conditions and cultural trends. They are particularly prom<strong>in</strong>ent<br />

around emerg<strong>in</strong>g technologies and moments of socio-cultural<br />

change. This prom<strong>in</strong>ence may be understood <strong>in</strong> two ways: practices<br />

may be more active at moments of change, and/or they may<br />

have greater visibility dur<strong>in</strong>g such moments.<br />

• Active engagement: Practices privilege direct action that responds<br />

to specific conditions and has dist<strong>in</strong>ct effects.<br />

• Shared mean<strong>in</strong>g structures: Practices develop social networks and<br />

form cultural groups with common modes of behaviour and shared<br />

narratives. Traditions are formed through repeated motifs: unique<br />

ways of speak<strong>in</strong>g, visual imagery, political views, prom<strong>in</strong>ent<br />

identities (heroes and villa<strong>in</strong>s), recognisable aesthetic styles and<br />

common ways of mak<strong>in</strong>g.<br />

• Creative play: Practices engage <strong>in</strong> creative play, <strong>in</strong>clud<strong>in</strong>g the<br />

negotiation of established rules and boundaries, problem solv<strong>in</strong>g,<br />

humour, personal enjoyment and the privileg<strong>in</strong>g of <strong>in</strong>dividual<br />

agency.<br />

• Anti-authoritarian: Practices often challenge or evade established<br />

structures of control. Generally positioned as a demand for personal<br />

freedom, this may result <strong>in</strong> anti-corporate, anti-state, antiprofessional<br />

and/or anti-academic attitudes.<br />

• Public: Practices have a significant public dimension that <strong>in</strong>volves<br />

performative acts articulated through a wide variety of media <strong>in</strong>clud<strong>in</strong>g:<br />

writ<strong>in</strong>g, speak<strong>in</strong>g, film/video, photography, audio record<strong>in</strong>gs/broadcasts<br />

and other material artefacts.<br />

• Knowledge creation: Knowledge generated through the practice<br />

is generally documented and shared freely with other practitioners<br />

and the broader community. Participants often encourage others to<br />

copy their projects and give detailed <strong>in</strong>structions to aid <strong>in</strong> this re-

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