Drawing and the subjectivity of the 'other' Lozanovska, Mirjana 2005, Drawing and the subjectivity of the 'other', in AASA 2005 : Drawing together : convergent practices in architectural education, Proceedings of the 3rd International Conference of the Association of Architectural Schools of Australasia, [Queensland University of Technology], [Brisbane, Qld], pp. 1-6. Attached Files Name Description MIMEType Size Downloads Title Drawing and the subjectivity of the 'other' Author(s) Lozanovska, Mirjana orcid.org/0000-0003-3342-5681 Conference name International Conference of the Association of Architectural Schools of Australasia (3rd : 2005 : Brisbane, Queensland) Conference location Brisbane, Queensland Conference dates 28-30 September 2005 Title of proceedings AASA 2005 : Drawing together : convergent practices in architectural education, Proceedings of the 3rd International Conference of the Association of Architectural Schools of Australasia Editor(s) Holt-Damant, K. Sanders, P. Publication date 2005 Conference series Association of Architectural Schools of Australasia Conference Start page 1 End page 6 Publisher [Queensland University of Technology] Place of publication [Brisbane, Qld] Keyword(s) identity aboriginality drawing imagination house Summary Scenes of the Aboriginal family sitting around a table in the film The Fringe Dwellers present the boy quietly drawing, while other members of the family are engaged in discussion. The boy is less visible, more passive and contemplative, and his subjectivity is suggested rather than explored in the film. He repeats the same activity and the same inward concentration. My hypothesis is that the boy's subjectivity and agency are projected elsewhere, towards an imaginary field beyond the film's structure and beyond the social reality of the film's outside. What is the aboriginal boy drawing? In one scene, is a glimpse of his 'projection', he draws a house. The boy is mesmerised and pre-occupied by his drawing. We have seen the mystery of this preoccupation in images of heroic modernist architects (Le Corbusier, Frank Lloyd Wright, Oscar Niemeyer come to mind) presenting a connection between the hand of the architect and his sketch as an essential gift in the making of a 'master architect'. Through this visual association, the 'Aboriginal boy drawing' is associated with the field of 'a universal human subject' and the essay investigates how his practice might participate in new subjective positions across disciplines. Through his inscriptions, the Aboriginal boy expresses more than a wish: he articulates and inhabits another dwelling, an imaginary dwelling of a subjectivity and 'identity' beyond the black and white divide. The boy, however, is not a 'master', making his drawing a subversive and risky practice. Notes Reproduced with the specific permission of the copyright owner. ISBN 1864998415 9781864998412 Language eng Field of Research 120502 History and Theory of the Built Environment (excl Architecture) HERDC Research category E1 Full written paper - refereed ERA Research output type E Conference publication Copyright notice ©2005, AASA Persistent URL http://hdl.handle.net/10536/DRO/DU:30005712 Document type: Conference Paper Collections: Faculty of Arts and Education Faculty of Science, Engineering and Built Environment School of Architecture and Built Environment Centre for Memory, Imagination and Invention   Unless expressly stated otherwise, the copyright for items in DRO is owned by the author, with all rights reserved. Versions Version Filter Type Fri, 13 Feb 2009, 07:44:31 EST Thu, 02 Apr 2009, 15:32:56 EST Thu, 07 May 2009, 11:44:46 EST Thu, 07 May 2009, 11:45:52 EST Fri, 08 May 2009, 10:46:58 EST Wed, 12 Aug 2009, 15:29:46 EST Thu, 16 Sep 2010, 16:25:39 EST Fri, 16 Mar 2012, 15:31:57 EST Mon, 03 Jun 2013, 16:15:04 EST Filtered Full Citation counts:   Cited 0 times in TR Web of Science Cited 0 times in Scopus Search Google Scholar Access Statistics: 878 Abstract Views, 63 File Downloads  -  Detailed Statistics Created: Mon, 07 Jul 2008, 09:53:12 EST

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