‘Migrant Nation: Australian Culture, Society and Identity’ provides a rich understanding of the complexity of contemporary Australian society – its politics, culture and identity.
The essays in ‘Migrant Nation’ explore the gap between Australian image and experience, telling stories of individuals and groups that offer fresh insights into identity construction. In this way this collection casts light onto the hidden face Australian identity and pays respect to the experiences of a wide variety of people who have generally been excluded, neglected or simply forgotten in the long-running quest to tell a unified story of Australian culture and identity, a story that is rapidly unravelling.
Whether in terms of language, history, culture or personal circumstances, many of the subjects of these essays were foreign to the settler dream. The stories reveal their efforts to establish a sense of legitimacy and belonging outside of the dominant Australian story. Drawing upon memories, letters, interviews, documentary fragments and archives, the authors have in common a commitment to give life to neglected histories and thus to include, in an expanding and open-ended national narrative, people who were cast as strangers in the place that was their home.
Published January 2018: http://www.anthempress.com/migrant-nation
“Our pasts are becoming etched like a tattoo into our digital skins,” wrote J. D. Lasica in 1998. Since then, developments relating to online identity and privacy have progressively borne out his provocative assertion. Today, mass surveillance of our lives has become commonplace and endemic, leading to what Andrew Keen has described as a “catastrophe of abundance” of personal data.
When Time named its 2006 Person of the Year as “You,” it was signaling a global trend toward deep integration of data and algorithmic culture into our lives with the rise of social media. On its front cover, a computer screen displaying the word “You” served as a reflective mirror. “Yes you,” the caption explains, “You control the Information Age,” and “you” are responsible for “founding and framing the new digital democracy.” The mirror symbolically captured the open-endedness of the Internet and its readiness to be filled with reflections of ourselves while the “you” defined this moment in terms of individual empowerment.
Auto/biography is just one of many disciplines that have been deeply influenced by advances in digital media and computing, and that have required new theoretical approaches to help understand the changes. As I have argued elsewhere, however, it may be that the digital revolution has had a more profound effect on biography and life writing than on any other branch of literature, perhaps any branch of the arts. In the 1990s, personal web pages and chatrooms offered new modalities for public and private expression that greatly facilitated life writing; this was a transformational period, opening up possibilities that have been multiplying ever since. In today’s era of ubiquitous computing and an increasingly data-driven global society, the Web has evolved to be an interface to a deeper layer of stores and flows of data that can be made manifest in many ways, in different views, and on any number of devices.
Over the past two decades, memory, understood as both the act of remembering and a means of storing memories, has been relocating itself. In its daily usage it has been moving from the mind to the computer—from neurological systems to digital technologies—as people increasingly outsource memory to digital devices. In this essay I focus on the changing nature of remembering—and forgetting—in the digital era. With an emphasis on personal stories I ask: How is intergenerational memory transfer changing as a result of digital media technologies? Specifically, what are the implications of the shift to digital storage and communication processes for the way we retain, pass on, or receive private and intimate material? How has this changed the way we see ourselves and view our lives, and allow others to see ourselves and our lives?
Never before in the history of representation have there been so many available ways for art to represent and to “frame” lives. At the same time, the explosion of biographical information that social media have enabled has demonstrated dramatically the illusionist basis of the enterprise of biographical containment. The very idea of “auto/biography” has in recent years broken out of its own conventional frames to enlist genres and modes of representation that have more commonly operated in other arenas or have played supporting roles, rather than taking center stage themselves, as they do in many of the biographical works considered in this collection of essays. Whether their focus is on cartoons, photographs, installations, graphic memoirs, films, games, or narrative texts, these essays rigorously explore and unravel the notion of “framing” as it applies to presenting and displaying lives.
On a triangle of land that points out to sea at the mouth of the Swan River is Fremantle’s heritage district, the West End, renowned for its colonial architecture that includes the largest collection of heritage-listed buildings in Western Australia and its oldest public building, the Round House gaol (1831). Although Fremantle has often been threatened by the demands of redevelopment, today it is recognised as one of the world’s best preserved examples of a nineteenth-century port city and colonial townscape. ‘Freo’, as it is known locally, also has an exceptionally diverse multicultural community, lending a special character that is the legacy of its role as a historical gateway to Australia, the first point of contact for generations of migrants and visitors arriving by sea from Europe. This mix of cultures and traditions has shaped the life of the cosmopolitan city, which now has a population of close to 30,000.
Almost a decade in the making, the Historical Encyclopedia of Western Australia, edited by Jenny Gregory and Jan Gothard, is now the most up to date and authoritative composite portrait of the state’s history. This work is a remarkable achievement. It is the result of a sustained collaborative effort that is a credit to the skill and energy of the editorial team and to the more than three hundred contributors, along with hundreds of expert readers. In 1912 J. S. Battye, the well-known State Librarian of Western Australia, produced the Cyclopedia of Western Australia: An Historical and Commercial Review, Descriptive and Biographical Facts, Figures and Illustrations, which remained a central reference resource for WA history throughout the twentieth century. The highly regarded volumes of the sesquicentenary series appeared in 1979, followed in 1981 by the influential A New History of Western Australia, edited by Tom Stannage.
When Hitler’s troops invaded and occupied the city of Kharkov in Ukraine, my grandparents Nadia, 26, and Petro, 30, had two young children, aged 7 and 5. My mother had not yet been born. In this tense and uncertain period it was unclear whether Ukraine would ultimately be controlled by Stalin or Hitler. There was nothing to recommend one over the other, they often said. Both regimes were brutal and both targeted Ukrainians. Mid-1943 marked a turning point—the end of their lives in Ukraine and the first stage of a journey into the unknown that led to their eventual arrival in Australia in 1949 as post-war refugees. They were packed into railway goods wagons with other Ukrainians and were taken from Kharkov, where they had built their world, to Dwikozy in Poland. This was the place of their first displacement from everything that made up their history and identity—homeland, language, culture, family, community, and career. Like many other refugees my grandparents attempted to compensate for the loss of their past by trying to recover it repeatedly years later in the stories that they told.
Born out of an ancient geographical theory of balance, the term ‘antipodes’ was first used to refer to the vast uncharted underworld of the southern hemisphere from a northern perspective. The principle behind this belief, as described in the Quarterly Review in the nineteenth century, was ‘that all the land, which had till then been discovered in the southern hemisphere, was insufficient to form a counterpoise to the weight of land in the northern half of the globe’. The idea of the antipodes as a counterbalance, though now remembered only as a peculiar, discredited theory, has been surprisingly influential as an imaginative concept. An antipodean expectancy filled minds, maps, novels and utopian plans, laying the foundations for perceptions of Oceania and Australasia that continue to impact on how this part of the world is seen from a distance as well as from within. The region of the antipodes has been occupied by European settlers and their descendants for a relatively short time. And yet, this brief period is set against a backdrop of one of the longest recorded histories of imagining prior to geographical discovery.
This paper reflects on an emerging field that has no accepted name or boundaries but is described here as “digital biography.” The activities, formats, and genres associated with this field are rarely linked with life writing or traditional biographical studies. Rather, this field is seen as the domain of those concerned with digital privacy, copyright, data preservation, and identity management. Over the past decade or so, critics in various disciplines, mainly legal studies, information management, multimedia design, and IT development, as well as sociology, psychology, and marketing, have focused on the complexity of online identity. Though online identity has become such a significant focus of attention in these disciplines, few who study biography have discussed it. Indeed, as Nigel Hamilton points out, biography itself has had less attention than one might expect for a field that “has enjoyed an extraordinary renaissance in recent years”, a field that, according to Carl Rollyson, is widely recognized as “the dominant non-fiction of our age”.
Paul Arthur is Vice-Chancellor’s Professorial Research Fellow and Chair in Digital Humanities and Social Sciences, at Edith Cowan University, Western Australia. He speaks and publishes widely on major challenges and changes facing 21st-century society, from the global impacts of technology on communication, culture and identity
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