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Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

This chapter details a practice-based investigation of a 19th-century astronomical device known as ‘Janssen’s apparatus’. It questions traditional narratives of linear technological advancement and ‘sole inventor’ to reframe the historical artefact as a site which makes visible a network of technological knowledge interconnecting astronomy and visual culture. Approached from this perspective, the Janssen artefact is reframed as an ‘intersite of knowledge’, exploring how the various know-how contained within the device is located across disciplines rather than within a single field. Originally developed to calculate the Astronomical Unit during the 1874 Transit of Venus, Janssen’s apparatus failed in its endeavour as a measuring instrument, but its motion mechanism was successfully adapted into early cinema technologies. This chapter applies praxis through the development of a prototype artwork and the concept of ‘techne’ as speculative means of understanding how this mechanism was transferred from astronomy to the Western cultural realm. It proposes that the development of the apparatus was partially gleaned from moving image techniques already in use within 19th-century visual culture. The development of the prototype artwork is discussed in relation to the specific timing mechanism of the Janssen apparatus and how it establishes its own ‘intersite of knowledge’ relevant to its contemporary context. Finally, this chapter elaborates on how witnessing the Janssen mechanism in motion provided unique insight and how creating a dialogue between historical and contemporary apparatus facilitates a reconsideration of how galleries, libraries, archives, and museums [GLAM] and other host institutions that contain artefacts might share their hidden stories.

While popular genre fictions like detective novels are often centred around formulaic plots and stereotypical characters, they also undergo several exciting changes when adapted in a diverse array of cultural and linguistic contexts. My chapter examines the first female detective of a Bangla crime writing series, Detective (Goyenda) Krishna as a figure that challenges patriarchal stereotypes related to violent women and dismantles the illusory neatness of binaries associated with ‘good’ and ‘bad’ femininity. The gun-toting, vengeance-seeking literary detective is also examined as mediating shifts and transitions in gendered practices and norms in Bengal – its socio-political as well as literary contexts – as it negotiated ideas of decoloniality from the first decade of the twentieth century and emerged as part of a new, partitioned nation in 1947. She is seen as a creative response to the changes related to gender that had been gradually taking shape in colonised Bengal and as articulating radically re-imagined possibilities and opportunities related to female subjectivities in a newly decolonised nation.

The City of New York was suddenly and deliberately attacked on September 11, 2001, killing thousands of people and leaving unbelievable destruction. Thirty-eight buildings and structures were destroyed or damaged, including seven buildings in the World Trade Center site completely leveled. Almost five years later, two very large contaminated buildings, Deutsche Bank at 130 Liberty Street and Fiterman Hall of Borough of Manhattan Community College, have yet to be cleaned up and demolished. Some 30 million square feet of commercial space was lost. Transportation was disrupted, including the loss of the World Trade Center PATH station, the 1/9 subway line and portions of Route 9A and Church Street. Cars were not allowed south of Canal Street for a week. For Americans this was a terrorist attack and a crime. It was a time for mourning losses and responding to disaster. There was the shock that something like this could happen. And there was more. The destruction of the WTC also posed competing environmental, economic and social threats.

This chapter argues that the near-universal exclusion from the academy of the Shakespeare Authorship Question (or SAQ) represents a significant but little-understood example of an internal threat to academic freedom. Using an epistemological lens, this chapter examines and critiques the invidious and marginalizing rhetoric used to suppress such research by demonstrating the extent to which it constitutes a pattern of epistemic vice: that, by calling skeptics “conspiracy theorists” and comparing them to Holocaust deniers rather than addressing the substance of their claims, orthodox Shakespeare academics risk committing acts of epistemic vice, injustice and oppression, as well as foreclosing potentially productive lines of inquiry in their discipline. To better understand this phenomenon and its implications, the chapter subjects selected statements to external criteria in the form of the Association of College and Research Libraries’ 2015 Framework for Information Literacy for Higher Education, which provides a set of robust normative dispositions and knowledge practices for understanding the nature of the scholarly enterprise. The analysis reveals that the proscription against the SAQ constitutes an unwarranted infringement on the academic freedom not only of those targeted by this rhetoric, but – by extension – of all Shakespeare scholars as well.