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This chapter is dedicated to understanding the idea of international as a key notion to the development of globalisation and to promoting the rescaling of spaces and subjects in contemporary higher education. The author discusses the concept of scale as a performative device that activates the capacities of bodies. Instead of seeing scale as a naturalised and hierarchical structure of spatial distribution, the author understands it as an ensemble of discourses and practices that produce scalar effects. Globalisation uses scale to promote the idea that subjects would become ‘international’ by being linked to privileged spaces and bodies in the Global North. In this sense, globalisation is not merely about nodes where certain flows converge. Rather, the author understands it as the political conditions that control and constrain the space for certain flows to occur and not others. Using assemblage analysis, the author presents and analyses three scenes taken from his ethnographic records that have as a guiding line the materialisation of the international. These scenes report the experience of being a Latin American doctoral student attending a congress in the United States, a tense situation experienced at a Chilean university academic event, and the unpretentious manifestation of an elaborate idea of internationality from a personal experience of a trip to India. The results point to three elaborations of the international: an optimistic view of a shared world, a geopolitical internationality and the production of a global corporeality.

This chapter explores the Aboriginal artefacts ‘clapsticks’ as a form of cultural data – a means of disseminating cultural knowledge in the galleries, libraries, archives, and museums [GLAM] sector. How might alternative methods of curation animate clapsticks as active objects that deliver effective knowledge transfer? This research aims to explore and extend current industry practices of the curation of clapsticks, within the existing parameters of technology, spatial capacity, financial support, and governance as part of the operation of the GLAM sector. The research problem, therefore, explores the past limitations of colonial framing of cultural institutions that once hindered the revealing, the disseminating, and the ‘awakening’ of the complexities of knowledge intrinsic to Aboriginal cultural artefacts. Informal communication with Aboriginal community members and academics was critical to providing cultural context as well as personal beliefs and aspirations vital to conceptualising the future of cultural representation. This investigation explores how a cultural centre offers a space and an opportunity to facilitate the clapsticks datasets in its capacity as a performance-focussed building rather than solely an exhibition space or keeping place. This potential represents a shift in thinking around the clapsticks being a lens through which the stories of Aboriginal culture can be disseminated.

Women working in public relations (PR) in the 1990s developed the power of metamodern pragmatism to avoid being constrained in this decade of contradictions.

This was a time of promise for female empowerment and careers. The PR industry in Britain had quadrupled in size, yet increased feminisation and professionalisation did not resolve gender inequity. Indeed, alongside the existence of ‘old boys clubs’ and hedonistic macho agencies in the industry, the 1990s offered a lad's mag culture and an AbFab image of PR.

An original collaborative historical ‘Café Delphi’ method was developed using three themes (sex, sexuality and sexism) to explore women's careers and contributions in the expanding and increasingly powerful field of PR in the United Kingdom during the 1990s. It built on feminist critique of the industry and paradoxical portrayals of women resulting from significant changes in media, popular culture and a pluralistic marketplace.

Individual and collective experiences of women working in PR at the time reveal the power of attitudes to affect their ability to achieve equality and empowerment. Women navigated tensions between the benefits of accelerated pluralism and the patriarchal resistance in the workplace through performative choices and a deep sense of pragmatism.

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.

Anti-racism has been practiced in various ways, with varying degrees of effectiveness. This chapter engages with the body of scholarship that focuses on approaches aimed at promoting anti-racist actions, policies and social change. It discusses some of the main anti-racism strategies that have been deployed across different countries and examines anti-racism practices in interpersonal, intergroup and community settings. These approaches encompass civil rights campaigns, legislative and policy interventions, affirmative action, diversity and inclusion training, prejudice reduction, intergroup contact, organisational development and holistic anti-racism approaches. Some anti-racism practices and policies, such as awareness campaigns, social marketing and diversity training, also extend to digital platforms, with social media and multimedia networks deployed to broaden the reach and impact of anti-racist endeavours. This chapter specifically engages with local anti-racism movements and draws principles for broader implementation of anti-racism policy and practice. It concludes with a brief discussion of the effectiveness of contemporary anti-racism approaches.

This chapter explores the approaches to digital representation of Australian Aboriginal art and visitor engagement in museum exhibition spaces from a digital design perspective. It discusses recent developments in the fields of digital representation of Aboriginal art, immersive exhibition design and visitor engagement. Through a case study of an immersive exhibition on Australian Aboriginal art in the National Museum of Australia, Canberra, this chapter identifies how Aboriginal art can be digitally represented by appropriate immersive technologies ranging from augmented realities [ARs] and virtual realities [VRs] to mixed reality [MRs] and extended reality [XRs] for enhancing visitors’ immersive digital experience. According to the analysis, the digital representation of Aboriginal artworks needs to be conducted practically, cognitively and ontologically based on understanding Australian Aboriginal history and culture. Visitors can engage with Aboriginal art stories meaningfully through immersive exhibitions through this holistic approach.

This concluding chapter summarises the main themes and topics discussed in this book, synthesising the key issues facing contemporary anti-racism efforts. It reflects on a possible anti-racist future(s) in a context of greater sociocultural affiliations and more interconnected local and global environments. Ideas about race and ethnicity have adapted, and racial hierarchies, structures and processes continuously shape the way social groups engage, interact and live with difference. This raises questions regarding the enduring influence of race and racism. What will the state of multiracial societies be in the evolving digital economy that has transformed the structural and institutional environment affecting everyday life? What kind of an anti-racist future can be imagined that will contribute to ensuring greater social equity? This chapter ponders on a range of possibilities to chart directions towards an anti-racist future that fosters increased intercultural understanding for relational engagements across difference. It draws conclusions and lessons for an anti-racist future and lays out some directions for future research.

While the main emotional labor strategies are well-documented, the manner in which professionals navigate emotional rules within the workplace and effectively perform emotional labor is less understood. With this contribution, I aim to unveil “the good, the bad and the ugly” of emotional labor as a dynamic theatrical performance.

Focusing on three geriatric long-term care units within a French public hospital, this qualitative study relies on two sets of data (observation and interviews). Deeply rooted within the field of study, the chosen methodological approach substantializes the subtle hues of the emotional experience at work and targets resonance rather than generalization.

Using the theatrical metaphor, this research underlines the role of space in the practice of emotional labor in a unique way. It identifies the main emotionalized zones or emotional regions (front, back, transitional, mixed) and details their characteristics, before unearthing the nonlinearity and polyphonic quality of emotional labor performance and the versatility needed to that effect. Indeed, this research shows how health-care professionals juggle with the specificities of each region, as well as how space generates both constraints and resources. By combining static and dynamic prisms, diverse instantiations of hybridity and spatial in-betweens, anchored in liminality and trajectories, are revealed.

This research adds to the current body of literature on the concept of emotional labor by shedding light on its highly dynamic and interactional nature, revealing different levels of porosity between emotional regions and how the characteristics of each type of area can taint others and increase/decrease the occupational health costs of emotional labor. The study also raises questions about the interplay of emotional labor performance with the level of humanization/dehumanization of elderly people. Given the global demographics about an aging population, this gives food for thought at a social level.

Country and cultural heritage are inextricably linked for First Nations peoples. This chapter explores those relationships in the context of repatriating cultural heritage materials back to Country and conceptualising a place for its ‘awakening’ for the Ngadjuri community of Mid-North South Australia. These materials in the context of this book ‘interpreted’ as a form of data curation, requiring potentially unique information systems designs to achieve accessibility, recoverability, and durability in remote communities with limited internet and mobile phone coverage. On the other hand, it is critically important to note, that the processes, challenges and repatriation of culturally sensitive materials and remains, are dependant here on the limitations of language. The reference to the notion of ‘data’ as a descriptor, and an inadequate term on some level, does not, and is not intended to, diminish any of their cultural significance and gravity. These are challenges that are worth the intellectual and technological investment to realise a return to Country for generationally displaced peoples and their cultural property that also needs to make it home.