The democratic functions these spaces fulfil are best facilitated by three different modes of identity performance: identity continuation, identity negation, and identity exploration. Drawing on conceptions of participatory spaces from development studies and deliberative democracy, this essay generates a typology differentiating between empowered spaces such as parliaments, invited spaces such as citizens' assemblies, and the claimed spaces of social movements. Neither difference democrats nor cyberfeminists distinguish between various participatory sites. This essay augments the politics of presence with digital identity reconfigurations. Difference democrats did not take notice of the parallel emerging discourse on cyberfeminism exploring novel identity configurations on the Internet. This strategy inevitably entails essentializing tendencies, confining the democratic subject within its physically embodied identity. It revisits debates of difference democracy of the 1990s, which promoted inclusion through a politics of presence of marginalized social groups. TEZUKA: The Marvel of Manga, Ed.This essay asks how the democratic ideal of inclusion can be achieved in societies marked by power asymmetries along the lines of identity categories such as gender and race.100 Anime, Philip Brophy, BFI, London, 2005.100 Modern Soundtracks, Philip Brophy, BFI, London, 2004.Philip Brophy, AFTRS Publishing, Sydney, 2002 Cinesonic: Experiencing The Soundtrack, Ed.Philip Brophy, AFTRS Publishing, Sydney, 1999 Cinesonic: Cinema and the Sound of Music, Ed.Philip Brophy, AFTRS Publishing, Sydney, 1998 Cinesonic: The World of Sound in Film, Ed.Philip Brophy, Museum of Contemporary Art, Sydney, 1994 Philip Brophy has also exhibited his artworks in Art Galleries for exhibitions such as 'Vox' and the Ian Potter Museum of Art at the University of Melbourne. He has had two books published by the British Film Institute, including 100 Anime, exploring Japanese animation. He was the director of the Cinesonic International Conference on Film Scores & Sound Design, and has edited three journals from the conference. At the time it was the most popular show on the station.īrophy has regularly written for The Wire magazine about film soundtracks, also Film Comment. He began teaching cinema studies at RMIT in 1986.īetween 19 he co-presented, with Bruce Milne, the irreverent cultural theory and music radio show Eeek!, on Melbourne radio station 3RRR (102.7 MHz). He began teaching sound and media at the Phillip Institute of Technology in 1982. Two short films were produced in 2004, The Sound Of Milk and Words In My Mouth - Voices In My Head (Anna).īrophy has had works published in journals such as Virgin Press, Art & Text and Fast Forward and has presented papers at various film conferences since the early 1980s. His first feature film, Body Melt, was released in 1993, and was funded by the Australian Film Commission and Film Victoria. In 1988 he made an experimental short film Salt, Saliva, Sperm and Sweat. In the late 1990s, Brophy founded the Sound Punch label, and released both solo works, and collaborations with Maria Kozic, Bill McDonald, and fellow RMIT academic Philip Samartzis.Īfter the dissolution of → ↑ →, with whom Brophy had made numerous collaborative film and video works (including Super-8 and 16mm versions of No Dance), he set his ambitions on making higher budget films, and became more involved in sound design. Throughout the early 1980s, Brophy wrote numerous compositions and multi-media pieces. In 1980, he founded the Innocent Records label with fellow Melbourne musician David Chesworth. Brophy dissolved the group in the late 1980s, issuing a retrospective book "Made by → ↑ →", but continued to work with Kozic for some time. They also performed or exhibited in Europe, including London's ICA. They performed in a wide range of Australian venues including pubs, galleries, university campuses and the Clifton Hill Community Music Centre. Over the ten years of the group's operation it involved over sixty of Brophy's friends and acquaintances including musician David Chesworth, and visual artists Maria Kozic and Jayne Stevenson. Sometimes compared to Andy Warhol's Factory, the group produced experimental music (Brophy on drums or synthesiser), films, videos, and live theatrical performances exploring Brophy's aesthetic and cultural interests, often on a minimal budget. In 1977, Brophy formed the experimental group → ↑ → more often written (though wrongly) as Tsk Tsk Tsk or Tch Tch Tch, (pronounced tsk tsk tsk) with Ralph Traviato, Alan Gaunt and Leigh Parkhill.