Lost Rocks: Marble

King, L; Kinniburgh, J

Lost Rocks: Marble

King, L

Kinniburgh, J

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Publisher:: A Published Event
Publication Type:: Creative Work (written)
Citation:: Lost Rocks: Marble, 2019
Issue Date:: 2019-09-01

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Field	Value	Language
dc.contributor.author	King, L https://orcid.org/0000-0002-2052-5985
dc.contributor.author	Kinniburgh, J https://orcid.org/0000-0001-6214-2539
dc.date.accessioned	2022-02-03T04:50:00Z
dc.date.available	2022-02-03T04:50:00Z
dc.date.issued	2019-09-01
dc.identifier.citation	Lost Rocks: Marble, 2019
dc.identifier.uri	http://hdl.handle.net/10453/154170
dc.description.abstract	To lose marble is to lose an assembled collective. Marble holds the fragments of a number of lives, compressed together in a single location. To honor this geologic tradition, we reassemble a collective. We spatially locate our Lost Rock, drawing on a series of fragments, stories and lives – each incomplete. We find ourselves on wukaluwikiwayna/ Maria Island, a National Park that stages remnants of its multiple built histories. Some of the fragments are visible: ruins of dismantled housing and abandoned industry; middens several meters deep, reinforcing the dunes of the isthmus; disused post-industrial cement silos that stand sentinel over the ferry wharf; and convict dormitories refurbished as tourist accommodations. Some remnants are no longer visible, except within archives: the desecrated tyreddeme cremation site along a freshwater stream; records of the Napoleonic Wars; an upturned paraganna/abalone shell singed black; Eurocentric notes of the colonial patriarchy. We trace these layers and their performative agency through a ficto-critical practice that makes visible (Prosser, 2006) lesser-known spatial histories of Maria Island as they were lived by marginal occupants. We reflect on marble to imply the creative potential within this collective in two ways. Firstly, through ficto-critical writing practice, we acknowledge the neglected social fragments of the island that are not readily found in the published accounts of the place. Secondly, through a conversation between two feminist authors, each writing in the first person, contributing their own fragments, stories and reflections…
dc.language	en
dc.publisher	A Published Event
dc.relation.ispartof	Lost Rocks: Marble
dc.rights	info:eu-repo/semantics/closedAccess
dc.title	Lost Rocks: Marble
dc.type	Creative Work (Written)
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2022-02-03T04:49:59Z
pubs.place-of-publication	Hobart, Tasmania
dc.location	Hobart, Tasmania

Abstract:

To lose marble is to lose an assembled collective. Marble holds the fragments of a number of lives, compressed together in a single location. To honor this geologic tradition, we reassemble a collective. We spatially locate our Lost Rock, drawing on a series of fragments, stories and lives – each incomplete. We find ourselves on wukaluwikiwayna/ Maria Island, a National Park that stages remnants of its multiple built histories. Some of the fragments are visible: ruins of dismantled housing and abandoned industry; middens several meters deep, reinforcing the dunes of the isthmus; disused post-industrial cement silos that stand sentinel over the ferry wharf; and convict dormitories refurbished as tourist accommodations. Some remnants are no longer visible, except within archives: the desecrated tyreddeme cremation site along a freshwater stream; records of the Napoleonic Wars; an upturned paraganna/abalone shell singed black; Eurocentric notes of the colonial patriarchy. We trace these layers and their performative agency through a ficto-critical practice that makes visible (Prosser, 2006) lesser-known spatial histories of Maria Island as they were lived by marginal occupants. We reflect on marble to imply the creative potential within this collective in two ways. Firstly, through ficto-critical writing practice, we acknowledge the neglected social fragments of the island that are not readily found in the published accounts of the place. Secondly, through a conversation between two feminist authors, each writing in the first person, contributing their own fragments, stories and reflections…

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http://hdl.handle.net/10453/154170