Plastic-free Kandos! X

I’ve been one of the most privileged emerging artists. Plastic-free Kandos was a great learning experience!

You know those times when you look around you & realise some people just want good things for you? I have so much gratitude for the people of Kandos, Cementa,  WayOut ArtSpace, Michael & Jack who helped us put the exhibition together, working with Rox De Luca & of course, my Mentors Lucss Ihlein & Kim Williams. Yes, this is supposed to be a post about the what we did & what we achieved- which was huge. But for the moment, I’m just grateful for the people & the opportunity to push myself & work earnestly & hard.

NAIDOC 2022 Get Up! Stand Up! Show Up!

My absolute gratitude to Ana Kindergarten, the Anatolian community & Aly Trinh for hosting Belonging & Sister GlitterNullius, to celebrate NAIDOC 2022! X

We explored our sense of Belonging in Australia, within our various community groups & asked, how might we strengthen connections between our cultures… Through humour, irony & acknowledging our differences & commonalities, we sought to find practical ways to reach out…

Some of the beautiful frij magnets made by the Belonging group!

I’ve so much gratitude for this group of courageous creatives! Thankyou for having me, the truths, the fun, the laughter & everything you gave to make our Belonging workshop such a success!

Your Friend In & Out of Plastix,

Sister GlitterNullius X

Deborah Kelly Artist: The Book of CREATION launched!

Image Courtesy: The Book of CREATION, Deborah Kelly, 2022, https://www.creationtheproject.com/.

I have so much gratitude for having my work included within the pages of The Book of CREATION by lead Instigator, Deborah Kelly.

” CREATION is a new religion, manifesting in spectacle and intimacy. A faith, a gathering of intention and purpose with which to face an era when paid opinion trumps environmental evidence. “

” CREATION proposes a crowd-sourced belief system teeming with pleasures and possibilities. “

” CREATION seeks to engage with the dream life of humanity to build ambiguous and beautiful practices of collectivity. It aspires to counter assaults on the biosphere with lateral, joyous, grieving, enraged action. Our era demands preposterous thinking, bold experimentation, leaps and loops and flights of faith.”

” CREATION is at stake.” Deborah Kelly, 2021.

” Built in collaboration with metropolitan and regional communities and institutions, CREATION encompasses mysteries, performance, visual arts, design, dance, food, music and literature. At each gathering site, artform-specific workshops will be held with local publics. Each workshop series will yield an element of CREATION: a liturgy, parables, a cosmological imaginary, ritual garments, choreography, song, sustenance and ceremony. “

” CREATION is multi-dimensional and cross-disciplinary, moving across and between contemporary art, politics and ritual. The work will entail moving and static imagery, a transcendent soundscape, intimate encounters for learning and exchange, culminating in collaboratively devised participatory performance events. ” (Deborah Kelly, 2021, https://www.creationtheproject.com/about).

Thankyou Deborah Kelly & The Creation Project for including, We Am, Prayer for CREATION by Sister GlitterNullius X.

We Am, Prayer for CREATION: Sister GlitterNullius. X

Creation janabi-nyubari, durun-gul and bahrwa. We welcome our accountability and
responsibility for all Creation’s mamir, as ngadjang-gali .We ganga- that our breath is
your breath, jagul, manyah.

Ganga- welcome our sacred duties are to dismantle and dethrone, linear, hierarchical
ways of jagur epistemology and ontology, the scaffolding of false-beliefs and actions. We banish notions of human entitlement and theft of power over Nature. We gangabahrwa, facing the oppressive, violent structures of thieving, ranking and owning kin,
land, water, fire, air, knowledge and the violence against our non-human janabinyubari and spiritual life.

Simultaneously, Creation’s jarjum and elder, we numbah wandan, aligned with, in and
by Nature’s ngudjal. We bahrwa through Creation ganga-ngidahng to unburden our
knowledge keepers from all unnatural imprisonments and shackles that prevent
teaching and the passing of knowledge as it should be.

Creation’s ngudjal sets them
free to share again.
Jawga our individual and collective allegiance to live peacefully, equally and truthfully
to the benefit of Creation and all natural spirit-kin, in ganga- with our non-human
janabi-nyubari. Urgently and gently, together we enact our universal numbah toward
Creation’s nurturing reciprocal ngudjal.


In the truth of this natural reciprocity, we refocus and relearn protocols of Creation, of
equal respect, non-violence, noticing, restoring and protecting natural balances. In our
realignment with the patterns of Creation we undertake and prioritise, healing the
interactions between all natural systems and numbah the balance of their sacred,
rightful belonging.

In these processes of realignment and protection, Creation calls
upon our artists and other truth-tellers to apply their calling, to identify, interpret, share
the truths and challenges before us.
Let all our prayers be for all.

Your Friend, In & Out Of Plastix,

Sister GlitterNullius X

Yugambeh-Bundjalung Words


Bahrwa – arrive, arise, emerge, come through, wake up into sight or existence, come
up, come out.
Durun-gul – be calm.
Ganga- – know, hear, think, consider, smell, sense, hope, learn, suppose, believe,
wonder, muse, worry about, meditate, understand.
Jagul – native land.
Jagur – stranger.
Janabi-nyubari – family.
Jawga – send, let, permit, give up, release, let go.
Mamir – life.
Manyah – native country.
Ngadjang-gali – elder, spirit-being, powerful.
Ngidahng – brave, daring, courage.
Ngudjal – spiritual blessing, strength.
Numbah – come back, return.
Wandan – strong. (Middle Clarence River NSW

Your Friend, In & Out of Plastix,

Juundaal. X

BCM 110 Assignment 3: Reference List & Bibliography

Blog 5 of 5: Reference List & Bibliography: Blogs 1-4

Reference List

Alighieri, Dante, 1320, The Divine Comedy, Hutchins, Robert M, Editor-in-Chief, The University of Chicago (ed.) Advisory Board, Encyclopaedia Britannica, published, 1952, UK.

Aruguete, Mara S; Gillen, Meghan M; McCutchen, Lynn E & Bernstein, Michael J, 2020, Disconnection from nature & interest in mass media, Applied Environmental Education & Communication, Vol.19:4, p.363-374, online journal, Routledge: Taylor & Francis Group, London.

Bell, Christopher, 2015, Bring on the female superheroes!, TEDx, Colorado Springs, Distribution: http://www.ted.com.

Britton, Ronald, 2015, Mary Shelley’s Frankenstein: what made the monster monstrous?, The Journal of Analytical Psychology, Vol.60:1, p.1-11, accessed: 23.04.2022.

Bruno, David; Wilson, Meredith, (eds.), 2002, Inscribed Landscapes, Making & Making Place, University of Hawaii Press, Hawaii, USA.

Cinnamon, Jonathan, 2017, Social Injustice in Surveillance Capitalism, Surveillance & Society, Vol.15, Iss.5, p.609-625, accessed: 04.05.2022.

Cunningham, Stuart, 2014, Policy & Regulation in Cunningham S & Turnbull S (eds.), 2014, The Media & Communications in Australia, 4th Edition, Allen & Unwin, Aust.

Edwards, Dustin W, 2020, Digital Rhetoric on a Damaged Planet: Storying Digital Damage as Inventive Response to the Anthropocene, Rhetoric Review, Vol.30:1, p.59-72, https://www-tandfonline-com.ezproxy.uow.edu.au/doi/pdf/10.1080/07350198.2019.1690372.

Falkof, Nicky, 2020, On Moral Panic – Some Directions for Further Development; Critical Sociology, 2020, Vol.46(2), p.225-239, accessed:22.04.2022.

Gergan, Mabel; Smith, Sara; Vasudevan, Pavithra, 2020, Earth beyond repair: Race & apocalypse in collective imagination; Environment & Planning D: Society & Space, Vol.38:1, p.91-110,https://journals-sagepub-com.ezproxy.uow.edu.au/doi/full/10.1177/0263775818756079.

Hall, Stuart, 1997, The Work of Representation, Chp.1, p.1-51, The Spectacle of the Other, Chp.4, p.223-277; in Representation: Cultural Representations & Signifying Practices, Sage in association: The Open University, England.

Hammond, Kim, 2004, Monsters of modernity: Frankenstein & modern environmentalism, Cultural Geographies, Iss.11, p.181-198, School of Geography & the Environment, University of Oxford England. 

Haraway, Donna, 2010, When Species Meet: staying with the trouble, Environmental & Planning D: Society & Space, 2010, Vol.28, p..53-55, Pion Ltd., London.

Haraway, Donna, 2016, Staying With the Trouble: Making Kin in the Chthulucene, Duke University Press.

Haraway, Donna, 2018, Staying with the Trouble for Multispecies Environmental Justice, Dialogues in Human Geography, Vol.8(1), p.102-105, Sage Publications, UK.

hooks, bell, 1992 & 2014, Black Looks: Race & Representation, 1st & 2nd. Ed, Routledge, New York, USA. 

Kelly, Deborah, 2022, The Book of CREATION, https://www.creationtheproject.com/liturgy, Griffith University Art Museum, Griffith University, Brisbane QLD, Aust.

Langton, Marcia, 2002, Sensual Inscriptions, The Edge of the Sacred: The Edge of Death, in Bruno, David; Wilson, Meredith, (eds.), 2002, Inscribed Landscapes: Making & Making Place, University of Hawaii Press, Hawaii.

Latour, Bruno; Stengers, Isabelle; Tsing Anna; Bubandt, Nils; 2018; Anthropologists are Talking About Capitalism, Ecology & Apocalypse; Ethnos: Journal of Anthropology, Vol.83, Iss.3, accessed: 23.05.2022-20.06.2022.

Lidberg, Johan, 2019, The Distortion of the Australian public sphere: media ownership concentration in Australia, Australian Quarterly, Vol.90, Iss.1, Jan-March, p.12-20.

Lyon, David, 2002, Everyday Surveillance: Personal Data & Social Classifications; Information, Communication & Society, Iss.5, No.2, p.242-257, Taylor & Francis.

Lu, Kevin Dr, 2021, Carl Jung & the Archetypes, The Weekend University, Distribution: YouTube: Carl Jung and the Archetypes – Dr Kevin Lu, PhD, The Weekend University, US.

Moreton-Robinson, Aileen (ed.), 2004, Whitening Race: Essays in social & cultural criticism, Aboriginal Studies Press, Canberra, ACT.

Norman, Sara Jane, 2021, Liturgy of the Saprophyte, The Book of CREATION, 2022, Lead Artist, Deborah Kelly, https://www.creationtheproject.com/liturgy, Griffith University Art Museum, Griffith University, Brisbane QLD, Aust.

Orlowski, Jeff (dir.) & Rhodes, Larissa (prod.), 2020, The Social Dilemma,  Production: Exposure Labs, Argent Pictures & The Space Program, Documentary/Docudrama, 94:00mins, Distribution: Netflix, https://www.youtube.com/watch?v=uaaC57tcci0, accessed: 15.03.2022-04.04.2022.

Pontes, Halley M, 2017, Social networking disorder: Investigating the differential effects of social networking addiction & internet gaming disorder for psychological health, Journal of Behavioural Addictions, AK Journals, Vol.6, Iss.4, p.601-610.

Solove, Daniel J, 2021, The myth of the privacy paradox, George Washington University ,Law Faculty & Other Works Publications, L. Rev. 89, 2021:1.

Sunstein, Cass R, 2000, Deliberative Trouble: Why Groups Go to Extremes, Chicago Unbound, Journal Articles, Faculty Scholarship, University of Chicago Law School, US.

Tan, Cenk, 2021, A Jungian & Nietzschean Approach to Todd Phillips’ Joker, Litera: Journal of Language, Literature & Culture Studies, Vol.31, Iss.1, 23.06.2021, Istanbul University Press, accessed: 15-22.06.2022.

Todd, Zoe, 2015, Indigenising the Anthropocene, Art in the Anthropocene: encounters among aesthetics, politics, environments & epistemologies, Open Humanities Press.

Tsing, Anna Lowenhaupt; Bubandt, Nils; Gan, Elaine; Swanson, Heather Anne, 2017, Arts of Living on a Damaged Planet: Ghosts & Monsters of the Anthropocene, University of Minnesota Press, USA.

Yunkaporta, Tyson, 2019, sand talk, Text Publishing Company, Melbourne, VIC.

Zuboff, Shoshana, 2019, Surveillance Capitalism & the Challenge of Collective Action; New Labor Forum, Vol.28(1), p.10-29; The Murphy Institute, City University of New York, New York, NY.

Bibliography

Beyer C; Bockwold JC; Hammer EL & Potzsch, 2019, Seeing (With, Through & As) Monsters: An Introduction to the Special Issue, Nordit, Septentrio, UIT, accessed: 15.06.2022-22.06.2022.

Bruno David; Barker, Bryce; McNiven, Ian J, (eds.), 2006, The Social Archaeology of Australian Indigenous Societies, Aboriginal Studies Press, Australian Institute of Aboriginal & Torres Strait Islander Studies, Canberra, ACT.

Delaney, Lori, 2019, Comics vs Climate Change: Who is the Most Eco-Friendly Superhero? Eco-Age: The Eco-Living Archive, eco-age.com, https://eco-age.com/resources/comics-vs-climate-change-who-most-eco-friendly-superhero/, accessed: 17.06.2022-21.06.2022.

Fell, Elana & Lukianova, Natalia, 2018, Arts of Living on a Dying Planet: Ghosts & Monsters of the Anthropocene, The Philosophical Quarterly, Vol.68, no.272, p.632-634.

Fiske, John & Jenkins, Henry, 2010, Introduction to Communication Studies, 3rd.ed., p.80-86 & p.157-169, Routledge, London.

Mansfield, Nick; Fensham, Rachel; Threadgold, Terry; Tulloch, John, 2000, Subjectivity: Theories of the self from Freud to Haraway, Routledge, London.

McGowan, Andrew, 2019, Superhero Ecologies: An Environmental Reading of Contemporary Superhero Cinema, Honours Project: Student Scholarship & Creative Work, Bowdoin College, Bowdoin Creative Commons, US.

Puc, Reed G, 2021, Lifeglows Through the Anthropocene: Development of the Radical Imagination & Response-Ability Within Superhero Comics; Graduate Student Thesis, Dissertations & Professional Papers: Graduate School, ScholarWorks at University Montana, US.

Turnbull, Sue, Imagining the audience, in Cunningham S & Turner T (eds), The Media & Communications in Australia, 3rd. Ed, Allen & Unwin, Crows Nest, Aust.

Images & Videos

Blog 1: Image: Strang-Yettica, Juundaal, 2020, Sister GlitterNullius Mugshots, taken with my Samsung Galaxy Ultra 20, mobile phone.

Blog 1: Image: Yes Magazine, 2013, 13 Climate Justice Leaders Imagined as Comic Superheroes, https://www.yesmagazine.org/environment/2018/04/21/13-climate-justice-leaders-imagined-as-comic-superheroes, Image: Patricia Espinosa Cantellano, Executive Secretary: United Nations Framework Convention on Climate Change, Art: Pia Guerra, https://www.yesmagazine.org/wp-content/uploads/imports/252ec017e074450c89e991efec353b2a.jpg.

Blog 2 Video: Strang-Yettica, 2020, The Transformation of Sister GlitterNullius, Editor: Jesse Tyssen, (01.48), Samsung Galaxy Ultra 20.

Blog 2 Video: Phillips, Todd, (Dir./Prod.), 2019, Joker, JOKER – Final Trailer – Now Playing In Theatres, Warner Bros, US, Distribution: YouTube, accessed: 18-20.06.2022.

Blog 3 Video: The Amazing World of Gumball | Computer AI Absorbs Humanity | Cartoon Network The Amazing World of Gumball, Computer AI Absorbs Humanity, 2018, (00.00-03.14), Cartoon Network UK, Distribution: YouTube, accessed: 17-18.06.2022.

Blog 3: Video: The Wachowskis, 1999, The Matrix Official Trailer #1, Distribution: YouTube, accessed: 18.06.2022, The Matrix, 1999, Lana & Lilly Wachowski, (Dirs.), Joel Silver (Prod.), Warner Bros & Village Roadshow, (2hrs 16mins). Image: https://cdn.onebauer.media/one/empire-tmdb/films/603/images, accessed: 20.06.2022. The Matrix: The Matrix (1999) Official Trailer #1 – Sci-Fi Action Movie

Blog 4 Image: Norman, Sara Jane, 2021, Liturgy of the Saprophyte, The Book of CREATION, 2022, Lead Artist, Deborah Kelly, https://www.creationtheproject.com/liturgy, Griffith University Art Museum, Griffith University, Brisbane QLD, Aust, https://www.creationtheproject.com/liturgy, accessed: 21.06.2022.

Blog 4 Video: Strang-Yettica, Juundaal, 2020, The Birth of Sister GlitterNullius (2:00), experimental video with my phone, Editor: Jesse Tyssen, https://youtu.be/-djWGGjgfbk, During Internship: “Plastic Free Biennale”, Lucas Ihlein and Kim Williams (2020) in NIRIN, the 22nd Biennale of Sydney, 2020.

BCM 110 Assignment 3: End Reference List

Your Friend, In & Out of Plastix,

Juundaal Strang-Yettica #8801112

Shhh… the monster speaks the truth…the nun confesses!… Sister GlitterNullius’ Confession. X

Image: Kelly, Deborah, Norman, Sara Jane, 2021, Liturgy of the Saprophyte, Liturgy Cards for The Book of CREATION, 2022, Lead Artist, Deborah Kelly, https://www.creationtheproject.com/liturgy, Griffith University Art Museum, Griffith University, Brisbane QLD, Aust, https://www.creationtheproject.com/liturgy, accessed: 21.06.2022.

BCM 110 Assignment 3 Title: Sister GlitterNullius: conceptualising the monstering through representation and the gaze of the Other.

Blog 4 of 5: Solutions & Outcomes

Put aside your fear of me and let me be a warning, not your panic (Falkof, 2018).

Here, I am empathy, your empathy. 

I offer you, we, human and non, comfort. 

I invite that we pray for our non-human community, for our actions that are the sins we commit against Nature, and subsequently against ourselves (Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018; Kelly, 2022; Langton, 2002;  Norman, 2022; Todd, 2015; Tsing et al, 2017; Yunkaporta, 2019).

In urgent prayer, we monsters invite that, we become the constant knowing of truth allowing our prayers and actions be simultaneous, and that we remember the truth we forget. Raise yourself to face the Sun, the Moon and all of Nature’s creations as I invite you to reshape, re-contextualise all that we know and do (Hammond 2004; Haraway, 2010, 2016, 2018; Kelly, 2022; Norman, 2022; Todd, 2015; Tsing et al, 2017).

Collaborate, to the survival needs of the Natural environment. For, We Am (Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018; Kelly, 2022; Langton, 2002; Norman, 2022; Todd, 2015; Tsing et al, 2017; Yunkaporta, 2019).

Hear me, my children… From monster to superhero, I dare cross the threshold by way of offering you my confession (Alighieri, 1320; Hammond 2004; Kelly, 2022; Norman, 2022; 2015).

I confess to all the Natural alignments of Nature’s creation and our Ancestors, that I am the consequence. I am the inevitable, obvious outcome. I confess I am the unavoidable messenger (Alighieri, 1320, Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018, Kelly, 2022, Langton, 2002; Norman, 2022; Todd, 2015; Tsing et al, 2017; Yunkaporta, 2019).

I confess that I am a sinner. 

A liar, thief, consumer-murderer, failure and hypocrite. I declare here, my incongruence with Nature’s Ancestry and I live, yet still, a testament to the original intention for my humanity and all encompassing power and resilience of that same Ancestry (Alighieri, 1320; Hammond 2004; Haraway, 2010, 2016, 2018; Kelly, 2022; Langton, 2002; Norman, 2022; Tsing et al, 2017; Yunkaporta, 2019).

I confess that I am the corrupted innocent-sinner, a relic of imperialist hierarchies and an ancient child of Saltwater, borne into the Anthropocene. I err severely, often and will reoffend, repeatedly (Alighieri, 1320, Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018, Kelly, 2022, Langton, 2002; Norman, 2022; Todd, 2015; Tsing et al, 2017; Yunkaporta, 2019).

For all these and more, I am trully sorry and am not worthy of forgiveness. This is my confession of my colonised humanity and the undertaking of my monstrosity to devote my existence to the plight of all Nature’s beings, micro-organism to mountain (Alighieri, 1320, Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018, Kelly, 2022, Norman, 2022; Todd, 2015; Tsing et al, 2017). 

This my equality.

Truth, I am a monster. Simultaneous truth, I am not a monster (Hammond 2004; Haraway, 2010, 2016, 2018, Kelly, 2022; Norman, 2022; Tsing et al, 2017).

I am you. We am. We all am, human and non-human, equal. 

Simultaneous final truth, we-human must be the healing. A circle, end at the beginning (Bruno & Wilson, 2002; Hammond 2004; Haraway, 2010, 2016, 2018, Kelly, 2022, Langton, 2002; Norman, 2022; Todd, 2015; Tsing et al, 2017; Yunkaporta, 2019). 

Strang-Yettica, Juundaal, 2020, The Birth of Sister GlitterNullius, (00.00-2.01), Internship: Lucas Ihlein & Kim Williams, Plastic-free Biennale, 2020, NIRIN, Sydney Biennale, 2020.

Your Friend, In & Out of Plastix,

Sister GlitterNullius. X

Guns don’t kill, mass media doesn’t kill – people kill but a little less entitlement wouldn’t kill either…Perhaps a little dash more of human responsibility wouldn’t hurt either… X

The Amazing World of Gumball, Computer AI Absorbs Humanity, 2018, (00.00-03.14), Cartoon Network UK, Distribution: YouTube, accessed: 17-18.06.2022.

BCM 110 Assignment 3: Title: Sister GlitterNullius: conceptualising the monstering through representation and the gaze of the Other. 

Blog 3 of 5: Types of Monstering: 

Welcome back my children! Get out your fangs and your big person pants! We are going to take a bite from my monstering concept! 

The way I have come to understand how I was created is something I call, monstering. Monstering is the every-single-thing that leads up to an outcome that is, to the benefit of humans at the detriment of Nature. Monstering is any and all individual, community, social, organisational, national and international belief, policy, philosophy, law, social structure, behaviour or action that prioritises the needs and wants of some humans above others in Nature, be they human or non-human. Your consumerism is part of the monstering, every purchase in plastic, every like on social media, the list goes on and on (Aruguete et al, 2020, Britton, 2015; Edwards 2020; Hammond, 2004; Haraway, 2010, 2016, 2018; Orlowski, 2020; Pontes, 2017; Sunstein, 2000; Tsing et al, 2017; Zuboff, 2019).

Monstering stems from and maintains the hierarchical social structures of power, of colonialism, capitalism, consumerism and christianity. That is, any socio-political, socio-religious structure that colonises and destructively harvests from nature causing extinction, to benefit the few. That might include media ownership laws that block truths and allow a few to control our access to a variety of points of view. Monstering also includes the harvesting of meta-data, creating digital profiles of mass media users and narrowing their thought-worlds by feeding back algorithmic selections, closing down people’s exposure to thought diversity. In effect, as consumers of mass media, it’s eating us, we’re eating it and ultimately eating digital versions of ourselves. This looks more like a type of digital cannibalism but capitalism and its fat cats are the only ones getting fat. The digitalocene! This is not a symbiotic relationship folks (Cunningham, 2014; Latour et al, 2018; Lidburg, 2019; Lyon, 2002; Orlowski, 2020; Solove, 2021; Sunstein, 2000; Zuboff, 2019).

Oh my children! I haven’t even started on the contributions of fossil fuels, agriculture, micro-plastix, human trafficking, cyborgs, all the isms, like sexism or the control of humans by artificial intelligence … time and space do not permit (Edwards, 2020; Haraway, 2010, 2016, 2018; Latour et al, 2018; Tsing et al, 2017). The point I am attempting to reach with you, about monstering behaviours, is that there is an underlying truth that requires urgent individual and collective shifts in our capitalist-consumerist social structure, beliefs and behaviours (Edwards, 2020; Haraway, 2010, 2016, 2018 ;Latour et al, 2018; Tsing et al, 2017). The truth is that we live in the geological era called the Anthropocene. The earth, its plants, organisms, animals and environments are being polluted or extincted by one monstering species, humans. Only humans have the ability and response-Ability to change this (Edwards, 2020; Hammond, 2004; Haraway, 2010, 2016, 2018; Latour et al, 2018; Todd, 2015; Tsing et al, 2017).

The truth is that we are monstering ourselves and all of the rest of nature into an all encompassing prison of environmental demise (Edwards, 2020; Hammond, 2004; Haraway, 2010, 2016, 2018; Latour et al, 2018; Todd, 2015; Tsing et al, 2017). I think the 1999 film, The Matrix is about prisons and truth and our acceptance, rejections or intersections with it. The truth is not always an easy pill to swallow and it may even threaten the comfort of your denial, your reality and your truth.

I’ll leave you with The Matrix (1999) and ask you, tell the truth about your contribution to the monstering…

Film: The Matrix Official Trailer #1, Distribution: YouTube, accessed: 18.06.2022, The Matrix, 1999, Lana & Lilly Wachowski, (Dirs.), Joel Silver (Prod.), Warner Bros & Village Roadshow, (2hrs 16mins).

Your Friend, In & Out of Plastix,

Sister GlitterNullius. X

Shhh… Here come the monsters! What are Monsters…? Am I a Monster?… X

Strang-Yettica, 2020, The Transformation of Sister GlitterNullius, Internship: Lucas Ihlein & Kim Williams, 2020, Plastic-free Biennale, NIRIN, Sydney Biennale.

BCM 110 Assignment 3 : Sister GlitterNullius: conceptualising the monstering through representation and the gaze of the Other. 

Blog 2 of 5 Title: Sister GlitterNullius: conceptualising the monstering through representation and the gaze of the Other. 

Come my children, come. Walk with me. Let me tell you what a monster is, that you might understand my thoughts about the monstering. 

I am a monster. I began and remain one of Nature’s creations. A messenger-servant, resilient in my perceived abnormality. My metamorphosis is neither abnormality nor burden, neither deformity nor deficit. In this moment, I am not ashamed of my transformations. Receive my deformity as compass, a conduit-gift and sight. Here, I position myself before you, a simultaneously living and dying truth, my accountability to all of Nature and her Ancestry. I am a monster (Britton, 2015; Gergan et al, 2020; Hammond, 2004; Hall, 1997; Lu, 2021;Tan, 2021).  

There are all kinds of monsters, in all cultures and we have probably existed since humans first experienced fear, the truth, the truth about themselves or feared the truth about themselves and each other, especially, the Other. Monsters have filled mythology for thousands of years and have served humans in shaping their cultures from that time (Britton, 2015; Gergan et al, 2020; Hammond, 2004; Hall, 1997; Lu, 2021; Tan, 2021).

Like myself, a monster is often defined as something or someone who exists, physically or metaphorically, as an outsider to the generally accepted bounds of the dominant society. It may be that we are considered the Other, on the basis of how we look, behave, our abilities or by some metamorphosis, changes in our presentations – we reveal fears and truths about humans, by our existence (Britton, 2015; Gergan et al, 2020; Hammond, 2004; Hall, 1997; Lu, 2021;Tan, 2021).

Often we monsters are portrayed as having mal-intent toward humankind or as  driven only by instinct, without consciousness or emotion. Mind now… not all monsters are thought monstrous or evil. Humans invest hopes and fantasies into some monsters like angels, unicorns and fairies. My children, put your faith in this monster, don’t panic. (Britton, 2015; Falkof, 2018; Hammond, 2004; Hall, 1997; Lu, 2021; Tan, 2021).

I was not born this way, not born a monster. I was born an Indigenous female, into a colonised world, christianity forced upon me and my psyche was most definitely affected! Micro-plastix infected my DNA – a by-product of your capitalist-consumerist, monstrous purchases, hashtagging, fossil-fuel burning and mis-use of plastic, infected my DNA! These actions are monstering. Like you, I too have a love/hate relationship with plastic and from what I can tell, the monstering madness continues to surge (Britton, 2015; Edwards, 2020; Gergan et al, 2020; Hammond, 2004; Hall, 1997; Lu, 2021; Orlowski, 2020; Tan, 2021). Like Arthur Fleck, in Todd Phillips’ film Joker, 2019, I have adjusted to my psychopathy as best I can. Like Arthur, trapped within a hierarchical system of power and privilege based upon the exploitation and destruction of others and the environment, I am both victim and heroine, shadow archetype and superhero. This is the monster I am (Lu, 2021; Tan, 2021). 

Joker, Phillips, Todd, (Director/Producer), 2019, Joker, Warner Bros, US, Distribution: YouTube.

Your Friend, In & Out of Plastix,

Sister GlitterNullius. X

Shhh… Let the Monster Speak: Sister GlitterNullius speaks of the monstering… X

 Strang-Yettica, Juundaal, 2020, Sister GlitterNullius Mugshots, taken with my Samsung Galaxy Ultra 20, mobile phone, Internship: Lucas Ihlein & Kim Williams, 2020, Plastic-free Biennale, NIRIN, Sydney Biennale, 2020.

BCM 110 Assignment Title: Title: Sister GlitterNullius: conceptualising the monstering through representation and the gaze of the Other. Grade: HD 85/100

BLOG 1 of 5: The Concept & Definition of Monstering.

Nigh yiggen yuggen, Sister GlitterNullius.

Come my children, come… sit with me a while. I have to tell you about this thing, this monstrous thing, I call the monstering. I am trying to encapsulate for you, the cause of my metamorphosis and the necessity for my ongoing existence so it doesn’t go to waste… Heed me well my children. Let thine legacy, not be me.

As I move through your 21st Century, the Anthropocene and bear witness to your destruction of Nature, I also see environmental warriors around the world trying to stop or at least slow the decline but monsters and ghosts abound. The Anthropocene, ghosts and monsters will be thine legacy. We call upon you to act with urgency, create no more monsters (Aruguete et al, 2020; Hammond, 2004; Haraway, 2010, 2016, 2018; Todd, 2015; Latour, 2018; Tsing et al, 2017). 

I am Other, I am a monster. I am your creation, I am your mirror and you are our shadow (Hall, 1997; hooks, 1992; Lu, 2021; Tan, 2021). You are the shadow over all creation. You are the monster. Your individual and collective actions are the monstering (Aruguete et al, 2020; Britton, 2015; Edwards, 2020; Gergan et al, 2020; Hall, 1997; Hammond, 2004; Haraway, 2010, 2016, 2018; hooks, 1992; Lu, 2021; Tan, 2021; Tsing et al, 2017).

My theory is, my children, that the monstering is your modern ways of ontology and epistemology, colonialism, capitalism, christianity and your consumerism (Britton, 2015; Edwards, 2020; Haraway, 2010, 2016, 2018;Tsing et al, 2017). The monstering is, all the systems of your western world that prioritise some humans, your wants and greed above all other natural things. Your linear concepts of time and relationships are monstering us all in only one direction (Bruno & Wilson, 2004; Hall, 1997; Haraway, 2016; hooks, 1992; Moreton-Robinson, 2004; Orlowski, 2020; Solove, 2021; Tsing et al, 2017; Yunkaporta, 2019). Your actions, your purchases, your pollutions, your hashtags, these systems, the social illnesses and addictions, environmental extinctions and the creation of monsters, are the monstering. They are all micro-plastics extincting our humanity and blinding our responsibility to protect our non-human kin (Aruguete et al. 2020; Cinnamon, 2017; Edwards, 2020; Gergan et al, 2020; Haraway, 2010, 2016, 2018; Latour et al, 2018; Orlowski, 2020; Pontes, 2017, Tsing et al, 2017, Zuboff, 2019).

My children, we need human superheroes, not superstars (Bell, 2015; Edwards, 2020; Gergan et al, 2020; Hammond, 2004).

Yes Magazine, 2013, 13 Climate Justice Leaders Imagined as Comic Superheroes, https://www.yesmagazine.org/environment/2018/04/21/13-climate-justice-leaders-imagined-as-comic-superheroes, Image: Patricia Espinosa Cantellano, Executive Secretary: United Nations Framework Convention on Climate Change, Art: Pia Guerra. https://www.yesmagazine.org/wp-content/uploads/imports/252ec017e074450c89e991efec353b2a.jpg.

Your Friend, In & Out of Plastix,

Sister GlitterNullius. X