NOTES  Judy Annear makes multiple references to photography’s relationship to identity and colonialism in The Photograph and Australia. I also draw on Helen’s Ennis’s observation of ‘a striking orientation toward realism’ (at the expense of abstraction) within Australian practice. Judy Annear, The Photograph and Australia, (Art Gallery of New South Wales, 2015), pp. 9-13, 16-19, 174, 176. Helen Ennis, Land and Landscape Photography and Australia (London: Reaktion Press 2008), pp. 51-72.
 To suggest colonial aesthetics are binary is to acknowledge the anthropocentric world-view implicit in the act of conquer-ship. By contrast, nature as a principle or system acknowledges a near infinitely complex intra-relationship.
 Rod Giblet observes the evolution of landscape photography in Australia as centrally wedded to pictorialism and nation-building, with contemporary practice trading on landscape porn and the sublime. Rod Giblett, Shooting the Sunburnt Country, the Land of Sweeping Plains, the Rugged Mountain Ranges: Australian Landscape and Wilderness Photography, Continuum (2007), 21:3, 335-346, DOI: 10.1080/10304310701460664
The term post-colonial is problematic considering the contemporary relationship between indigenous and non-indigenous Australians. ‘Post’ suggests the past, something to be reflected upon and study, which is obviously not the case. The term neo-colonial is perhaps more relevant given that government policies in Australia presently continue to disempower indigenous Australians (lack of treaty, the NT intervention, deaths in custody etcetera, etcetera).
 Geoffrey Batchen ties the fate of photography to the processes of colonialism and capitalism. It’s an elegant proposition backed by a detailed history of mechanics, immigration and commercial imperatives. The problem is that advocating for the focus of Australian photography to be critiqued as such continues to displace the materiality of the country itself. Geoffrey Batchen, Antipodean Photography” an itinerant history, in Judy Annear, The Photograph and Australia, (Art Gallery of New South Wales, 2015) pp.260-265
 In 1977 Susan Sontag asserted, “The identification of the subject of a photograph always dominates our perception of it.” Whilst I accept the complexity of her argument, my aim through working photography as an ontology is to reject the reductivity of Sontag’s assertion and, in practice, expand the field of reference. Susan Sontag, On Photography, (New York: Farrar, Straus and Giroux, 1977), p 17.
 Karen Barad coins the term Agential Realism to articulate her theory of a mattering universe: one that is constantly configuring itself. Nature as a fluid and intra-relating state of being. Karen Barad, Meeting the Universe Halfway: quantum physics and the entanglement of matter and meaning, (Durham, North Carolina: Duke University Press 2007), pp.132-185.
 Anthropologist Eduardo Kohn takes it further articulating thought as a living object not exclusive to humans, that drives the evolution of and intra-action within ecosystems. Eduardo Kohn, How Forests Think: Toward an Anthropology beyond the Human, (London: University of California Press, 2015), p. 1-6, 71-76.
 Kohn and fellow anthropologist Lars, Kjaer Holm defer to Charles Sander Peirce’s notion of material semiotics, arguing the varied perspective of ‘selves’ and the necessity to consider semiotics beyond the human. Ground, Self, Sign: The Semiotic Theories of Charles Sanders Peirce and Their Applications in Social Anthropology in Anaanta Kumar Giri and John Clammer (eds.), Philosophy and Anthropology: Border Crossing and Transformations. (London Anthem Press, 2013), pp. 252-253.
 Donna Haraway, The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others in Lawrence Grossberg, Cary Nelson, Paula A. Trechler, (eds.), Cultural Studies (New York: Routledge, 1992), pp. 295-337.
 The notion of geophysiology acknowledges intelligence within the system of the planet. In keeping with Barad’s Agential Realist account of matter, Kohn’s observations of ecosystems and James Lovelock’s Gaia principal the effects are both, and at once, local and universal. James Lovelock, Gaia, (United Kingdom: Oxford University Press, 1979), pp. 30-58.
 Annear draw reference to photography as a substitute for experience and memento mori. Taking on Pierce’s material semiotics, Kohns’ observations of ecosystems and barad’s Agential universe I propose it’s time to expand our frame of reference for not just mnemonics, but also response-ability and engagement. Annear (2015), pp. 9-13, 16-19.