This book offers a unique Australian perspective on the global crisis in refugee protection. Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity-and nonperformativity-of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees. Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

This book offers a unique Australian perspective on the global crisis in refugee protection. Using performance as both an object and a lens, this volume explores the politics and aesthetics of migration control, border security and refugee resistance. The first half of the book, titled On Stage, examines performance objects such as verbatim and documentary plays, children's theatre, immersive performance, slam poetry, video art and feature films. Specifically, it considers how refugees, and their artistic collaborators, assert their individuality, agency and authority as well as their resistance to cruel policies like offshore processing through performance. The second half of the book, titled Off Stage, employs performance as a lens to analyse the wider field of refugee politics, including the relationship between forced migrants and the forced displacement of First Nations peoples that underpins the settler-colonial state, philosophies of cosmopolitanism, the role of the canon in art history and the spectacle of bordering practices. In doing so, it illuminates the strategic performativity-and nonperformativity-of the law, philosophy, the state and the academy more broadly in the exclusion and control of refugees. Taken together, the chapters in this volume draw on, and contribute to, a wide range of disciplines including theatre and performance studies, cultural studies, border studies and forced migration studies, and will be of great interest to students and scholars in all four fields.

These proceedings contain the papers presented at ECIR 2010, the 32nd Eu- pean Conference on Information Retrieval. The conference was organizedby the Knowledge Media Institute (KMi), the Open University, in co-operation with Dublin City University and the University of Essex, and was supported by the Information Retrieval Specialist Group of the British Computer Society (BCS- IRSG) and the Special Interest Group on Information Retrieval (ACM SIGIR). It was held during March 28-31, 2010 in Milton Keynes, UK. ECIR 2010 received a total of 202 full-paper submissions from Continental Europe (40%), UK (14%), North and South America (15%), Asia and Australia (28%), Middle East and Africa (3%). All submitted papers were reviewed by at leastthreemembersoftheinternationalProgramCommittee.Outofthe202- pers 44 were selected asfull researchpapers. ECIR has alwaysbeen a conference with a strong student focus. To allow as much interaction between delegates as possible and to keep in the spirit of the conference we decided to run ECIR 2010 as a single-track event. As a result we decided to have two presentation formats for full papers. Some of them were presented orally, the others in poster format. The presentation format does not represent any di?erence in quality. Instead, the presentation format was decided after the full papers had been accepted at the Program Committee meeting held at the University of Essex. The views of the reviewers were then taken into consideration to select the most appropriate presentation format for each paper.