Writer & Researcher
Thea Potter has studied film and was associate producer for Paul Cox’s feature-length film The Diaries Of Vaslav Nijinsky. She was a voting member of the Australian Film Institute. She has won prizes for her short films and takes particular pleasure in producing stop-motion movies, drawing attention to the root of the word animation, which means to give soul (anima) to a lifeless object. It was thus an easy move from film to philosophy.
Her university degrees focused upon the Ancient World, its art, languages, politics and philosophy. Studying philosophy at undergraduate level she was appalled by the apolitic nature of the Anglo-American tradition of Analytic Philosophy, so she continued her post-graduate studies in Social Theory, which takes its cue from Karl Marx, Emile Durkheim, Gyorgy Lukasc, Hannah Arendt and the Frankfurt School. Using these thinkers along with the more recent theories of Foucault, Derrida and Lacan, her PhD riffed on the theme of boundaries, linguistic and material, taking several ancient sculptures as her examples.
A brief overview of her PhD can be found in Ord&Bild 5, Tema: Grekland, 2014 for the benefit of Swedish speakers. For English speakers, Cosmos and History, Vol.11, No.1 January 2015.
From 2013 until 2015 Thea was involved in a project of experimental archaeology on the Greek island of Milos, with a focus upon the rehabiliation of primitive technology, and the use of recycled materials. In 2015 she returned to teach Classics and Archaeology at the University of Melbourne, Australia. As of 2016 she is dividing her time between Athens and the island of Tinos where she is preparing a new project in experimental Archaeology. She is a regular contributor to the Barbarian Review, writing about constructed histories, erotica, gender, hosiptality, and politics.She joins the Holobiont Project as a researcher and writer.