A limitation of the present study was the use of a non-representative, self-selected sample that tended to be well educated and perhaps liberal minded. Despite this, given the high levels of support, it could be concluded that the recent, more permissive legislative changes, which were finalized in 2010, are reflective of the values of Australian society.

The mediated manufacture of an 'avant-garde': a Bourdieusian analysis of the field of contemporary art in London, 1997-9. 1 Roger Cookone would need to construct a true chronicle of events to get a concrete appreciation of how this universe, anarchic and wilfully libertarian in appearance (which it also is, thanks in large part to the social mechanisms that authorize and favour autonomy), is the site of a sort of well-regulated ballet in which individuals and groups dance their own steps, always contrasting themselves with each other, sometimes clashing sometimes dancing to the same tune, then turning their backs on each other in often explosive separations, and so on, up until the present time ... (Bourdieu, 1996: 113).Wherever you look, people are thinking in terms of market success. Only thirty years ago, and since the middle of the nineteenth century ... immediate market success was suspect. It was taken as a sign of compromise with the times, with money .... Today, on the contrary, the market is accepted more and more as a legitimate means of legitimation ... It is very disturbing to see this ... because it jeopardizes works that may not necessarily meet audience expectations but, in time, can create their own audience (Bourdieu, 1998b: 27-8). Creating capital: Charles Saatchi, the Royal Academy and SensationSince its initial introduction, field (champ) has been a central concept in Pierre Bourdieu's work along with the earlier concepts of habitus, capital and practice (Swartz, 1997: 118). His analysis of the 'field of cultural production' provides a model with which to make 'site-specific' analyses of particular fields of cultural production (Bourdieu, 1993a). In this chapter I want to use it to make an analysis of transformations in a particular recent field of cultural production in the visual arts in London, the so-called young British artist ('yBa') phenomenon which climaxed in an exhibition of the work of forty-two artists purchased by the advertising mogul Charles Saatchi entitled Sensation: Young

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