The Wizard of Oz, Memorial Hall auditorium, Chapman College, Orange, California

View from balcony in Memorial Hall auditorium during a production of The Wizard of Oz, Chapman College, Orange, California. Primarily an audience of children; performers are skipping down an aisle toward back entrance.

The land of Oz; a sequel to The wizard of Oz,

Mode of access: Internet.

The magic of Oz; a faithful record of the remarkable adventures of Dorothy and Trot and the Wizard of Oz, together with the Cowardly Lion, the Hungry Tiger and Cap'n Bill, in their successful search for a magical and beautiful birthday present for Princess Ozma of Oz,

A young citizen of Oz who learns an important magic word falls prey to the wickedness of the Nomes' ex-king who wants to destroy Dorothy, the Wizard, and Princess Ozma.

Witch from "The Wizard of Oz," Margaret Hamilton

General note: Title and date provided by Bettye Lane.

The sound of music : sharing song selections between collocated strangers in public urban places

This paper presents Capital Music, a mobile application enabling real-time sharing of song choices with collocated urban dwellers. Due to the real-time, location-based peer-to-peer approach of the application, a user experience study was performed utilising the Wizard of Oz method. The study provides insight into how sharing non-privacy sensitive but personal data in an anonymous way can influence the user experience of people in public urban places. We discuss the findings in relation to how Capital Music influences the process of “cocooning” in public urban places, the practice of designing anonymous interactions between collocated strangers, and how the sharing of song choices can create a sense of commonality between anonymous users in the urban space. The outcomes of this study are relevant for future location-based social networking applications that aim to create interactions between collocated strangers.

Diane Arbus: the wonderful wizard of odds or the poetics of the i (eye)

Diane Arbus‘ photographs are mainly about difference. Most of the time she is trying ‗[…] to suppress, or at least reduce, moral and sensory queasiness‘ (Sontag 1977: 40) in order to represent a world where the subject of the photograph is not merely the ‗other‘ but also the I. Her technique does not coax her subjects into natural poses. Instead she encourages them to be strange and awkward. By posing for her, the revelation of the self is identified with what is odd. This paper aims at understanding the geography of difference that, at the same time, is also of resistance, since Diane Arbus reveals what was forcefully hidden by bringing it into light in such a way that it is impossible to ignore. Her photographs display a poetic beauty that is not only of the ‗I‘ but also of the ‗eye‘. The world that is depicted is one in which we are all the same. She ―atomizes‖ reality by separating each element and ‗Instead of showing identity between things which are different […] everybody is shown to look the same.‘ (Sontag 1977: 47). Furthermore, this paper analyses some of Arbus‘ photographs so as to explain this point of view, by trying to argue that between rejecting and reacting against what is standardized she does not forget the geography of the body which is also a geography of the self. While creating a new imagetic topos, where what is trivial becomes divine, she also presents the frailty of others as our own.

The retro of Oz electro

With reference to Walter Benjamin's concept of the phantasmagoria, the author asks why the sounds of the 1980s define Australian music. 

Impact Study of Nonverbal Facial Cues on Spontaneous Chatting with Virtual Humans

Non-verbal communication (NVC) is considered to represent more than 90 percent of everyday communication. In virtual world, this important aspect of interaction between virtual humans (VH) is strongly neglected. This paper presents a user-test study to demonstrate the impact of automatically generated graphics-based NVC expression on the dialog quality: first, we wanted to compare impassive and emotion facial expression simulation for impact on the chatting. Second, we wanted to see whether people like chatting within a 3D graphical environment. Our model only proposes facial expressions and head movements induced from spontaneous chatting between VHs. Only subtle facial expressions are being used as nonverbal cues - i.e. related to the emotional model. Motion capture animations related to hand gestures, such as cleaning glasses, were randomly used to make the virtual human lively. After briefly introducing the technical architecture of the 3D-chatting system, we focus on two aspects of chatting through VHs. First, what is the influence of facial expressions that are induced from text dialog? For this purpose, we exploited an emotion engine extracting an emotional content from a text and depicting it into a virtual character developed previously [GAS11]. Second, as our goal was not addressing automatic generation of text, we compared the impact of nonverbal cues in conversation with a chatbot or with a human operator with a wizard of oz approach. Among main results, the within group study -involving 40 subjects- suggests that subtle facial expressions impact significantly not only on the quality of experience but also on dialog understanding.

New Myths of OZ: The Australian Beach and the Negotiation of National Belonging by Refugee Background Youth

In this article we consider the Australian beach as a material, imaginary and social arena in which different versions of national belonging are performed and contested. Focusing on two short films produced by young people from refugee backgrounds, we explore the negotiation of national belonging on the beach by people who occupy identity categories that are typically excluded from idealising Australian beach mythologies. We argue that both the production and distribution of these films contribute to a reimagining of the Australian beach that creates new opportunities for people from migrant backgrounds to engage in the co-production of Australian identities in their own terms.

Captain Kyd, or, The wizard of the sea : a romance /

Mode of access: Internet.

Red cap tales, stolen from the treasure chest of the Wizard of the North,

Illustrations by Simon Harmon Vedder.

The patchwork girl of Oz,

A boy, a patchwork girl, and a glass cat go on a mission to find the ingredients for a charm which will transform some people turned to marble.

Trixie; or, The Wizard of Fogg Island. A drama, in three acts ... To which is added a description of the costumes, cast of the characters ... and the whole of the stage business ...

Mode of access: Internet.

The wizard of Wall street and his wealth;

Mode of access: Internet.