Uneducated : play becomes artwork, artwork becomes play

Over the past twenty years the contemporary art world has seen a significant shift in the modes and structures of connection between work and its audiences. This shift is termed by Irit Rogoff, amongst others, as an ‘educational turn’. The turn has been described as the eruption of discussions and investigations, inside and outside of institutions, that interrupt the presumed power hierarchies and bureaucratised systems of both art and education. This essay was written to accompany artist/curator Kym Maxwell's exhibition project, 'Uneducated', exploring these ideas. It was held at the Counihan Gallery in Melbourne, 2014.

The monadic environment : evoking emotion and memory in participatory performance

This practice-led research project examined the audience experience of immersive environments in participatory performance. Drawing upon the work of artist Ilya Kabakov, Gaston Bachelard's Poetics of Space (1964) and Leibniz's theory of the monad, the study investigated how an immersive space can be constructed to evoke emotion and memory recall in participants. The research consisted of two cycles of creative experimentation resulting in the presentation of a final piece entitled Dulcet. The research contributes new terminology to the discourse surrounding the participant experience in immersive environments, specifically space-as-memory, the role of ambiguity in spatial design and the construct of the monadic environment.

Utilizing reactive capability of PV inverters and battery systems to improve voltage profile of a residential distribution feeder

Significant increase in installation of rooftop Photovoltaic (PV) in the Low-Voltage (LV) residential distribution network has resulted in over voltage problems. Moreover, increasing peak demand creates voltage dip problems and make voltage profile even worse. Utilizing the reactive power capability of PV inverter (RCPVI) can improve the voltage profile to some extent. Resistive caharcteristic (higher R/X ratio) limits the effectiveness of reactive power to provide voltage support in distribution network. Battery Energy Storage (BES), whereas, can store the excess PV generation during high solar insolation time and supply the stored energy back to the grid during peak demand. A coordinated algorithm is developed in this paper to use the reactive capability of PV inverter and BES with droop control. Proposed algorithm is capable to cater the severe voltage violation problem using RCPVI and BES. A signal flow is also mentioned in this research work to ensure smooth communication between all the equipments. Finally the developed algorithm is validated in a test distribution network.

Making strange

Marking Strange is a series of collaborative experimental creative works undertaken by Marissa Lindquist and Andrzej Pytel which explores the relationship between the body, new materiality and its application within different facets of design production. The ongoing experimental practice looks toward both organic and inorganic materials as a means of informing scholarly research, material development for commercial, installation and speculative design production and for academic studio programs. The work draws from theoretical positions such as Heidegger’s "nearness and revealing" (1927-1954), Simondon’s "transduction theory" (1989) and Burke's "sublime" (1757). Making Strange work has been exhibited within the Australian Pavilion Catalogue, FORMATIONS: New Practices in Australian Architecture, directed by Gerard Reinmuth and Anthony Burke with TOKO Concept Design, for the Venice International Architecture Biennale, 2012.

After Darkly Catwalk Design, QUT Fashion Graduate Showcase 2013

QUT Fashion collaborated with QUT Interior Design to design the Catwalk for the After Darkly Graduate Fashion Show 2013. The ephemeral work (catwalk canopy) was developed through a collaboration between the authors based upon an undergraduate interior design unit 'Filmic Interiors'. The unit exploited the potential of film to influence, understand, and develop novel interior spaces – particularly through consideration of mise en scene, cinematic effects and atmospheric design strategies engaged by key film directors. The design outcome represented a hybridisation of student design proposals, contemplating both film and emerging fashion collections from QUT fashion graduate class of 2013. The creative work built upon material experimentation research explored by the designers either through prior QUT interior design units ('Strange Spaces') or through previous practice ‘Making Strange’(1). The work explored a number of iterations each testing material qualities and associated immaterial cinematic affects. The final catwalk proposed a unique design, which posited the spectators centrally within the space, encircled by a hand formed flexible material canopy used as an entrance for the fashion collections. The proposal exploited the malleable yet tensile character of the canopy to inform a temporary installation, intensified further through a varied program of sceno-graphic lighting. (1) Lindquist, M. & Pytel, A. (2013)

Impact of high PV penetration on distribution transformer life time

Integration of rooftop photovoltaics (PVs) in residential networks at moderate penetration levels is becoming a reality in many countries including Australia. Despite the technical challenges in properly accommodating PV units, one of the major benefits is the ability of PV units to extend useful life time of distribution transformers. This effect is not quantified in the existing literature. This paper carries out an analysis into the impacts of rooftop PVs at different penetration levels on the performance of distribution transformers and residential networks. This paper presents a methodology to quantify the benefit of the distribution transformer life extension brought about by customer-owned rooftop PV units. The proposed methodology is applied to a real distribution system with various scenarios, including different penetration levels. The results show the distribution transformer loss-of-life function, as a function of the rooftop PV penetration level, is monotonically decreasing function which saturates after a certain penetration level. The best life improvements occur with transformers that are highly loaded and the presence of a significant PV installation may support the deferral of transformer upgrades.

Trashtopia by Maison Briz Vegas

Description of the Work Trashtopia was a fashion exhibition at Craft Queensland’s Artisan gallery showcasing outfits made entirely from rubbish materials. The exhibition was part of an on-going series by the Queensland Fashion Archives, called Remember or Revive. Maison Briz Vegas designers, Carla Binotto and Carla van Lunn created a dystopian beach holiday tableau referencing mid-century Californian and Gold Coast beach culture and style, and today’s plastic pollution of the world’s oceans. The display engaged a popular audience with ideas about environmental destruction and climate change while bringing twentieth and twenty-first century consumer and leisure culture into question. The medium of fashion was used as a means of amusement and provocation. The fashion objects and installation questioned current mores about the material value of rubbish and the installation was also a work of environmental activism. Statement of the Research Component The work was framed by critical reflections of contemporary consumer culture and research fields questioning value in waste materials and fashion objects. The work is situated in the context of conceptual and experimental fashion design practice and fashion presentation. The exhibited work transgressed the conventional production methods and material choice of designer fashion garments, for example, discarded plastic shopping bags were painstakingly shredded to mimic ostrich feathers. The viewer was prompted to reflect on the materiality of rubbish and its potential for transformation. The exhibition also sits in the context of culture jamming and contemporary activist practice. The work references and subverts twentieth century beach holiday culture, contrasting resort wear with a contemporary picture of plastic pollution of the oceans and climate change. Hawaiian style prints contained a playful and dark narrative of dying marine-life and the viewer was invited to take a “Greetings from Trashtopia” postcard depicting fashion models floating in oceans of plastic rubbish. This reflective creative practice sought to address the question of whether fashion made from recycled rubbish materials can critically and emotionally engage viewers with questions about contemporary consumer culture and material value. This work presents an innovative model of fashion design practice in which rubbish materials are transformed into designer garments and rubbish is placed centre stage in the public presentation of the designs. In overturning the traditional model of fashion presentation, the viewer is also given a deeper connection to the recycling process and complex ideas of waste and value. In 2015 two outfits from the exhibition were selected, along with works from three leading Australian fashion labels, and four leading New Zealand labels, for a commemorative ANZAC fashion collection shown at iD Dunedin Fashion Week. The show titled, “Together Alone, revisited” reprised an Australian and New Zealand fashion exhibition first held at the National Gallery of Victoria in 2009.

Discussions in Space

The Discussions in Space (DiS) offers an interactive, fast-paced social media channel for local governments, organisations or institutions to engage with local residents or visitors in public spaces, such as city squares, shopping malls, train or bus stations, museums. It facilitates a public discussion and opinion forum through the installation of a large public screen, which passers-by can directly interact with using their mobile phone’s SMS and/or Internet capabilities. The concise and fast-paced nature of the system is aimed to be particularly effective to engage with typically younger demographics, which may not provide their feedback through more traditional means.

Quanta

"Quanta" was an interactive audio visual installation. Quanta was selected for inclusion in Virtual Terrain 2, an exhibition of the International Digital Art Project in 2008

Food for Thought (Next Wave Festival)

Food for Thought embraces the notion that a revolution can start at the dinner table. Drawing inspiration from Judy Chicago’s seminal artwork ‘The Dinner Party’, LEVEL Artist Run Initiative hosted a series of dinner party events in order to create vibrant discussions concerning the role of women and feminism in the twenty-first century. The work consisted of a reading room, four dinner party events, and four public talks covering the topics: 'Women and the arts';'Generations: plurality and difference'; 'Women in the media'; and 'How can art contribute to political change for women in the 21st century?'

Rough Fuzzy Control of SVC for Power System Stability Enhancement

Modern power systems have become more complex due to the growth in load demand, the installation of Flexible AC Transmission Systems (FACTS) devices and the integration of new HVDC links into existing AC grids. On the other hand, the introduction of the deregulated and unbundled power market operational mechanism, together with present changes in generation sources including connections of large renewable energy generation with intermittent feature in nature, have further increased the complexity and uncertainty for power system operation and control. System operators and engineers have to confront a series of technical challenges from the operation of currently interconnected power systems. Among the many challenges, how to evaluate the steady state and dynamic behaviors of existing interconnected power systems effectively and accurately using more powerful computational analysis models and approaches becomes one of the key issues in power engineering. The traditional computing techniques have been widely used in various fields for power system analysis with varying degrees of success. The rapid development of computational intelligence, such as neural networks, fuzzy systems and evolutionary computation, provides tools and opportunities to solve the complex technical problems in power system planning, operation and control.

Mark Shorter : Dry Gulch

This is a catalogue essay for Mark Shorter's exhibition "Dry Gulch" held at Boxcopy, Brisbane, in 2014. "Dry Gulch is a durational performance and installation in which the artist, Mark Shorter, occupies the pitch-­‐black gallery space for the opening hours of the exhibition. While drawing on the vocabulary of 1970s conceptual performance art (think Vito Acconci, Chris Burden, Marina Abramovic et al.), it is also an exhibition specifically of its time and its place. It probes and, at times, illuminates (pun intended) some of the dark corners of subjective experiences in a contemporary context typically swamped by distractions and saturated with templates for self-­‐actualisation...."

Challenges in field monitoring of energy performance of air conditioners

Experimental work could be conducted in either laboratory or at field site. Generally, the laboratory experiments are carried out in an artificial setting and with a highly controlled environment. By contrast, the field experiments often take place in a natural setting, subject to the influences of many uncontrolled factors. Therefore, it is necessary to carefully assess the possible limitations and appropriateness of an experiment before embarking on it. In this paper, a case study of field monitoring of the energy performance of air conditioners is presented. Significant challenges facing the experimental work are described. Lessons learnt from this case study are also discussed. In particular, it was found that on-going analysis of the monitoring data and the correction of abnormal issues are two of the keys for a successful field test program. It was also shown that the installation of monitoring systems could have a significant impact on the accuracy of the data being collected. Before monitoring system was set up to collect monitoring data, it is recommended that an initial analysis of sample monitored data should be conducted to make sure that the monitoring data can achieve the expected precision. In the case where inevitable inherent errors were induced from the installation of field monitoring systems, appropriate remediation may need to be developed and implemented for the improved accuracy of the estimation of results. On-going analysis of monitoring data and correction of any abnormal issues would be the key to a successful field test program.

Engagement party : the heart wants what it does

A 3hr large scale participatory installation/event that included live performance, video works,objects, fabric sculptures and was the result of a three month artist residency undertaken by Cam Lab (Jemima Wyman and Anna Mayer)at the Museum of Contemporary Art Los Angeles California. The exhibition transformed two adjoining spaces in the museum, taking design cues from permanent collection artworks currently on view and encouraged gallery visitors to oscillate between immersion and agency as they occupy the various perspectives proposed by the installation.

Intimate Transactions Stage 4

A telepresence-based interactive installation allowing people at three sites (The National Art Museum of China, Beijing; The Imperial City Art Museum, Beijing; CalPoly University, California, USA) to interact simultaneously using only their bodies. Each participant used a physical interface called a ‘Bodyshelf’ and wore a sound vibration transmission device called a ‘haptic pendant’ around their necks. By gently moving their bodies and engaging through this ‘smart furniture’, they instigated ‘intimate transactions’, which influenced an evolving computationally-generated ‘world’ created from digital imagery, multichannel sound and tactile feedback. Intimate Transactions (Version 4) was the culmination of a long-term interdisciplinary research project developed in four distinct stages. It was launched in in 2008 and subsequently acquired on invitation by Professor Peter Weibel for the ZKM Media Art History Museum Karlsruhe in 2012.