Animal Spirits

Animal Spirits is multi-channel video portrait of key personalities involved in the Global Financial Crisis. The four-screen installation displays these twelve decapitated apostles of free-market economic theory in a tableau of droning pontification. Trapped in a purgatorial loop, they endlessly spout vague and obfuscating explanations and defenses of their ideologies and (in)actions. The work takes a creatively quotidian approach to understanding the language of economics and the financial services industry. Through its endless loop of sound, image, and spoken text, the installation examines some of the ideas, narratives and power dynamics that foster and reward hubris and greed.

A stunning experience

‘A Stunning Experience’ pits Oprah Winfrey and David Letterman against each other in an infinite interview. Through simple editing and compositing, both parties are rendered mute, positioned at either edge of a black void. The interviewer/interviewee dynamic is playfully reconfigured into an awkward exchange comprised entirely of blinks, breaths and head-nods. Accompanied by the sound of a curious and whispering studio audience, this wordless clash between the two talk show titans becomes emblematic of their infamous sixteen-year feud. The quasi-staring contest upends the cult of personality surrounding these iconic television hosts, while also creating and proposing a space for reflection upon the experiential and even meditative potential of watching television.

Image, Political

Political communication scholars, journalists, and political actors alike, argue that the political process, and deliberative democracy (democracy founded on informed discussion inclusive of citizens), have lost their rational authenticity in that image and media spectacle have become more central to public opinion formation and electoral outcomes than policy. This entry examines the validity of that perception, and the extent to which “image” has emerged as a more significant factor in the political process. And if image is so important in political culture, what the impacts might be on the functioning of democratic processes.

Beyond Gauss: Image-set matching on the Riemannian manifold of PDFs

State-of-the-art image-set matching techniques typically implicitly model each image-set with a Gaussian distribution. Here, we propose to go beyond these representations and model image-sets as probability distribution functions (PDFs) using kernel density estimators. To compare and match image-sets, we exploit Csiszar´ f-divergences, which bear strong connections to the geodesic distance defined on the space of PDFs, i.e., the statistical manifold. Furthermore, we introduce valid positive definite kernels on the statistical manifold, which let us make use of more powerful classification schemes to match image-sets. Finally, we introduce a supervised dimensionality reduction technique that learns a latent space where f-divergences reflect the class labels of the data. Our experiments on diverse problems, such as video-based face recognition and dynamic texture classification, evidence the benefits of our approach over the state-of-the-art image-set matching methods.

Chasing Infinite Junctures

A collaborative solo exhibition at Boxcopy, Brisbane. For Chasing Infinite Junctures, Caitlin Franzmann presented an installation as an open site for affect, response and collaboration. The exhibition began with an architectural intervention, which was available for exchange and transformation involving other artists, events and the sensing body of the audience. For five weeks, Caitlin provided a space for new junctures to unfold – artists including Andrew McLellan, Ross Manning, Henry Mills, Louise Bennett, Leena Riethmuller and Sandra Selig will gather, experiment and create in the space.

Dark Mess

In a world consumed by quests for happiness and personal growth, Grant Stevens’ new exhibition, Dark Mess, delves into the psychic troubles that sometimes lie below the canopy. Working predominantly with video, photography and installation, Stevens’ practice explores how the verbal and non-verbal languages of popular screen culture interface with contemporary subjectivity. This exhibition continues Stevens’ interest in the natural environment as a catalyst and proxy for introspection and self-discovery. Pushing sound and image to distortion, Dark Mess offers a disquieting journey through the undergrowth.

Material matters [curators]

The exhibition material matters brings together new works by Amy Commins, Jamie Behrendorff, Grace Kevill-Davies, Zoe Knight, Ruth McConchie and Courtney Pedersen – Brisbane-based artists whose experimental practices engage with materiality in specific ways. These works explore incidental viewpoints, suspended moments, constructed environments, cultural memory and repetitive processes. The artists in the exhibition investigate the temporal in terms of making and experiencing art in various modes – installation, sculpture, video, sound and works on paper. Through these material engagements, the artists question and re-imagine ways of connecting in the contemporary world, drawing together considerations of humour, history, politics, nature and everyday life. This exhibition was part of the 2014 Brisbane Experimental Art Festival, held at the Judith Wright Centre of Contemporary Arts.

Stone baby: An exploration of affect and trauma in visual art

Stone Baby: An Exploration of Affect and Trauma in Visual Art was held at the Block, QUT Creative Industries Precinct on August 27-28, 2014. At the conclusion of my Masters project, this exhibition was a showcase of the outcomes of my material and digital explorations in the form of installation, sculpture and film. My primary motivation can be described as a relational and ethical attempt to find a balance between the erotic and the aggressive. This is experienced in the self as feelings of attraction and repulsion in response to the new and unknown "other". Consequently creative practice is necessarily a complex affair that is experienced as a completely immersive and self-contained psychological space. It is within this space that both physical sensation and raw emotion are able to tangibly and conceptually interact with psychoanalytic theory, and concrete materials video and sound.

Superlinear

Superlinear was a group exhibition of 2D and 3D works curated by Jenna Baldock. This exhibition was held at Spiro Grace Art Rooms from June 11 - July 4, 2015. My contribution to the group show was a harmonograph (drawing machine) entitled The Forces of the Earth and two digitally edited drawings (enlarged and printed) that were originally produced on the harmonograph. The work inherently explores the movement and gesture of line independent from the human body, although not abstract from experience. My work discusses the experience of the body, more specifically my body; the pulsing of circulation; the rhythm of breathing; the twitching and trembling of muscles; the sound of the nervous system ringing in my ears. The pendulation of the line in motion corresponds to the body's extension into the world and the constant flow of energy; the weight of gravity, centripetal and centrifugal forces, and orbital oscillations. As the line dances acros the page the harmonograph parallels these peripheral sensations beyond the body.

Is there a difference in sound acoustics between aspirating versus non-aspirating swallows in children with dysphagia?

Cervical auscultation (CA) may be used to complement the clinical feeding examination when assessing for oropharyngeal aspiration (OPA). Data exists on the acoustic properties of normal and abnormal swallowing sounds in adults and children. However, there are no published paediatric studies comparing the acoustic properties of sounds comparing OPA with non-OPA swallows. We aimed to determine if there is an acoustic difference between modified barium swallow (MBS)-identified OPA and non-OPA swallow sounds in children.

Efficient content-based image retrieval based on multi-feature fusion

The increased availability of image capturing devices has enabled collections of digital images to rapidly expand in both size and diversity. This has created a constantly growing need for efficient and effective image browsing, searching, and retrieval tools. Pseudo-relevance feedback (PRF) has proven to be an effective mechanism for improving retrieval accuracy. An original, simple yet effective rank-based PRF mechanism (RB-PRF) that takes into account the initial rank order of each image to improve retrieval accuracy is proposed. This RB-PRF mechanism innovates by making use of binary image signatures to improve retrieval precision by promoting images similar to highly ranked images and demoting images similar to lower ranked images. Empirical evaluations based on standard benchmarks, namely Wang, Oliva & Torralba, and Corel datasets demonstrate the effectiveness of the proposed RB-PRF mechanism in image retrieval.