Interest from Tertiary Educated Persons in Fostering Children with Higher Care needs under a Professional (Paid) Model Compared with General Foster Care

The number of Australian children requiring foster care due to abuse and neglect is increasing at a faster rate than suitable carers can be recruited. Currently increased numbers of foster children are presenting with higher care needs. Evidence suggests carers with a higher education could contribute to placement stability and ultimately provide more positive outcomes for this group of children. This paper explores the level of interest by tertiary educated persons toward a model of fostering for children with higher needs. Using a descriptive survey methodology, a convenience sample of 644 university undergraduate and postgraduate students within faculties of health sciences, and education, arts and social sciences was employed. Psychology students in the 17-26 year old age group showed greatest interest in a professional foster care model and this was statistically significant (p=0.002 955 CI .000-.010) when compared to other health professionals and other age groups. Education students held the highest interest in general fostering although not statistically significant. When these survey results were extrapolated to the total number of health professionals in Australia there could be 8,385 potential recruits for a model professional foster care. Focused campaigns are required to source professional as recruits to fostering with the benefit of servicing the placement needs of higher care needs children and contributing to general foster care resources.

Modest visual impairments and headlamp glare reduce pedestrian visability at night

Background: This study investigated the effects of experimentally induced visual impairment, headlamp glare and clothing on pedestrian visibility. Methods: 28 young adults (M=27.6±4.7 yrs) drove around a closed road circuit at night while pedestrians walked in place at the roadside. Pedestrians wore either black clothing, black clothing with a rectangular vest consisting of 1325 cm2 of retroreflective tape, or the same amount of tape positioned on the extremities in a configuration that conveyed biological motion (“biomotion”). Visual impairment was induced by goggles containing either blurring lenses, simulated cataracts, or clear lenses; visual acuity for the cataract and blurred lens conditions was matched. Drivers pressed a response pad when they first recognized that a pedestrian was present. Sixteen participants drove around the circuit in the presence of headlamp glare while twelve drove without glare. Results: Visual impairment, headlamp glare and pedestrian clothing all significantly affected drivers’ ability to recognize pedestrians (p<0.05). The simulated cataracts were more disruptive than blur, even though acuity was matched across the two manipulations. Pedestrians were recognized more often and at longer distances when they wore “biomotion” clothing than either the vest or black clothing, even in the presence of visual impairment and glare. Conclusions: Drivers’ ability to see and respond to pedestrians at night is degraded by modest visual impairments even when vision meets driver licensing requirements; glare further exacerbates these effects. Clothing that includes retroreflective tape in a biological motion configuration is relatively robust to visual impairment and glare.

Computing in performing arts education and practice

The performing arts have traditionally made limited use of and showed limited acceptance of computing technology. There are cognitive, physical, environmental, and social influences on the use of computers in performing arts. This paper will examine those influences on the practice of computers in the performing arts and their implications for education in those areas. These implications for the learning environment include infrastructure, interface design, industrial design, and software functionality. Although many of the issues raised in this paper are common to all visual and performing arts, there are significant differences between them which require abstraction of the concepts presented in this paper beyond the more practical focus intended. In particular there are differences in the ways humans are involved in the presentation of a work, and the transitory verses static nature of time in art products.

Omnidirectional bearing-only see-and-avoid for small aerial robots

Motivated by the growing interest in unmanned aerial system’s applications in indoor and outdoor settings and the standardisation of visual sensors as vehicle payload. This work presents a collision avoidance approach based on omnidirectional cameras that does not require the estimation of range between two platforms to resolve a collision encounter. It will achieve a minimum separation between the two vehicles involved by maximising the view-angle given by the omnidirectional sensor. Only visual information is used to achieve avoidance under a bearing-only visual servoing approach. We provide theoretical problem formulation, as well as results from real flight using small quadrotors.

Visualising invisible networks as collaborative arts practice

This paper examines approaches to the visualisation of ‘invisible’ communications networks. It situates network visualisation as a critical design exercise, and explores how community artists might use such a practice to develop telematic art projects – works that use communications networks as their medium. The paper’s hypotheses are grounded in the Australian community media arts field, but could be applied to other collaborative contexts.

The way

In this wall-mounted sculpture, a car stereo is mounted into a photographic image of a redwood forest. It plays a sparse and evocative guitar soundtrack. The supporting cabinet is finished with timber veneer to resemble a retro home stereo or piece of designer furniture. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

Peace unknown

In this freestanding sculpture, domestic ‘in-wall’ speakers are mounted in custom-built cabinets. The speakers play a calming stock music soundtrack. The cabinets are faced with photographic mural wallpaper of a stereotypical waterfall scene. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

It will be tonight

In this wall-mounted sculpture, speakers are mounted into a shelf-like object finished with timber veneer. The speakers play a corny groove stock music soundtrack. On top of the shelf sits a digital photographic image approximating a fireplace floating against a colour-gradient background. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography, digital graphics and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

Particle wave

“Particle Wave” is comprised of six lenticular panels hung in an even, horizontal sequence. Each panel alternates between two solid colour fields as you move past it. There are six colours in total, with each colour represented twice in the spectrum. From left to right, the panels move through yellow, orange, magenta, violet, blue, green and back to yellow. The work’s title refers to the two competing theories of light, which can be understood as either paradoxical or complementary. Like these theories, the experience of viewing the work catches us in a double bind. While we can orient ourselves to see solid colour fields one by one, we are never able to fully capture them all at once. In fact, it is only through our continual movement, and the subsequent transitioning of visible colours that we register the complete spectrum. Through this viewing experience, “Particle Wave” actively engages with our peripheral vision and the transitory nature of perception. It plays with the fundamental pleasures of colour and vision, and the uneasy seduction of being unable to grasp multiple phenomena simultaneously.

Outlook

This wall-mounted sculpture features eight photographic prints displayed on a computer monitor mounting system. The eight panels each swivel and articulate separately. Together, they combine to create an abstract landscape based on a desktop background image of an idyllic tropical setting. Recalling the workstation of a futures trader, logistics manager, or design guru, the screen armature draws out the simultaneously romantic and vacuous characteristics of the imagery. By combining the visual languages of both physical and on-screen desktop environments with the pictorial traditions of landscape and abstraction, this work questions how and where we deploy nature, desire and wonderment in our increasingly technologised lives.

Outcrop

In this wall-mounted sculpture, speakers are mounted into a timber-veneered cabinet. The speakers play a dark, searching soundtrack. Also mounted on the cabinet is a photographic image of a rocky gully in the American desert. This work examines how we construct, represent and deploy notions of nature in our contemporary lives. It mixes the languages of furniture design, landscape photography and sculpture. Drawing on Zygmunt Bauman’s theoretical work on “liquid modernity”, this work questions how and where we find space for contemplation and reflection in a contemporary context increasingly defined by temporary social bonds and consumer choices.

See-and-avoid quadcopter using fuzzy control optimized by cross-entropy

In this work we present an optimized fuzzy visual servoing system for obstacle avoidance using an unmanned aerial vehicle. The cross-entropy theory is used to optimise the gains of our controllers. The optimization process was made using the ROS-Gazebo 3D simulation with purposeful extensions developed for our experiments. Visual servoing is achieved through an image processing front-end that uses the Camshift algorithm to detect and track objects in the scene. Experimental flight trials using a small quadrotor were performed to validate the parameters estimated from simulation. The integration of cross- entropy methods is a straightforward way to estimate optimal gains achieving excellent results when tested in real flights.

Quadcopter see and avoid using a fuzzy controller

Unmanned Aerial Vehicles (UAVs) industry is a fast growing sector. Nowadays, the market offers numerous possibilities for off-the-shelf UAVs such as quadrotors or fixed-wings. Until UAVs demonstrate advance capabilities such as autonomous collision avoidance they will be segregated and restricted to flight in controlled environments. This work presents a visual fuzzy servoing system for obstacle avoidance using UAVs. To accomplish this task we used the visual information from the front camera. Images are processed off-board and the result send to the Fuzzy Logic controller which then send commands to modify the orientation of the aircraft. Results from flight test are presented with a commercial off-the-shelf platform.

UAS See-and-Avoid using two different approaches of Fuzzy Control

This work presents two UAS See and Avoid approaches using Fuzzy Control. We compare the performance of each controller when a Cross-Entropy method is applied to optimase the parameters for one of the controllers. Each controller receive information from an image processing front-end that detect and track targets in the environment. Visual information is then used under a visual servoing approach to perform autonomous avoidance. Experimental flight trials using a small quadrotor were performed to validate and compare the behaviour of both controllers