We need to talk (Performance Space)

'We need to talk (Performace Space)' is a 3 channel audio work with round table and custom cushions, examining the discursive framework of LEVEL as a feminist art collective. It was included in the exhibition 'Sexes', curated by Bec Dean, Jeff Khan and Deborah Kelly, at Performance Space. The audio works feature recontextualised excerpts from a series of dinner party conversations, which focused on the role of women and feminism in the 21st century. Placed in a specially constructed ‘lazy susan’, this audio installation speaks of the experience of sharing information, ideas and experiences ‘around the table’. The fabric patterns on the floor cushions have been designed from banners created in collective workshops with women in Brisbane and Melbourne, Australia, as a way of translating personal statements and political ideas into the everyday.

Representation of facial expression categories in continuous arousal-valence space: Feature and correlation

Representation of facial expressions using continuous dimensions has shown to be inherently more expressive and psychologically meaningful than using categorized emotions, and thus has gained increasing attention over recent years. Many sub-problems have arisen in this new field that remain only partially understood. A comparison of the regression performance of different texture and geometric features and investigation of the correlations between continuous dimensional axes and basic categorized emotions are two of these. This paper presents empirical studies addressing these problems, and it reports results from an evaluation of different methods for detecting spontaneous facial expressions within the arousal-valence dimensional space (AV). The evaluation compares the performance of texture features (SIFT, Gabor, LBP) against geometric features (FAP-based distances), and the fusion of the two. It also compares the prediction of arousal and valence, obtained using the best fusion method, to the corresponding ground truths. Spatial distribution, shift, similarity, and correlation are considered for the six basic categorized emotions (i.e. anger, disgust, fear, happiness, sadness, surprise). Using the NVIE database, results show that the fusion of LBP and FAP features performs the best. The results from the NVIE and FEEDTUM databases reveal novel findings about the correlations of arousal and valence dimensions to each of six basic emotion categories.

An alternative approach to setting a mill

The conventional approach to setting a milling unit is essentially based on the desire to achieve a particular bagasse moisture content or fibre fill in each nip of the mill. This approach relies on the selection of the speed at which the mill will operate for the selected fibre rate. There is rarely any checking that the selected speed or the selected fibre fill is achieved and the same set of assumptions is generally carried over to use again in the next year. The conventional approach largely ignores the fact that the selection of mill settings actually determines the speed at which the mill will operate. Making an adjustment with the intent of changing the performance of the mill often also changes the speed of the mill as an unintended consequence. This paper presents an alternative approach to mill setting. The approach discussed makes use of mill feeding theory to define the relationship between fibre rate, mill speed and mill settings and uses that theory to provide an alternative means of determining the settings in some nips of the mill. Mill feeding theory shows that, as the feed work opening reduces, roll speed increases. The theory also shows that there is an optimal underfeed opening and Donnelly chute exit opening that will minimise roll speed and that the current South African guidelines appear to be well away from those optimal values.

The special branch : governing mentalities through alternative-site placement

"…one should try to locate power at the extreme points of its exercise, where it is always less legal in character." (Foucault, 1980, p.97) Studies of schooling practices as techniques deriving from a particular art of governing that Foucault (2003b) called ‘governmentality’ have shown how psychopathologising discourses work to construct particular student-subjects and legitimise various practices of exclusion (Gram, 2007b). Here I extend this work to consider the use of alternative-site placement as an intensification in response to governmentality being put ‘at risk’. Governing ‘at a distance’ conjures an illusion of individual freedom which relies on the production of subjects who ‘choose’ to make choices that are consistent with the aspirations of government. In this chapter, it is argued that the designation of a child as ‘disorderly’ legitimises the intrusion of state into the private domain of the family via the Trojan horse of early intervention. This is enabled by the psy-sciences, whose technologies and aims amount to the moral retraining of ‘improper’ future-citizens who, in choosing to choose otherwise, threaten to make visible invisible relations of power. Alternative-site placement in special schools running intensive behaviour modification programs allows for a ‘redoubled insistence’ (Ewald, 1992) of these norms and limits that a ‘disorderly’ child threatens to transgress.

A space for spirituality : Dutton Park Community House. Kuril dhagun, State Library of Queensland

A Space for Spirituality: Dutton Park Community House Exhibition of QUT Student Design Work for Murri Watch Men’s Shed, Dutton Park. As designers it is important to work with communities to develop inclusive spaces and be mindful of the diversity of cultures, histories and indeed spirituality. This exhibition includes a selection of proposals from QUT Interior Design students for the adaptation of the Murri Watch Men’s Shed, Dutton Park. The designs respond to local community narratives and environmental qualities, such as site texture, landscape and light to propose a dwelling space for spirituality and gathering.

Jugglers Arts Space Containers

The design and installation for the Jugglers Arts Space Containers was an invited commission by Jugglers Arts Space for the Containveral Festival at Northshore Hamilton (EDQ). The community festival involved a suite of custom designed and fitted shipping containers for the use by retailers and arts groups alike, focusing upon re-use and low cost design fabrication approaches. Containerval, inspired from shipping container projects such as Sean Goodsell's 'Future Shack' (1985-2001)and Buchan Group's Re:Start Mall, Christchurch (2011), celebrated design testing and exploration of found and recyclable materials to plan and enrich an otherwise severe hardstand area formally attached to Portside docks. The design proposed use of 4 containers, planned to focus on both the interior displays and external in-between spaces, for live performance of Jugglers Arts Space artists. Experimentation of recyclable materials such as onion bags and plastic milk bottles, informed the development of innovative low-cost canopies which sutured the containers together. The Containerval Festival contributed to the now highly successful 'Eat Street Markets' at Hamilton Northshore.

Figuras de Espaço na Arquitectura de um Vazio [Figures of space in the architecture of a void]

This text discusses the production of space as performance, space as the architecture of a void in relation to Fernanda Fragateiro's art work 'Caixa para Guardar o Vazio'

Commentary: Making sense of identity dialogues

In this commentary an alternative conceptual model of identity construction is proposed. In this model, identity construction is seen as part of a person’s ongoing sense-making. Identity is perceived as a subjective sense of continuity and sameness that renders one’s being in the world meaningful. Drawing on empirical examples provided in the target articles, it is shown how this model, which is built around the notions of rupture, identity dialogues and striving towards meaningfulness, can be utilized to analyse identity dynamics in different space and time contexts. The importance of examining links between an individual’s sense-making and collective meaning field, in which sense-making is embedded, is also highlighted.