Couture Academy Exhibition : a curation of the story behind a couture design

Research background: The general public is predominantly unaware of the complexities and skills involved in the fashion supply chain (design, manufacture and retail) of couture/bespoke garments. As cited in McMahon and Morley (2011) “While a high price tag is widely accepted as a necessary element of luxury products (Fionda &Moore, 2009) this must be accompanied by a story that gives the items intrinsic as well as extrinsic value (Keller, 2009). Research question: Is it possible to simulate a fashion couture studio environment in a non-traditional public space in order to produce and promote the processes involved in couture designs; each with their own story and aligned to the aesthetic of six collaborating high profile couture fashion retailers? Research contribution: The Couture Academy project allowed the team to curate the story behind the couture design and supply chain process. It was an experimental, curated, ‘hot-house’ fashion design project undertaken in real time to create one-off couture garments, inspired by key seasonal fashion trends as determined by leading Westfield retailers. The project was industry based, with Westfield Chermside as the launch pad for six QUT fashion students to experiment with design nuances aligned to renowned national fashion industry retailers; Cue, Dissh, Kitten D'Amour, Mombasa and Pink Mint. Industry mentors were assigned to each student designer, in order to heighten the design challenge. The exhibition consisted of a pop-up couture workshop based at Westfield Chermside. A complete fashion studio (sewing machines, pattern-cutting tables and mannequins) was set up for a seven day period in the foyer of the shopping centre with the public watching as the design process unfolded in real-time. The final design outcomes were paraded at the Southbank Precinct to a prominent industry and media panel, with the winner receiving a $2000 prize to fund a research trip to an international fashion capital of their choice. Research significance: This curated fashion project was funded by Westfield Group Australia. "It was the most successful season launch Westfield Chermside has ever had from both an average volume for exposure perspective, and in terms of the level of engagement with retailers and shoppers," said Laura Walls, Westfield Public Relations Consultant. Significant media coverage was generated; including three full pages of editorial in Brisbane’s Sunday Mail, with an estimated publicity value of $95,000. And public exposure through the live project/exhibition was estimated at 7,000 people over the 7 days.

Visual sea-floor mapping from low overlap imagery using bi-objective bundle adjustment and constrained motion

In most visual mapping applications suited to Autonomous Underwater Vehicles (AUVs), stereo visual odometry (VO) is rarely utilised as a pose estimator as imagery is typically of very low framerate due to energy conservation and data storage requirements. This adversely affects the robustness of a vision-based pose estimator and its ability to generate a smooth trajectory. This paper presents a novel VO pipeline for low-overlap imagery from an AUV that utilises constrained motion and integrates magnetometer data in a bi-objective bundle adjustment stage to achieve low-drift pose estimates over large trajectories. We analyse the performance of a standard stereo VO algorithm and compare the results to the modified vo algorithm. Results are demonstrated in a virtual environment in addition to low-overlap imagery gathered from an AUV. The modified VO algorithm shows significantly improved pose accuracy and performance over trajectories of more than 300m. In addition, dense 3D meshes generated from the visual odometry pipeline are presented as a qualitative output of the solution.

A picture is worth a thousand words : an approach to learning about visuals

Students in the middle years encounter an increasing range of unfamiliar visuals. Visual literacy, the ability to encode and decode visuals and to think visually, is an expectation of all middle years curriculum areas and an expectation of NAPLAN literacy and numeracy tests. This article presents a multidisciplinary approach to teaching visual literacy that links the content of all learning areas and encourages students to transfer skills from familiar to unfamiliar contexts. It proposes a classification of visuals in six parts: one-dimensional; two-dimensional; map; shape; connection; and picture, based on the properties, rather than the purpose, of the visual. By placing a visual in one of these six categories, students learn to transfer the skills used to decode familiar visuals to unfamiliar cases in the same category. The article also discusses a range of other teaching strategies that can be used to complement this multi-disciplinary approach.

EMAGN2012 Exhibition

The EMAGN2012 exhibition, a partnership between the Australian Institute of Architects ‘2012 National Architecture Conference: EXPERIENCE’ and State Library of Queensland’s Asia Pacific Design Library. The exhibition was held in the Asia Pacific Design Library from the 10 May-10 June 2012. The EMAGN2012 exhibition celebrates the diversity, quality and experimental nature of emerging architectural work undertaken in Australia in the last 10 years. The annual exhibition is an initiative of the Emerging Architects and Graduate Network (EMAGN) currently active in all Australian states and territories. The EMAGN national group established in 2006, seeks to provide a vehicle through which the practice and production of architecture can be engaged with and reflected upon by the public, with the aim of fostering a much broader cultural awareness of Australian architecture.

"Food For Thought" Selected Design Installation DIA Homegrown 2011 Life In the Slow Lane Exhibition: Little Stanley Street, South Bank, Brisbane

'Homegrown is an initiative of the Design Institute of Australia–Queensland Branch to promote the collaboration and cultivation of local design talent in Queensland and strengthen the connection between design, plate, planet, people and culture.' Homegrown 2011 Exhibition Catalogue Excerpt

Numerical simulation of red blood cells’ motion : a review

The micro-circulation of blood plays an important role in human body by providing oxygen and nutrients to the cells and removing carbon dioxide and wastes from the cells. This process is greatly affected by the rheological properties of the Red Blood Cells (RBCs). Changes in the rheological properties of the RBCs are caused by certain human diseases such as malaria and sickle cell diseases. Therefore it is important to understand the motion and deformation mechanism of RBCs in order to diagnose and treat this kind of diseases. Although, many methods have been developed to explore the behavior of the RBCs in micro-channels, they could not explain the deformation mechanism of the RBCs properly. Recently developed Particle Methods are employed to explain the RBCs’ behavior in micro-channels more comprehensively. The main objective of this study is to critically analyze the present methods, used to model the RBC behavior in micro-channels, in order to develop a computationally efficient particle based model to describe the complete behavior of the RBCs in micro-channels accurately and comprehensively

Learning hierarchical prototypes of motion time series for interactive systems

Abstract. For interactive systems, recognition, reproduction, and generalization of observed motion data are crucial for successful interaction. In this paper, we present a novel method for analysis of motion data that we refer to as K-OMM-trees. K-OMM-trees combine Ordered Means Models (OMMs) a model-based machine learning approach for time series with an hierarchical analysis technique for very large data sets, the K-tree algorithm. The proposed K-OMM-trees enable unsupervised prototype extraction of motion time series data with hierarchical data representation. After introducing the algorithmic details, we apply the proposed method to a gesture data set that includes substantial inter-class variations. Results from our studies show that K-OMM-trees are able to substantially increase the recognition performance and to learn an inherent data hierarchy with meaningful gesture abstractions.

Re-targeting choreographic enquiry through motion capture

This creative work is the outcome of preliminary experiments through practice aiming to explore the collaboration of a Dancer/choreographer with an Animator, along with enquiry into the intergeneration of motion capture technologies within the work-flow. The animated visuals derived from the motion capture data is not aimed at just re-targeting of movement from one source to another but looks at describing the thought and emotions of the choreographed dance through visual aesthetics.

Bouncing back : homegrown. Curated exhibition of student work and design workshop

Bouncing Back Architecture Exhibition: This exhibition showcases interpretations of urban resiliency by 2nd and 4th Year undergraduate architecture students who explore the notion of Bouncing Back from the 2011 Queensland floods, in the context of contemporary Brisbane built environment. Design solutions have been expressed in a variety of forms including emergency shelters, flood-proof housing and a range of urban designs, some of which address extreme environmental conditions. Design Process Workshop | Architecture Workshop with Queensland Academy of Creative Industries Students: In collaboration with Homegrown Facilitator Natalie Wright, Lindy Osborne and Glenda Caldwell and some of their architecture students from the QUT School of Design, extended the university design studio experience to 18 Secondary School students, who brainstormed and designed emergency food distribution shelters for those affected by floods. Designs and models created in the workshop were subsequently included in the Bouncing Back Architecture Exhibition.

Slow horizon

“Slow Horizon” is comprised of six lenticular panels hung in an even, horizontal sequence. As the viewer moves in front of the work, each panel alternates subtly between two vertical colour gradients. From left to right, the panels move through yellow, orange, magenta and violet to ‘midnight blue’. Together, the coloured panels comprise an abstract horizon line that references the changing nature of light at sunset. The scale, movement and chromatic qualities of the panels also allude to the formal characteristics of the screen technologies that pervade contemporary visual culture. “Slow Horizon” contributes to studies in the field of contemporary art. It is particularly concerned with the relationships between abstraction, colour, signification and perception. Since early Modernity, debates concerning representation and the formal qualities of the picture plane have been fundamental to art practice and theory. These debates have often dovetailed with questions of art’s capacity to generate shifts in thought and perception. Practitioners such as Ellsworth Kelly, James Turrell and Ed Ruscha have variously used block and blended colour to engage in these formal, symbolic and perceptual potentials of colour. Using a practice-led research methodology, “Slow Horizon” furthers this creative inquiry. By conflating the reductive visual logics of abstraction and minimalism with the iconic, romantic evocations of sunset imagery, it questions not only the contemporary relationship between abstraction and image-making, but also art’s ability to create moments of stillness and contemplation in a context significantly shaped by screen technologies. “Slow Horizon” has been exhibited internationally as part of “Supermassive” at LA Louver Gallery, Venice, California in 2013. The exhibition was reviewed in The Los Angeles Times.

Shift

Shift was an exhibition held in October 2008, and was the culmination of a 10 month artist in residence held at Metro Arts, Brisbane in 2008. A number of works were produced and exhibited, and were a response to the ambient urban landscape of inner city Brisbane. The research component contributes to the discussion of the form and display of digital animation, and builds upon strategies of presentation developed from series of works completed in 2005-2007 as part of an MA (research) at QUT, Brisbane. For the two week exhibition, one interactive kiosk and several large scale digital prints were produced, and also a site specific digital animation sequence was projected onto urban landscape features next to the gallery.

Queensland centre for photography : September exhibition catalogue

Tina Fiveash: Grace; Shannon Brett: I didn't get to cry till now; Ana Paula Estrada: Of another time; Janina Green: Be home before Dark; Paul Batt: Escalator Series 2011.

Silver Gelatin Print: A group exhibition curated by Karen Milder that investigates and captures the traditional processes using photograms, liquid emulsion, toning, hand-colouring and film. Part of the Queensland Festival of Photography 4 (QFP4).

Pillar of salt: (3 hand-applied silver gelatin photographs) Statement: For women moving into new experiences and spaces, loss and hardship is often a price to be paid. These courageous women look back to things they have overcome in order to continue to grow.

A picture is worth a thousand words : a cross-curricular approach to learning about visuals in STEM

Visuals are a central feature of STEM in all levels of education and many areas of employment. The wide variety of visuals that students are expected to master in STEM prevents an approach that aims to teach students about every type of visual that they may encounter. This paper proposes a pedagogy that can be applied across year levels and learning areas, allowing a school-wide, cross-curricular, approach to teaching about visual, that enhances learning in STEM and all other learning areas. Visuals are classified into six categories based on their properties, unlike traditional methods that classify visuals according to purpose. As visuals in the same category share common properties, students are able to transfer their knowledge from the familiar to unfamiliar in each category. The paper details the classification and proposes some strategies that can be can be incorporated into existing methods of teaching students about visuals in all learning areas. The approach may also assist students to see the connections between the different learning areas within and outside STEM.

A retrospective cohort investigation of active range of motion within one week of open reduction and internal fixation of distal radius fractures

Distal radius fractures stabilized by open reduction internal fixation (ORIF) have become increasingly common. There is currently no consensus on the optimal time to commence range of motion (ROM) exercises post-ORIF. A retrospective cohort review was conducted over a five-year period to compare wrist and forearm range of motion outcomes and number of therapy sessions between patients who commenced active ROM exercises within the first seven days and from day eight onward following ORIF of distal radius fractures. One hundred and twenty-one patient cases were identified. Clinical data, active ROM at initial and discharge therapy assessments, fracture type, surgical approaches, and number of therapy sessions attended were recorded. One hundred and seven (88.4%) cases had complete datasets. The early active ROM group (n = 37) commenced ROM a mean (SD) of 4.27 (1.8) days post-ORIF. The comparator group (n = 70) commenced ROM exercises 24.3 (13.6) days post-ORIF. No significant differences were identified between groups in ROM at initial or discharge assessments, or therapy sessions attended. The results from this study indicate that patients who commenced active ROM exercises an average of 24 days after surgery achieved comparable ROM outcomes with similar number of therapy sessions to those who commenced ROM exercises within the first week.