Another A.M. dream

The digital creative output is a 'poetry soundtrack', an audio work comprised of original poetry, music, and sound design.

A.M.

This digital creative output is a 'poetry soundtrack', an audio form comprised on original poetry, music, and sound design.

Another dream

This digital creative output is a 'poetry soundtrack', an audio form comprised of original poetry, music, and sound design.

Collective hypnosis

This digital creative output is a 'poetry soundtrack', an audio work comprised of original poetry, music, and sound design.

This voice: the poetry of knowing and not knowing

This essay is concerned with how poetry—reading it, writing it, and adapting it—relies on a dialectic between knowing and not knowing, a flickering movement between understanding and ignorance that is central to the production of poetry and its effects. To illustrate this, I discuss my poem, ‘This Voice’, and its subsequent adaptation into what I call a ‘poetry soundtrack’, a form of digital audio poetry employing poetry, music, and sound design. The essay illustrates the centrality of the knowing/not-knowing dialectic to poetry by considering the following with regard to my works: the thematics of nescience; the liminal and virtual space of interpretation and play (the latter as theorised by D.W. Winnicott); ‘nocturnal poetics’; and sampling (both sonic and lexical).

Under the forest and Ladyswamp ( a radio play and a sonic poem)

'Under the Forest'  and 'Ladyswamp' are audio recordings created in collaboration with musician/ sound artist Tom Kazas. As the first outputs of the ongoing Lyrebird project (fully documented at writingfix.com.au) both works reinvent history in artistic form. At the same time they consider the aftermath of inappropriate farming techniques, representing the sense of disconnection the settlers immediately have from any historical continuity or indigenous relationship to land. In focussing on a regional area in Victoria and the stories that emerge from here, this practice-led research has implications for all other regional areas in countries throughout a world in a time of climate change. The two pieces, linked by the flow of water from the upper catchment of the Tarwin River, to the river flats near the South Gippsland coast, embody the presence of location via poetic means; the flow is from erosion to silt: of land becoming water, becoming land. In the sound design the locations are also represented poetically without losing the actuality of their haunting geography.
The two audio works were first presented at the Double Dialogues Conference: 'The 21st century - The Event, The Subject, The Artwork', Fiji, 2012, and are published in In/Stead, Issue 4, 2013 alongside a discursive article, ‘Under the forest & Ladyswamp: a radio play & a sonic poem’. Extracts of the audio appear on Youtube. The process of ‘Ladyswamp’ appears on an educational video currently in production by Deakin University.

There will be no more night

Exploring how the body and light are connected in interdisciplinary practice, in this work I make sound design and moving image re inscribing physical yet out of body experiences of light in near death – recorded from youtube. The image of fading light is in real time and constitutes a symbolic interpretation of eternity mirroring the audio. This work has been curated into a group exhibition at ‘Strange Neighbour’ alongside internationally recognised artists such as Peter Booth and Sam Shmith. The work has also been curated in my solo exhibition by Conny Dietzschold and is the subject of the essay in the catalogue by Sean Redmond and was presented in my paper ‘Motion and stillness: a bodily approach to photography.’ and is mentioned in the journal article to be published titled ‘Technology as Collaborator in Somatic Photographic Practice.’ Intellect Books

Computer-aided design decision support: interfacing knowledge and information

Computer-aided design decision support has proved to be an elusive and intangible project for many researchers as they seek to encapsulate information and knowledge-based systems as useful multifunctional data structures. Definitions of ‘knowledge', ‘information', ‘facts', and ‘data' become semantic footballs in the struggle to identify what designers actually do, and what level of support would suit them best, and how that support might be offered. The Construction Primer is a database-drivable interactive multimedia environment that provides readily updated access to many levels of information aimed to suit students and practitioners alike. This is hardly a novelty in itself. The innovative interface and metadata structures, however, combine with the willingness of national building control legislators, standards authorities, materials producers, building research organisations, and specification services to make the Construction Primer a versatile design decision support vehicle. It is both compatible with most working methodologies while remaining reasonably future-proof. This paper describes the structure of the project and highlights the importance of sound planning and strict adhesion to library-standard metadata protocols as a means to avoid the support becoming too specific or too paradigmatic.

Auditing construction costs during building design : a case study of cost planning in action

Building cost planning was originally developed in the framework of traditional procurement methods with conventional documentation, tendering and administration processes. With the advent of alternative forms of procurement with more fluid approaches to design stages and documentation, the need for sound cost planning does not appear to diminish. As a process established on solid theoretical foundations, cost planning should be robust enough to adapt and flourish in a variety of procurement environments. However, little documentation and analysis of transformed and adapted forms of cost planning appear to have been made. This case study of a design-construct company in Melbourne, Australia, presents and explores a contemporary form of building cost planning integrated into a design cost management approach adopted by a construction company experienced in alternative forms of procurement. The article traces this process on a design-construct project from inception to the end of the design development stage and tender. Whilst the fundamental framework of cost planning remains intact, the focus and detail in each of the stages are guided by the company's priority for greater financial control over the cost and value implications of design and other decisions. This recently established working model of design cost management in this company has been designed to deliver added value to the client through a better balance of time, cost and quality in each project.

Sound absorption characteristics of a precast panel system made from environmentally sustainable concrete

This paper investigates the sound absorption characteristics of a precast panel system made from an environmentally sustainable concrete which can be used as an acoustical material. A current research project undertaken at the School of Architecture and Building, Deakin University, aims at utilising alternative materials and innovative approach to concrete precasting in the production of architecturally pleasing concrete panels. The normal incidence sound absorption coefficients of the assemblies were measured using an impedance tube. In general, the peak frequencies reduced with increasing thickness of concrete. The preliminary results indicate that the sound absorption of a three-layer variation of the panel meet design specifications related to acoustic performance. The major benefits of this investigated approach to concrete and concrete precasting are the ease of tunability to specific peak frequency, improved aesthetics and utilisation of industrial waste.

A formal model of mixed-initiative interaction in design exploration

Computer-based environments for supporting design are complex software artifacts. These tools need to use sound computational formalisms as well as address issues of human usability. The development of interactive and usable generative systems is a significant research area in design computation. Though classical search techniques play a central role in the generative kernels of these "closed-world" systems, the open-ended exploration of design spaces is the desirable goal. In this paper, we present a formal model of exploration that combines search with user driven exploration. We describe the role of interaction and agency in an experimental mixed-initiative design support system.

Development by design in Western Australia : Overcoming offset obstacles

Biodiversity offsets can be an important tool for maintaining or enhancingenvironmental values in situations where development is sought despite negativeenvironmental impacts. There are now approximately 45 compensatory mitigationprograms for biodiversity impacts worldwide, with another 27 programs in development. While offsets have great potential as a conservation tool, their establishment requires overcoming a number of conceptual and methodological hurdles. In Australia, new policy changes at the national and state (i.e., Western Australia) level require that offsets follow a set of general principles: (1) Environmental offsets may not be appropriate for all projects and will only be considered after avoidance and mitigation options have been pursued;(2) Environmental offsets will be based on sound environmental information andknowledge; (3) Establishing goals for offsets requires an estimate of expected direct and indirect impacts; (4) Environmental offsets will be focused on longer term strategic outcomes; (5) Environmental offsets will be cost-effective, as well as relevant and proportionate to the significance of the environmental value being impacted. Here we focus on the challenges of determining and implementing offsets using a real world example from a voluntary offset process undertaken for Barrick Gold’s Kanowna Belle mine site in Western Australia to highlight those challenges and potential solutions.

Lynsey Martin: A case study in 1970s Australian experimental animation

Lynsey Martin’s short experimental Animations remain largely unknown internationally. His graphic 16mm films Approximately Water (4 minutes 1972), Whitewash (1973, 4 minutes), Interview (25 minutes 1973) and Leading Ladies (1975 5 minutes) are analysed for their technique and cultural position, artifacts of a productive if marginalized period of artist made films. These graphic films stand as critical works at the heart experimental filmmaking in Australia and speak through their design and production method to current trends in digital media. Martin’s work includes the use of collage and its erasure, the grain of the photographic image and handpainting and drawing imagery directly on the film surface. Martin deals with the graphic and material elements of the filmstrip, the nature of filmic movement and the nature of photography in public space. For martin his films deal with films deal abstraction and illusionism, elements of chance, the deconstruction of film language, the diary film and process as content. These films stand as historic aesthetic traces of an immediate hands-on approach to image making that came into crisis in Australia through the disappearance of technical education in the 1980s when Martin taught graphic design in technical schools.

Using digital devices in a first year classroom : a focus on the design and use of phonics software applications

When integrated within a holistic literacy program, phonics applications can be used in classrooms to facilitate students’ self-directed learning of letter-sound knowledge; but are they designed to allow for such a purpose? With most phonics software applications making heavy use of image cues, this project has more specifically investigated whether the design of the images used in such applications may impact on the effectiveness of their self-directed use in classrooms. Using a quasi-experimental study, we compared two types of pictorial mnemonics used in tablet applications, along with teacher-led activity in three first-year classrooms from the one school. The difference between teacher-led activity and integrated picture cues was significant, with teacher-led activity proving more effective. The difference between teacher-led activity and form-taking picture cues, however, was not statistically significant. Given that the outcomes of this small-scale study suggest that image design may be a significant design feature contributing to the educational value of using phonics applications in the classroom, we recommend that the design features of phonics software applications attract further research.