Digital light

Artists Description: Moving rooms and domestic objects pass through the interior of the translucent house as we peer into it. At night they softly emanate a glow much like the glow of a television in the living room. The animated space is choreographed and timed in its movement, broadcasting the contents of the house. There is an interplay between real object and virtual object: the house is made of transparent/translucent glass while the interior objects are virtual images on the screen; total internal reflection occurs so that the image can be seen from certain angles only; the glass is a medium which distorts the animated image, while the animated image permeates the glass with its colour, movement and glow.

Mathematical-morphology-based edge detection of retinal vessels in retinal images

Of all the important small and medium-sized blood vessels of the human body, retinal blood vessels are the only deep capillary that can be directly observed by a non-traumatic method. Retinal vascular morphology, such as vessel diameter, shape and distribution, is influenced by systemic diseases (Martinez-Perez, Hughes, Thom and Parker 2007). We can use digital fundus photography and analysis of retinal vascular morphology to find the relationship between the changes in vascular morphology and diabetes for the diagnosis of diseases. We aim at developing a retinal image processing system, that can analyze retinal images and provide helpful information for diagnosis. © 2013 Springer-Verlag.

Back to the future: Warlpiri encounters with drawings, country and others in the digital age

Since the early 1900s, Warlpiri people living in the central desert region of Australia have experienced an intense process of adaption to the changing circumstances of postcolonial life. From the earliest days, their encounters with kardiya, non-Aboriginal people, have been mediated by diverse visual technologies that have, over time, become integral to the ways Warlpiri orient themselves to each other and their wider world. In this paper I trace the key elements of the complex visual environment that has emerged from this history of mediation. The central part of the paper considers events around the repatriation to Warlpiri communities in 2011 of a collection of drawings made in the 1950s by their forebears.In responses to a medium that once was new but now is old, several points of interest emerge, among them a clear sense of a hierarchy of value Warlpiri apply to modes of visual communication. In the context of the return of the drawings, the significance Warlpiri ascribe to other visual media comes to the fore. I consider some of the ways visual forms are deployed in support of public projections of cultural identity on the one hand and everyday modes of expression and address on the other. The paper’s central argument is that contemporary Warlpiri attitudes to images – whether they be drawn, painted or broadcast – reveal the complex postcolonial workings of mimetic desire.

Imaging identity: media, memory and portraiture in the digital age

Imaging Identity presents potent reflections on the human condition through the prism of portraiture. Taking digital imaging technologies and the dynamic and precarious dimensions of contemporary identity as critical reference points, these essays consider why portraits continue to have such galvanising appeal and perform fundamental work across so many social settings. This multidisciplinary enquiry brings together artists, art historians, art theorists and anthropologists working with a variety of media. Authors look beyond conventional ideas of the portrait to the wider cultural contexts, governmental practices and intimate experiences that shape relationships between persons and pictures. Their shared purpose centres on a commitment to understanding the power of images to draw people into their worlds. Imaging Identity tracks a fundamental symbiosis — to grapple with the workings of images is to understand something vital of what it is to be human.

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.