26 resultados para Padding.
Resumo:
I coordinated a series of workshops - involving researchers Merinda Kelly, Dr Jondi Keane and David Fitzsimmons - on object, space and performance which led to a major exhibition outcome for participating artists. Specifically I led a workshop with installation artist David Fitzsimmons on spatial practices.
Initiated by Courthouse ARTS and in partnership with Deakin’s School of Communication and Creative Arts Geelong hosted a fringe festival event titled 'The New Wilderness'. This is the an extract from the proposal put forward to both the board at Courthouse ARTS centre and the executive in the Faculty of Arts and Education:
Given the change in the economic foundations and demographics in the region a festival of the arts, centred in Geelong, is timely and, potentially, regenerative. In a series of workshops, events, performances and exhibitions – staged at Courthouse ARTS, open to the community and spanning the first week of September – the focus will be on risk, innovation, subversion and transformation. Incorporating each of these words as prompts one exciting project, The New Wilderness, uses the visual arts, creative writing and the performing arts to engage young people in practice and cross-disciplinary collaboration. With an emphasis on process the project will engage participants in a lab/studio environment over a week. Installation artists and Deakin staff members will facilitate an introduction and workshop on the theme, The New Wilderness, asking that participants respond: firstly in making a series of images and installations that transform space; secondly, in creative writing responses; and thirdly, in a series of short performance pieces interpreting the text, images and spaces created during the week. Participants will be on a time-line and encouraged to interpret and critically engage with the theme, each other and the issues set to transform the region – such as the disappearing manufacturing industry and the vast spaces it leaves behind.
Resumo:
Nonnegative matrix factorization (NMF) is widely used in signal separation and image compression. Motivated by its successful applications, we propose a new cryptosystem based on NMF, where the nonlinear mixing (NLM) model with a strong noise is introduced for encryption and NMF is used for decryption. The security of the cryptosystem relies on following two facts: 1) the constructed multivariable nonlinear function is not invertible; 2) the process of NMF is unilateral, if the inverse matrix of the constructed linear mixing matrix is not nonnegative. Comparing with Lin's method (2006) that is a theoretical scheme using one-time padding in the cryptosystem, our cipher can be used repeatedly for the practical request, i.e., multitme padding is used in our cryptosystem. Also, there is no restriction on statistical characteristics of the ciphers and the plaintexts. Thus, more signals can be processed (successfully encrypted and decrypted), no matter they are correlative, sparse, or Gaussian. Furthermore, instead of the number of zero-crossing-based method that is often unstable in encryption and decryption, an improved method based on the kurtosis of the signals is introduced to solve permutation ambiguities in waveform reconstruction. Simulations are given to illustrate security and availability of our cryptosystem.
Resumo:
Children’s engagement with online technologies may seem second nature, yet the impact that the internet has on their lives is shaped by a powerful public policy agenda that largely overlooks children’s interests. Australia’s digital policy framework is dominated by discourses of safety and risk on the one hand and, on the other, neoliberal arguments about the possibilities for economic growth offered by e-commerce. In the midst of such powerful discourses it is difficult for children’s voices to be heard. This paper offers a close textual analysis of the Australian public policy context for regulating cyberspace. Finding a discursive duopoly that overlooks children’s interests, the author identifies two key features of a rights-based approach to challenge the dominant narratives currently serving the interests of the private sector and the State.
Resumo:
Interpretative Phenomenological Analysis (IPA) has developed internationally into a growing qualitative approach to research in the areas of psychology, health sciences, social sciences, education and also specifically in music education. This chapter focuses on IPA as an experiential approach to research which explores the lived experience of the individual’s perception and how individuals make sense of it in their given context. As with other forms of phenomenological research, IPA takes account of the researcher’s own context and perceptions through a process of interpretation, while analyzing the phenomena under study. IPA offers a framework to undertake research based on the traditions of phenomenology, which uncover meanings and hermeneutics which interpret the meaning; it is idiographic in nature when undertaking data analysis. This chapter provides a narrative on IPA as an appropriate methodology that can be used when undertaking research in education and in particularly music education. As a tertiary researcher of music education I have employed IPA in my research. This chapter attempts to address broad questions in relation to: What is IPA? Where does it come from? How is it used? How does one analyze interview data and construct themes? A brief discussion of the strengths and limitations of the method is posed, giving examples where IPA has been successfully employed in music research. By balancing the tensions between phenomenology, hermeneutics and idiographic approaches, IPA situates music and music education research within the realm of qualitative experiential research. I argue that if more music educators apply IPA to their research, we can look forward to the emergence of new insights from research in music and music education that is rigorous and offers both convergent and divergent analysis, beyond description, using interpretation to explain insights.
Resumo:
Resumo:
The Australian Curriculum ‘the Arts’ will be implemented across Australia from 2014. This curriculum is expected to replace existing State and Territory curricula where educators are given the opportunity to review, renew, and refresh their practice. Music tertiary educators are faced with opportunities and challenges to effectively prepare and engage pre-service teachers (PSTs) as generalist classroom teachers. This paper focuses on PSTs within the Bachelor of Primary Education course at Deakin University (Melbourne, Australia). Within this course PSTs undertake two Arts units as generalist teachers, in Trimester one where they are introduced to music elements and creative music making. In Trimester two they focus on pedagogical issues and classroom implementation. In 2013, I gained ethical permission to undertake a research project titled “Pre-service teacher attitudes and understandings of Music Education”. This case study draws on semi-structured interview data with music lecturers who taught in Trimester two at Deakin University in 2013 (10 x 3 hour workshops). Using Interpretative Phenomenological Analysis I analyzed and codified the interview data and report on two themes: ways of teaching and creative music making. This paper also highlights the challenges and opportunities sessional staff face when preparing PSTs in music education as generalist teachers.
Resumo:
Australian Higher Education universities, like many other international universities, have undergone reform and political change. The Bradley review of Higher Education commissioned by the Australian Government (2008) continues to advocate the need to increase the proportion of the population to attain higher education qualifications. The review questions the structure, organisation and financial position of Australia to effectively compete in the global economy. This position paper situates itself at a metropolitan Australian university in Melbourne within the Faculty of Arts and Education with the authors as academics based in the School of Education as Course Directors. We are faced with challenges and dilemmas regarding selecting pre-service teachers, meeting faculty targets and preparing the course structure in relation the new Australian Qualification Framework (2013) and the Australian Teaching Standards Framework (2012). The purpose of this position paper is to share strategies and invite international dialogue in relation to some of these challenges and dilemmas. Using narrative inquiry, reflective practice and document analysis as our methodology, we discuss two secondary programs at Unnamed University (Bachelor of Teaching [Secondary] and Bachelor of Teaching [Science]) as we prepare pre-service secondary teachers for the profession. The university aims to drive the digital frontier in a very dynamic environment that includes open educational resources, new delivery platforms and ways of assessing learners. These developments have initiated new ways of thinking about how to manage issues of teaching and learning with larger and varied cohorts of students.
Resumo:
The gender and ethnic identities of older Somali women in Melbourne, Australia shaped and informed the findings of how previous physical activity and motherhood influenced their activity levels later in life. This study is also an example of how the researcher and the participants navigated and negotiated the borders, shifting their subjectivities to create health behaviours that help exist in Western culture. This research consequently developed into two main pathways, firstly an exploration of how cross-cultural research methodology on the borders can be undertaken and, secondly, an analysis of the women's perspectives and experiences around physical activity and motherhood. A narrative method of data collection enabled research participants to express views from their standpoint. The role of an arts based program elicited honest responses and real stories and provided an environment where participants felt free and able to talk. It also enabled me to present their views in their words and in a style that allowed them to speak. The Somali women live in the ‘white’ dominant culture of Australia, yet constantly cross the borders between their traditional Somali culture and the dominant culture, juggling each value system. Using Anzaldua (1987) borderland framework this chapter explores these border crossings and understands how the women develop strategies for resistance and survival. It also highlights me as the researcher transforming my subjectivity within the structures of my own dominant culture.
Resumo:
Anthology is a site sympathetic theatrical journey through Westlake, now known as Stirling Park – Ngunawal land, a traditional pathway and the site of one of the camps created to house the workers building the new city of Canberra. These families lived at Westlake for 50 years until the 1960’s when the families were relocated, the houses sold and removed. Westlake is now parkland (and prime real estate), nestled between the lake and the Embassies of Yarralumla. Central to the interconnected web of my PhD research, the opportunity to collaborate with Pip Buining to devise and install Anthology provides a rich, investigative environment to examine post-traumatic representation in contemporary Australian culture. The project, even in its early stages, promises to allude to the power of immersive, site-sympathetic performance as a regenerative force in the 21st century.
This paper draws upon Mary Zimmerman’s notion of An Archeology of Performance. What lies in wait for artists in sites, in places…to be uncovered…with its final form revealed through careful excavation? The Anthology Project aims to centralise memory, rituals of remembrance and the importance of place as vital to the restoration and regeneration of community through processing and transcending both personal and cultural trauma.
Ex-resident Ann Gugler, moved to Westlake with her family when she was 4 and has worked tirelessly to collect the stories of the Westlake children and document the existence of the ‘vanished suburb’. In Ann Gugler’s own words, “When one is forgotten, one ceases to exist” and the act of restorative remembering through contemporary performance strives to return some balance to the lives of the past residents as well as a new perspective for the current community and their relationship to the imprint of history embedded in the site.
Resumo:
Australia comprises many cultures, ethnicities, and languages. Belonging to community music groups by older people can enhance quality of life, offer a sense fulfilment, and provide a space through which cultural and linguistic identity may be shared and celebrated. This qualitative case study explores engagement by older members of La Voce Della Luna, an Italian women’s community choir based in Melbourne, Victoria. Older Australians, particularly those from culturally and linguistically diverse backgrounds frequently rely on voluntary community arts organisations to enhance quality of life. Singing together can provide ways for individuals and communities to express themselves, build community identity, improve quality of life, and celebrate cultural heritage. The members of the choir know that under their inspiring conductor they would learn new songs, new languages and new ways of performing. Their music director saw that the women’s singing together opened new horizons of social engagement and new ideas such as social justice and women’s rights.
This case is from the larger ongoing joint research project (2008 ongoing), Well-being and ageing: community, diversity and the arts in Victoria. Data were gathered from documentary sources and by individual and focus group semi-structured interviews (2013) and were analysed using interpretative phenomenological analysis. Significant themes emerged: social connection and combatting isolation, the maintenance and transmission of cultural heritage, and opening horizons about music making and social justice. This paper demonstrates that active music making makes it possible for older women to learn new skills, new ideas, and create for themselves a resilient community.
Resumo:
Australia is a very diverse country where difference is celebrated and embraced as a way forward to learn of other people, their music and culture. This paper focuses on the teaching and learning of African music where music and culture is shared in a music workshop with preservice teacher education students. The music-as-culture approach presents an opportunity for preservice teachers to experience, connect and engage with non-Western music. This paper forms part of a research project titled “Pre-service teacher attitudes and understandings of Music Education” that started in 2013. Drawing on data from student questionnaires, author participant observation and reflective practice in April 2014, the findings highlight the experiences and practical engagement of an African music workshop in teacher education courses in Queensland (Australia). The authors assert as music tertiary educators they have a responsibility to teach their students about different music and songs from other lands. The workshop was concerned with the experience as it was lived, felt and undertaken (Sherman, Webb & Andrews, 1983). Generalisations cannot be made from such a small qualitative research sample, however, it is hoped that the reflections made by the students and authors are insightful and will provide a platform for further dialogue regarding what is relevant and valuable for student teachers as they prepare to be future music teachers.
