Competitive interactions between the Australian native fish Galaxiasmaculatus and the exotic mosquitofish Gambusiaholbrooki,in a series of laboratory experiments

Competitive interactions between Galaxias maculatus, native to southeastern Australia, and Gambusia holbrooki, an exotic pest, were examined in relation to two types of artificial cover and a food source. Experiments were performed in an 800 l tank using photographic techniques. The relative distance of G. maculatus from cover or food source before and after the introduction of G. holbrooki were compared. Also, the proportions of the species were altered to examine the effects of unequal numbers on dominance behaviour. It was found that G. holbrooki was unable to out compete G. maculatus for either cover or food. The distance of G. maculatus from a food source was seen to increase following the introduction of G. holbrooki, when they outnumbered G. maculatus by 3 to 1. Although the distance from the food of G.maculatus increased following the introduction of G. holbrooki, in all cases the mean distance of G.␣maculatus from cover or food was less than that of G. holbrooki. Significant intra-species competition appeared to occur between G. maculatus and it may be that this competition had a greater effect than the competitive pressure G. holbrooki was able to place on the natives. This study revealed that the exotic pest species, G. holbrooki, could not out compete a small native Australian fish species.

Through the frame & beyond the gaze

In Fiction in the Age of Photography[i], Nancy Armstrong examines the impact of photography on the way in which the nineteenth century novelists represented society. In particular she asks 'But what do we make of the fact that the novel's turn to pictorialism coincided with the sudden ubiquity of photographic images in the culture at large? Why did pictures begin to speak louder than words?

The body keeps the score

American animator Robert Breer has been credited in introducing the first visual bomb to cinema in his loop film Image by Images I (1954), Two abstract animated films by Robert Breer are examined: 69 (1968 5 minutes) and Fuji (1974 10 minutes). Using Merleau-Ponty’s phenomenological perspective, though these films are not representational or photographic in the traditional sense it is argued that they are still able to talk to us about real experiences because ‘the lived perspective, that which we actually perceive, is not a geometric or photographic one.’(Merleau-Ponty, 1964b: 14) 69 provides a metaphor for a system that collapses and Fuji as an articulation of that embodied seeing required for train travel. It is argued that Breer’s work in its explorations of style ahead of content is research into an act of viewing that offers a contemporary simulation of the impact of a traumatic experience on the body. Just as one cannot grab each object in the landscape at the speed of train travel nor can one grab or understand each frame that is presented to the retina of a Robert Breer film. What is required to attain “stillness” is a more dissociated way of looking that allows the images to wash over you. Such a “stillness” may be more about suppression than contemplation and could involve a process of metamorphosis.

Fire fighters' assessments of fireground risk

Fire fighters are often required to work in dynamic and hazardous environments involving a high level of uncertainty. The present study investigated 110 volunteer fire fighters’ assessments of levels of risk associated with a photographic depiction of a typical grassland fire situation. The fire fighters used a standard fire agency risk-rating matrix procedure requiring them to specify the severity of the hazards depicted and the probability of a mishap in order to rate overall level of risk (1 = Low; 4 = Extreme). The risk ratings made by the fire fighters varied greatly. The overall rate of agreement with the risk level rating of the situation made by a panel of expert fire officers (=1, Low) was only 27%. It seems that use of a standard risk-rating matrix procedure by fire fighters at incidents, as recommended currently by many fire agencies, is likely to result in unreliable risk assessments, at least in the absence of effective training in the risk assessment procedure. The 110 volunteers were also asked to identify the total number of potential hazards apparent in five photographs depicting different kinds of emergency incidents. Identifying more hazards was found to be associated with (a) previous personal experience of a ‘near-miss’; and (b) higher levels of education. The findings imply that when faced with identical fire ground situations, individual fire fighters are likely to differ in their situational awareness of hazards and consequent risk assessments.

Vision

"No photographed images. All handmade. It's all these squares, lines. The main techniques were bleaching and dyeing and sticking letraset-type material to the film strip. Used the pos/neg thing, inserting film strips to sustain shapes, otherwise you're talking about the one film all the time: it begins to look the same. There is a growing need to sustain shapes, patterns, etc. Hence the squares, lines. Breaking away from the rush of shapes. It's more of a problem to get away from in Vision because there are no photographic images. A very ordered film. Very Dutch. Took it all out of 800 ft. of this type of stuff and ended up with 150 ft. of selected squares and circles. The images don't rush, they much more fold over the top of one another. Mondrian-inspired." http://www.innersense.com.au/mif/debruyn_films.html

Fotoescultura

Fotoescultura - traditional Mexican folk artefacts which combine two-dimensional photographic portraits with three-dimensional carved busts, often presented in decorative frames and vitrines.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

Prostate cancer : Anglo-Australian heterosexual perspectives

Prostate cancer is one of the most prominent diseases in men’s health. It is inherently 'male', given the exclusivity of the prostate gland to men’s bodies and its physiological connection to testosterone and male sexuality. The biomedical complexities of prostate cancer continue to be unravelled and researched and are often connected to identifying causes, the virtues of screening and treatment modalities. However, despite the biological male 'sex' link, most of the prostate cancer research is not connected with research on gender relations, men and masculinities. The net outcome is that men’s lives and illness experiences are absent in much of the prostate cancer research. This PhD thesis Prostate cancer: Anglo-Australian heterosexual perspectives, is an ethnographic study of thirty-five Anglo-Australian men diagnosed with prostate cancer. Participants shared their experiences of living with prostate cancer in the context of health promotion, health services and in relation to their sexuality and intimate relationships. Through participant photographic novella and in-depth semi-structured interviews, rich cultural insights are provided. A social constructionist gender analysis is used in this research that shows how the social constructions of masculinity interconnect and occasionally collide with prostate cancer throughout the illness trajectory.

Technique for improving the reception of scattering signal behind an obstacle

This thesis presents a solution to the problem of receiving a signal in the shadow and fringe areas. Theoretical and experimental investigation of the field behind an obstacle in a line of sight transmission path for UHF / microwave signals has resulted in a new approach to the analysis of electromagnetic fields in the shadow of an obstacle. Analysis using this approach showed the field to consist of varying amplitude and phase distribution. Additional analysis predicted an increase in received signal could be achieved if correlation between the field and antenna structure could be obtained. This was accomplished with a new antenna design. The thesis presents experimental and photographic evidence to support the theory. A novel technique involving the matching of the antenna structure to the field distribution, resulted in an increase of received signal in the diffracted field of up to 4 dB.

Monitoring the marine environment adjacent to a petroleum refinery on Corio Bay, Victoria, Australia /Peter James Gilbert

The objective of the work reported in this thesis was to design and implement an ecological effects environmental monitoring program which would: 1) Collect baseline biological information on sessile epibiotic fouling communities from an area adjacent to a petroleum refinery located on Corio Bay, Victoria, to allow comparison with results of future monitoring for the assessment of long term temporal water quality trends. 2) Detect and — if possible - estimate the magnitude of any influence on epibiotic fouling communities within the Corio Bay marine ecosystem attributable to operations at the Shell Petroleum Refinery. 3) Investigate the extent of thermal stratification and rate of dispersal of the petroleum refinery main cooling-water outfall plume (discharging up to 350,000 tonnes of warmed seawater per day), and its effect on epibiotic communities within the EPA-defined mixing zone. A major component of the work undertaken was the design and development of artificial-substrate biological sampling stations suitable for use under the conditions prevailing in Corio Bay, and the development of appropriate quantitative underwater photographic sampling techniques to fulfil the experimental criteria outlined above. Experimental and other constraints imposed on the design of the stations precluded the simple suspension of frames from jetties or pylons, a technique widely used in previous work of this type. Artificial substrate panels were deployed along three radial transects centred within and extending beyond the petroleum refinery main cooling-water mixing zone. Identical substrate panels were deployed at a number of control sites located throughout Corio Bay, each chosen for differences in their degree of exposure to such factors as water movement, depth, shipping traffic and/or comparable industrial activity. The rate of colonisation (space utilisation) and the development of epibiotic fouling communities on artificial substrate panels was monitored over two twelve-month sampling periods using quantitative underwater photographic sampling techniques. Sampling was conducted at 4-8 week intervals with the rate of panel colonisation and community structure determined via coverage measurements. Various species of marine algae, polychaete tubeworms, hydroids, barnacles, simple and colonial ascidians, sponges, bivalve molluscs and encrusting bryozoans were all detected growing on panels. Communities which established on panels within the cooling-water mixing-zone and those at control sites were compared using statistical procedures including agglomerative hierarchical cluster analysis. A photographic sample archive has been established to allow comparison with similar future studies.

Re-photography as critical strategy in recent art

Re-photography describes a set of contemporary art practices which involve the mechanical reproduction and re-presentation of photographic imagery appropriated from a variety of cultural sources. The paper takes as its focus a range of re-photographic activities emanating from New York in the early 1980s in which the author discusses certain issues pivotal to an understanding of the status of contemporary art and its possibilities for critical function.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

Traces from the astrolabe: art and astronomy

This portfolio represent an ongoing investigation into relationships between art and astronomy with particular reference to photographic imaging of the cosmos and how such imaging has influenced the mapping and modelling of the universe. I am also interested in the subjective interpretation of astronomical observations and the point at which such images fail to represent, ie, the blurred image, which may represent the limits of technology as well and opening the possibility for metaphorical readings and imaginings on the part of the observer.

UFO architecture

Acetate photographic prints. Photo installation.

The cosmos and the camera

As the Findings exhibition was based on the artist's research, the image caption reflects Daniel's core thesis questions, i.e."in what ways can astronomical imaging invoke a phenomenological experience for the viewer?"
All of the wall works were digital prints/photographic images of various sizes.There was also a short looped video playing opposite them. The lettering on the wall was vinyl.