My favourite things - drawing

Large mixed media drawing. Work has been exhibited in 'Something in the air' at Christine Abrahams Gallery, 25 May-6 Jun, 2010. 'Something in the air' was an exhibition in which six selected artists, including Dr Deborah Walker, exhibited their artwork at 27 Gipps St, Richmond, Victoria.

Using a circular grid for offline handwritten character recognition

Offline handwritten recognition is more challenging as indicated by the recognition technologies. This study demonstrates significantly higher rates recognition when compared with other comparable studies. In this paper, we present a circular grid zoning method applied on Polar transformation recognition system. It compares the circular grid zoning (CGZ) and standard zoning (SZ) feature extraction method on Polar and Cartesian coordinate system. We report recognition rates of 92.3%, which are considerably higher than previous studies of zoning based Polar transformation system (86.6%) and zoning based Cartesian recognition system (80.6%). Based on the finding, we propose that our circular grid zoning based Polar transformation system may provide improved classification rates for complex offline handwritten recognition.

Learning by drawing

Scientists use a range of visual forms to imagine new relations, test ideas and elaborate knowledge, with digital technologies increasingly used to construct elaborate maps, 3D simulations, graphs or enhanced photographs. These visual tools are not simply passive communication devices but actively shape how we build knowledge in science.

Stone soup drawing exhibition and workshop

This series of drawings based on the folk tale of stone soup, axe soup and other tales of travel and engagement with a new community. I also conducted a community workshop in which people drew on paper prepared by myself in which memories and placeswere the focus. As the community drawings were produce I substituted them for the ones I had produced and left them with the festival committee as a gift to the community.

Incorrigible and undisciplined lines in visual social research : ways of ‘writing’ and ‘drawing’ at the interstices

In this paper the author traces the possibilities afforded by engaging with the aesthetic, historic and socio-political nature of shodo (Japanese calligraphy) as an intersectional space. Shodo literally translated as 'the way of writing' is an artistic practice bringing together ink, brush and paper. It is simultaneously a juncture between studied discipline and an ongoing mediation of subjectivities. The calligrapher/writer/drawer communicates to the reader through the bold or subtle brush strokes, the pressure and movement at the completion of each stroke. The calligrapher/writer/drawer draws across the boundaries of text and image to meet the reader blurring the lines between subject and object. This discussion re-examines the hierarchical binaries of writing/drawing, text/image, self/Other as they play out from vanishing lines of distinction between truth and conjecture. Crossing these binaries opens up opportunity for decentring and questioning representational practice by enabling other possible meanings and practices to emerge (Lather, 2007). I work from a stance of theoretical promiscuity in order to disrupt constitutive discourses and restore the liminal in social research. Drawing across the fragments of research projects I illustrate the generative and speculative space of visualising pedascapes in educational research.

The drawer and the drawing

"The drawer and the drawing" is an installation that is a direct response to the Deakin artists books collection. Using original drawing, hand colouring, computer enhanced artwork, paper-cutouts, photographs, I created a glimpse of what the “book” tells me about the artist? I created "artworks, the books and the ephemera that was left over and behind when the “artbook” was taken away and placed in a gallery.

Electromagnetic energy harvesting in a head-mountable DBS device using a circular PIFA

A circular planar inverted-F antenna (PIFA) is designed and simulated at the industrial, scientific, and medical (ISM) band of 915 MHz for energy harvesting in a head-mountable deep brain stimulation device. Moreover, a rectifier is designed, and also the interaction of the PIFA with a rat head model is investigated. In the proposed PIFA, the top radiating layer is meandered, and a substrate of FR-4 is used. The radius and the height of the antenna are 10 mm and 1.8 mm, respectively. The bottom conductive layer works as a ground plate, and a superstrate of polyethylene reduces the electromagnetic penetration into the rat head. The resonance frequency of the designed antenna is 915 MHz with a bandwidth of 18 MHz at the return loss of -10 dB in free space. The antenna parameters (e.g. reflection coefficient, gain, radiation efficiency), electric field distribution, and SAR value are evaluated within a seven-layer rat head model by using the finite difference time domain EM simulation software XFdtd. The interactions of the antenna and the rat head model are studied in both functional and biological aspects.

Drawing the line: Chinese calligraphy, cultural materialisms and the “remixing of remix"

Remix in writing has very different expressions, and is grounded in very different legal, philosophical and creative materialisms, in Western and Chinese cultures. The infringement of authors’ Intellectual Property Rights (IPRs) in China is not only an irritant for Chinese-Western commercial and legal relations. It also points to different formations of the creative and legal domains across global space, and serves to introduce notions of creativity and originality that are largely unfamiliar in the West. Calligraphy, as a pictorial and material mode of writing, comprises a practice of Chinese remix in which the apprentice traces the lines of the master’s work: repetition of Yun 韵 (‘composed body movements’) stimulates the expression of Qing 情 (‘feelings’). What appears from a distance to be slavish imitation actually involves a philosophy of learning (or more precisely, of ‘unlearnt learning’) that, bypassing plagiarism’s traps, effectively ‘remixes remix’ as a creative model no longer dependent on the familiar Western rationales for the legitimacy of remix as appropriation, homage and/or pastiche. To see this though, one has to deploy a Taoist rather than a Confucian framework in the analysis of calligraphic practices. The case of Kathy Acker, allied with the work of Gilles Deleuze, reveals a largely invisible lineage of Taoist-influenced remix in Western creative writing. In this way, calligraphy emerges as a model of remix relevant to all forms of writing—for all writing is material, whether calligraphic or not. Further, as Acker shows, the materiality of writing constantly replenishes its remixing with cultural elements that may not be otherwise visible.

Mental context reinstatement or drawing: which better enhances children's recall of witnessed events and protects against suggestive questions?

The aim of this experiment was to examine the effectiveness of two techniques in enhancing children's recall of an event that they experienced approximately a week earlier. Younger (5–6 years) and older (8–9 years) children were interviewed about a magic show event in one of three conditions. Before recalling the event, some children were instructed to mentally reinstate the context of the event (MCR group), others were asked to draw the context of the event (DCR group), and others received no reinstatement instructions (NCR). Results showed that these instructions had no impact on children's free recall or responses to open-ended prompts. However, reinstatement instructions impacted children's responses to suggestive questions: those in the DCR group gave more accurate responses than those in the NCR group. These findings provide preliminary support for the use of drawing as a potentially protective exercise that lessens the impact of biased questions with child witnesses.