Performing erasure

This presentation examines my abstract films from my ongoing 16mm and digital experimental film practice, e.g.: 223(1985, 6 mins), Migraine Particles (1984, 12 mins) , Understanding Science (1992, 18 mins), Rote Movie (1994, 12 mins), Trauma Dream (2002, 7 mins) and Analog Stress (2004, 12 mins) as expressing a process of erasure, a method employed to construct a gutted and marooned identity. It rereads the essentialism of Modernism as laying bare the mechanics of erasure and denial and Peter Gidal’s anti-illusionist ‘Materialist Film’ as a practice outlining the structure of trauma, and the nature of traumatic memory, described as dissociative in Pierre Janet's early work.

Automatic face recognition for film character retrieval in feature-length films

The objective of this work is to recognize all the frontal faces of a character in the closed world of a movie or situation comedy, given a small number of query faces. This is challenging because faces in a feature-length film are relatively uncontrolled with a wide variability of scale, pose, illumination, and expressions, and also may be partially occluded. We develop a recognition method based on a cascade of processing steps that normalize for the effects of the changing imaging environment. In particular there are three areas of novelty: (i) we suppress the background surrounding the face, enabling the maximum area of the face to be retained for recognition rather than a subset; (ii) we include a pose refinement step to optimize the registration between the test image and face exemplar; and (iii) we use robust distance to a sub-space to allow for partial occlusion and expression change. The method is applied and evaluated on several feature length films. It is demonstrated that high recall rates (over 92%) can be achieved whilst maintaining good precision (over 93%).

Stereoscopic theatre: the impact of gestalt perceptual organization in the stereoscopic theatre environment

This paper argues that it is essential for live theatre that incorporates stereoscopic imagery to reconceptualise the performance space to facilitate a successful audience experience. While 3D technology greatly increases artistic possibilities, the risks of perceptual confusion exist in live theatre just as in stereoscopic cinema, indeed more so given the coexistence of live performers. This paper argues that Gestalt perceptual organization theory can be valuable in informing how best to employ stereoscopic imagery within a live theater environment, with reference to the artistic works of one of the authors.

Bollywood and Australia : worth making a song and dance about

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain.

Bollywood’s Australian yarn

 It’s 101 years since the birth of Bollywood, the world’s largest and most vibrant movie industry and, of course, that’s more than enough time to mature and alter, to grow arms and legs. For some time, but since the 1990s particularly, the connections between Australia and Bollywood have really taken hold. So sit back and enjoy a cinematic journey that’s sure to entertain. As a genre Bollywood has grown and developed over a period of 100 years, coloured by India’s history, politics, socio-economic conditions, culture, sensibilities, dreams, fantasies, hopes and expectations. The ever-increasing presence of the Indian diaspora in different parts of the world has helped to realise what we might think of as Bollywood’s cultural diplomacy project. Various Australian state tourism bodies have since supported Indian productions and used Bollywood stars as ambassadors to promote Australia as a welcoming nation. The 1996 film Indian has been credited for featuring the first appearance of kangaroos in Indian cinema. But I have noticed that as early as 1974, a Hindi film Majboor made first reference to Australia and its iconic boxing kangaroo. It featured Bollywood superstar Amitabh Bachchan with a poster captioned: ‘Just hop, skip and jump every Thursday to Perth Sydney’. Australia is now a hot destination for Bollywood as well as regional language film-makers, with a successful foray of films from Soldier (1998) to Bhaag Milkha Bhaag (2013). Over the past two decades, Australian films such as Holy Smoke! (1999), The Waiting City (2009), Save Your Legs! (2012), feature India, not just as a background location but as an integral part of the plot. Bollywood’s influence on Australia can be gauged by the direction of Australian film careers. Be it the Indian-Australian actress Pallavi Sharda (Besharam) or Australia’s bowling sensation Brett Lee (Asha and Friends), Mary Ann Evans – AKA Fearless Nadia, Louise Lightfoot, Tom Cowan, Bob Christo, Tania Zaetta (Salaam Namaste), Nicholas Brown (Kites), Tabrett Bethell (Dhoom 3), Rebecca Breeds (Bhaag Milkha Bhaag), Kristina Akheeva (Yamla Pagla Deewana 2), Emma Brown Garett (Yamala Pagla Deewana), Vimala Raman (Mumbai Mirror), Anusha Dandekar (Delhi Belly), and Maheep Sandhu (Shivam). In this paper I would focus on the journeys and stories of actors, chiefly Fearless Nadia, Bob Christo, and Pallavi Sharda; and also compare a few Bollywood films, particularly Kya Kehna (2000) and Salaam Namaste (2005) made on same theme but set in India and Australia respectively, to show how Australia as has been presented as sexually liberating, visually romantic, and fantastical land of beaches and beauties.

Found found found : Films and videos by Dirk de Bruyn

Rote Movie (1994, 16mm, 12 min.)Understanding Science (1992, 16mm. 18 min.)Death Of Place (2013, digital, 14 min.)Empire (2014, digital, silent, 8 min.)Found Found Found (2014, digital, 18 min.)

Actor-Network Theory (ANT) based visualisation of socio-technical facets of RFID technology translation: an Australian hospital scenario

In the early 2000s, Information Systems researchers in Australia had begun to emphasise socio-technical approaches in innovation adoption of technologies. The ‘essentialist' approaches to adoption (for example, Innovation Diffusion or TAM), suggest an essence is largely responsible for rate of adoption (Tatnall, 2011) or a new technology introduced may spark innovation. The socio-technical factors in implementing an innovation are largely flouted by researchers and hospitals. Innovation Translation is an approach that purports that any innovation needs to be customised and translated in to context before it can be adopted. Equally, Actor-Network Theory (ANT) is an approach that embraces the differences in technical and human factors and socio-professional aspects in a non-deterministic manner. The research reported in this paper is an attempt to combined the two approaches in an effective manner, to visualise the socio-technical factors in RFID technology adoption in an Australian hospital. This research investigation demonstrates RFID technology translation in an Australian hospital using a case approach (Yin, 2009). Data was collected using a process of focus groups and interviews, analysed with document analysis and concept mapping techniques. The data was then reconstructed in a ‘movie script' format, with Acts and Scenes funnelled to ANT informed abstraction at the end of each Act. The information visualisation at the end of each Act using ANT informed Lens reveal the re-negotiation and improvement of network relationships between the people (factors) involved including nurses, patient care orderlies, management staff and non-human participants such as equipment and technology. The paper augments the current gaps in literature regarding socio-technical approaches in technology adoption within Australian healthcare context, which is transitioning from non-integrated nearly technophobic hospitals in the last decade to a tech-savvy integrated era. More importantly, the ANT visualisation addresses one of the criticisms of ANT i.e. its insufficiency to explain relationship formations between participants and over changes of events in relationship networks (Greenhalgh & Stones, 2010).

Working with technology/making technology work: a round table discussion

What follows is an edited transcript of a conversation that took place on the topic of performance and technology at the Mechanics Institute, Brunswick, on Saturday 3 November 2013. The participants - Suzanne Kersten, David Pledger, Julian Rickert, Tamara Saulwick and Hellen Sky - are all practising artists who have engaged with various forms of everyday and extra-daily technologies in their creative work. Gorkem Acaroglu and Glenn D'Cruz facilitated and moderated the discussion.

Preference Networks: probabilistic models for recommendation systems

Abstract
Recommender systems are important to help users select relevant and personalised information over massive amounts of data available. We propose an unified framework called Preference Network (PN) that jointly models various types of domain knowledge for the task of recommendation. The PN is a probabilistic model that systematically combines both content-based filtering and collaborative filtering into a single conditional
Markov random field. Once estimated, it serves as a probabilistic database that supports various useful queries such as rating prediction and top-N recommendation. To handle the challenging problem of learning large networks of users and items, we employ a simple but effective pseudo-likelihood with regularisation. Experiments on the movie rating data demonstrate the merits of the PN.

Uses of the sampur in the halus (Refined) style of Yogyakarta court dance

In this essay I discuss how a familiar costume element in Javanese court dance, a long piece of patterned cloth known as the sampur, functions poetically through the ways it is used by the dancer. I elaborate on eight categories of use of the sampur, primarily from the point of view of a Western dancer first encountering the techniques of working with the scarf. I draw on scholars and other commentators to discuss the many dimensions of meaning embodied by these uses. The sampur emerges as a dance element rich in virtuosic potential and nuance, and resonant with numerous dimensions of cultural values.

Summer is a good time for informal education

Students look forward to summer because usually it means a break from formal and non-formal education. Formal education refers to education in formal educational institutions, such as pre-schools, primary, secondary and tertiary educational institutions and other registered training organisations. Non-formal education refers to organised educational activity outside the established formal system, that is intended to deliver a defined set of learning objectives to an identifiable group of learners (Chemistry in Australia, October 2014, page 33). Informal education refers to all learning outside the formal non-formal educational system; informal education is often associated with life-long learning as it can include reading non-fiction books and scholarly articles, viewing documentaries and other informal professional development. Informal education can also include travel to other countries and climates. Social constructivist theory maintains that learning occurs in social settings; conversely, most learners are limited by their cultural experiences. For example, Australian students have little first-hand experience of sublimation, but this is commonly observed in very cold climates when frost, ice or snow apparently “disappears” as it sublimes to water vapour, without passing through the liquid state. A favourite summertime activity is to go to the movies, especially in air-conditioned cinemas on a hot day or night. Watching movies are a form of virtual travel, and many educators make use of movies to illustrate chemistry concepts. Some movie producers want a sense of authenticity and work hard to get the details right, even though those details might be incidental to the main plot. For example, in Centurion, Roman soldiers fail in their rescue attempt, and are taunted by the Picts for stupidity -- they would have succeeded if they had only realised that metal become brittle in the cold. Another favourite example comes from The Lord of the Rings: The Two Towers, when Bilbo, Samwise and Gollum are crossing the Dead Marshes and see lights that appear to float over the Marshes. These wills-o-the-wisp have been known for centuries, and was the subject of a debate between George Washington and his officers. Washington and Thomas Paine, “the Father of the American Revolution”, believed that the lights were due to a flammable gas released from the marsh, while Washington’s officers believed that the lights were due to a flammable liquid on the surface of the marsh. On Guy Fawkes Night, 5 November, 1783, the Washington-Paine experiment showed that when mud at the bottom of a river was disturbed, bubbles of flammable gas rose to the surface of the water. (Unknown to Washington and Paine, Alessandro Volta had performed a similar experiment in 1776.) A problem with informal education is that it is often unguided. Students may find it difficult to discern the difference between scientific reality and an artistic distortion of reality in novels and movies. Educators have an important role here. If we only teach facts and concepts, learners will be dependent on a teacher. If however, we foster students’ curiosity and ability to exercise judgement, they will be able to learn for themselves, not just during the summer, but also in every season of every year.

The silent screen (1895-1928)

In chapter 1, Victoria Duckett introduces the silent screen years (1895–1927) by investigating the American poet Vachel Lindsay’s claim in 1915 that European stage acting was unsuited to film. This critique held sway for decades, during which commentators celebrated American, as opposed to European, contributions to the new craft of motion picture acting. European acting became associated with mannered staginess in contrast to a more subtle American style. Building on recent scholarship that questions this dichotomy, Duckett skillfully analyzes the screen performances of two women actors: the French Sarah Bernhardt, arguably the most famous late nineteenth-century actor, who electrified theater audiences but made relatively few film appearances, and the American Lillian Gish, who began her career as a child in stage melodramas but whose fame derived from her appearances in films. Duckett’s nuanced reading of Bernhardt’s performance in the film Camille (Film D’Art, 1911) and Lillian Gish’s in Broken Blossoms (D. W. Griffith, 1919) reveals that despite their differences, they both used their bodies expressively to convey meanings and emotions.

Effect of retinal image defocus on the thickness of the human choroid

PURPOSE: To describe the time-course and amplitude of changes to sub-foveal choroidal thickness (SFCT) induced by imposed hyperopic and myopic retinal defocus and to compare the responses in emmetropic and myopic subjects. METHODS: Twelve East Asian subjects (age: 18-34 years; six were emmetropic and six had myopia between -2.00 and -5.00 dioptres (D)) viewed a distant target (video movie at 6 m) for 60 min on two separate occasions while optical coherence tomography (OCT) images of the choroid were taken in both eyes every 5 min to monitor SFCT. On each occasion, one eye was optimally corrected for distance with a contact lens while the other eye wore a contact lens imposing either 2.00 D hyperopic or 2.00 D myopic retinal defocus. RESULTS: Baseline SFCT in myopic eyes (mean ± S.D.): 256 ± 42 μm was significantly less than in emmetropic eyes (423 ± 62 μm; p < 0.01) and was correlated with magnitude of myopia (-39 μm per dioptre of myopia, R(2) = 0.67: p < 0.01). Repeated measures anova (General Linear Model) analysis revealed that in both subject groups, 2.00 D of myopic defocus caused a rapid increase in SFCT in the defocussed eye (significant by 10 min, increasing to approximately 20 μm within 60 min: p < 0.01), with little change in the control eye. In contrast, 2.00 D of hyperopic defocus caused a decrease in SFCT in the experimental eye (significant by 20-35 min. SFCT decreased by approximately 20 μm within 60 min: p < 0.01) with little change in the control eye. CONCLUSIONS: Small but significant changes in SFCT (5-8%) were caused by retinal defocus. SFCT increased within 10 min of exposure to 2.00 D of monocular myopic defocus, but decreased more slowly in response to 2.00 D of monocular hyperopic defocus. In our relatively small sample we could detect no difference in the magnitude of changes to SFCT caused by defocus in myopic eyes compared to emmetropic eyes.

He's not there: velvet goldmine and the spectral Bowie persona

In broad terms, this paper examines what I call Todd Haynes' 'hauntological' approach to the celebrity biopic. More specifically, it focuses on Velvet Goldmine (1998) and argues that Haynes represents Bowie's Ziggy Stardust persona as a series of phantoms in the Derridean sense. That is, figures that are both absent and present, material and immaterial— figures that affirm that no identity can ever be quite complete since the markers of identity are always enmeshed in a network of differences that can be continually re-coded. Haynes' original script contained several Bowie songs, which he was forced to replace when Bowie refused to give him permission to use the music (Bowie claimed he intended to make his own film about his Ziggy Stardust period). Undeterred, Haynes produced a movie that made no direct reference to Bowie by name, yet recoded Bowie's multiple personas and characters in a parallel cinematic world. Haynes' film invites the spectator to re-think Identity in terms of 'contamination' and 'inauthenticity'. He also establishes a genealogical connection between Oscar Wilde (one of the film's many spectres) and Bowie by making several allusions to the parallels between 19th century aestheticism and Glam Rock. In short, I argue that Haynes' film facilitates a critique of the idea that Bowie's shifting identity is merely a question of aesthetic choice, or an expression of any kind of cultural logic. Rather, I argue that the figure of the Derridean phantom offers a new way to read Velvet Goldmine, and to identify the cultural work performed by Bowie's Ziggy Stardust persona.

Cyborg presence in narrative theatre

New technologies are transforming the shape and function of contemporary performance practice. Dance in particular has been at the forefront of dissolving the boundaries between humans and technology. In Australia alone, works such as Gideon Obarzanek's GLOW (Chunky Move) and Garry Stewart's Proximity (Australian Dance Theatre) have offered technology a role traditionally preserved only for the live human performer. As these technologies infiltrate theatre practice and their capacity to be co-actors with humans on stage increases, we need to carefully interrogate the notion of the actor's presence. For an overwhelming number of scholars and critics, presence is the defining quality of theatrical performance. Theatre has been privileged as the site where people witness other people together in the same physical space. Digital technologies can be seen as a threat to this and to the actor's presence. Cormac Power's Presence in Play provides a comprehensive analysis of theatrical presence that encapsulates a poststructuralist critique of presence while maintaining the notion of 'presence' as a key aspect of theatre. In this article, I take up Power's category of the literal mode of presence and examine three case studies that use digital technology in ways that disturb traditional conceptions of presence. I investigate the impact that digital technologies in live performance have on theatre's claims to literal presence. I also investigate the indirect impact that these technologies have on forms of fictional and auratic presence (these are Power's terms, which I will define shortly). First, I will establish the centrality of presence to the vast body of commentary on theatre; then, I will draw on Derrida's analysis of the metaphysics of presence to unsettle dominant assumptions about the function of presence in theatre, arguing that such a privileging of presence demonises projected media as a form of contamination that impedes theatre's ability to represent 'truth'. I use Jennifer Parker-Starbuck's term 'Cyborg Theatre' to discuss three examples of digital performance that have used technology to question and challenge our relationship to technology in everyday life. These works challenge traditional notions of selfhood and force us to interrogate the borders between the live and the mediated.