Time and spatial resolution of slip and twinning in a grain embedded within a magnesium polycrystal

Plastic yielding in magnesium alloys frequently involves the initiation of both slip and twinning events. A proper understanding of the phenomenon at the grain level requires knowledge of how these two mechanisms progress and interact over both time and space and what the local resolved stresses are. To date, simultaneous collection of such information has not been achievable. To address this shortfall, we have developed a modified Laue based in situ micro X-ray diffraction technique with an unprecedented combination of time and spatial resolution. A ten-fold reduction in data collection times is realized by the refinement of rapid polychromatic Laue "single-shot" mapping. From single Laue patterns, we extract grain depth information, detect onset of yielding and achieve 2 × 10-4 lattice strain resolution. The technique is employed to examine yielding and twinning in a magnesium grain embedded ∼200 μm below the sample surface. We examine 13 time steps and reveal the following behaviour: initial onset of basal slip, subsequent onset of twinning, development of further accommodation slip and evolution of twin shape and size; along with the corresponding values of local resolved shear stresses. © 2014 Acta Materialia Inc. Published by Elsevier Ltd. All rights reserved.

The films of John Hughes: a history of independent screen production in Australia

ABSTRACTIn The Films of John Hughes: A history of independent screen production in Australia filmmaker and academic John Cumming tells the ongoing story of Hughes’ work illustrating the delicate balance of individual, collective and corporate agendas that many contemporary artists need to negotiate. This story begins in the 1960s with a generation of intelligent, socially engaged young people who challenge established power structures, conventions and stereotypes in art, politics and the media. Experiments were being made with grassroots democracy, with new social formations and new ways of seeing and communicating. The book also pays attention to earlier periods of cultural and political activism that captured Hughes’ imagination in the 1970s and became the subject of a number of his films over a period of nearly forty years. Through these films Cumming traces the outline of post-war film culture and production in Melbourne from the 1940s and sets this history within the context of international trends in independent filmmaking throughout the 20th Century and into the 21st.The work of an independent filmmaker has always included a great deal more than directing films. Working in an artisanal mode, he or she often performs, or has a hand in, every aspect of craft at the same time as engaging in discussion and organisation around the wider sphere of screen culture and industry. In addition to having proficiency as a producer, photographer, sound recordist, editor, distributor and exhibitor of films, there is research, organisation, lobbying, entrepreneurship and mentoring to be done. As an independent producer-director, John Hughes has engaged in all of these activities – often simultaneously. He is also a scholar, writer, organiser, activist and teacher. As a television bureaucrat he was both eminent and innovative, and through his filmmaking he has become a leading historian of Australian documentary cinema. ‘… that view – that art and politics are inherently at odds – is still lurking around. It is at the heart of cultural conservatism; and John Hughes’s film-making, from the 1970s to the present, confounds its proponents. His cinema is at once crowded, detailed, elegant and absolutely lucid; at the same time, it is shot through with political and historical understandings.’ Sylvia Lawson, ‘Such a Bloody Wonderful Place’, Inside Story, 28 April 2013.

backfrontupsidedowninsideout_homage to Lois Fuller and Maya Deren

A silent video that Steph O'Hara, composer and musician has composed a sound trace for live presentation

Win at all costs or lose gracefully in high-stakes competition? Gender differences in professional tennis

This article examines line-call challenges by male and female professional tennis players in major tournaments around the world. In terms of utilization rates, we find that the genders behave similarly. Nevertheless, we do detect some intriguing gender differences in these challenges. First, male players’ challenges are more likely to be provoked by those of their opponents. More importantly, at tiebreaks, females are more likely to reverse an umpire’s unfavorable call, while males make relatively more unsuccessful challenges. Furthermore, we find that men are a lot more likely to make “embarrassing” line-call challenges at tiebreaks and offenses (i.e., when the shot lands at the opponent’s side of the tennis court) than women. These significant gender differences suggest that women particularly diverge from men at crucial junctures of the match such as tiebreaks. Differences in factors such as risk aversion, overconfidence, pride, shame, and strategic signalling behavior might help us to explain these gender-difference findings in line call challenges.

Time-motion analysis of test and one-day international cricket centuries

The aim of this study was to quantify movement patterns of batsmen scoring 100 runs (century), including analysis at 50, 80, and 100 runs, in Test and One-Day international (one-day) matches and between the first and second 50 within a Test century. Test centuries (n = 13) and one-day scores above 80 (n = 12) filmed during the 2005 - 2006 Australian international season were analysed for movement patterns of standing, walking, jogging, striding, sprinting, shot playing, and turning. At each run target, differences in total time, duration of individual movement pattern, movement pattern frequency, and number of balls faced were determined between Test and one-day matches (analysis of variance). Differences within Test centuries were assessed using paired t-tests. A similar fractional predominance of time spent in low-intensity activity (standing and walking) between Test and one-day matches at each run target (94 and 96% respectively) was observed, with no differences in duration of striding or sprinting (Test: 1.1 min, s = 0.5; one-day: 0.9 min, s = 0.5 for sprinting: P = 0.28). A 37% longer total duration occurred in Tests, resulting in longer recovery bouts between high-intensity efforts. There were no differences between the first and second 50 runs of a Test century for any measure (P at best = 0.34). In summary, Test and one-day centuries are characterized by much low-intensity activity and patterns of high-intensity activity similar to many repeat-sprint team sports and greater recovery breaks in longer matches.

Duplicity of meaning

This article considers the ‘duplicitous’ functions of the word ‘wild’ in the arguments over the Queensland’s Wild Rivers Act 2005. Certain traditional owners, environmentalist and state groups have deployed the term pragmatically, simultaneously endorsing its usage (through repetition) and disavowing its colonial associations (through explanation) against protestations by Indigenous and non-Indigenous stakeholders. In a sense, this ambivalent ‘duplicity’ is entirely consistent with relations between the settler-colonial nation state and Aboriginal and Torres Strait Islander polities – relations aptly characterised by Povinelli as shaped by ‘the cunning of recognition’ – which stratify relations between groups through the endorsing of ‘tradition’. Thus ‘the Indigenous’ can be posited both as one political minority amidst a multicultural polity and as a pre-modern and endemic precursor of the settler-colonial nation, constitutively conservationist ‘first Australians’. Arguably, in the legislation’s ‘recognition’ of the ‘wild’ past, Indigenous peoples – who were known in nineteenth century Queensland as ‘wild blacks’ or ‘myalls’ (meaning those who resisted leaving their lands – and ‘could be shot with impunity’) are recouped as the nation’s first caretakers of ‘pristine’ waterways. However, this article regards the current use of this ambivalent word as also potentially authorising those recognised through this mythic form, providing a limited and uncertain opportunity for traditional owners to ground a form of sovereign right in lands and waterways. Against totalising settler-colonial critiques of hegemony, this article argues that the Wild Rivers legislation does not forget indigeneity, but rather relies on indigeneity. While much research concerning ‘natural’ ideologies such as ‘the noble savage’ has worked to show that faith in a belated era of historical fullness or presence can serve to evacuate the present of material details, it may also be that the ‘wild’ can also offer Indigenous peoples a valuable political authority to, in the words of Courtney Jung, ‘contest the exclusions through which it has been constituted’.

Documentary Intersect

I started by collecting things in order to inform my work. What seems to have happened slowly is that the collections eventually became my work. – Patrick Pound The New Zealand-born, Melbourne-based artist Patrick Pound has had a long-term engagement with the work of Walker Evans, both as a writer and as a practicing artist. For his solo exhibition at the Adam Art Gallery, Pound developed an installation comprised of found images, taking his cue from Walker Evans’s practice of working with readymade printed matter which he published in magazines such as Fortune and Architectural Forum. While Pound’s collecting habits are voracious, he is also a great organiser. He is interested in typologies and arranges items according to shared content: ‘tears’, ‘floral clocks’, ‘crime scenes’, ‘sleepers’, and so on. Laying these out in linear sequences Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. A Hollywood film still of a crime scene will sit eerily alongside an image of a real deceased subject sourced from an archive; or a set of postcards will show the same subject, shot by different photographers and describing both changing viewpoints and the passage of time. Pound has stated: ‘People make sense of the world through assembling, listing and categorising…meaning is to be found in the accumulation of [these] details.’

Somewhere else

Faraways, 2012, 10 minMagic Miles, 2014, 15 minTelescope, 2013, 80 minAudrey Lam's films follow people in situations and places familiar to her, them and others they know. Sometimes moments and landscapes are revisited in some way to remember thoughts and time missed.Telescope is a time-lapse of reflections, changes in sunlight of Dirk de Bruyn’s backyard, assembled over 20 years. Telescope starts in Super 8 and ends with digital video, shot mostly while his family were themselves at work, somewhere else. It is an emptied landscape.Audrey Lam was born in Hong Kong and lives in Australia. She studied film and photography at Queensland College of Art. She has participated in art festivals including Next Wave, Otherfilm and Yebisu, and her films have screened at film festivals in London, Rotterdam and Oberhausen. Her work often builds on shared experiences, re-chronicling everyday encounters to reflect on the nuances of place and belonging. She has been developing new work during her Asialink arts residency at Green Papaya Art Projects.Dirk de Bruyn was born in the Netherlands and migrated with his family to Australia in 1958 as young child. He has made numerous experimental, documentary and animation films, videos and performance and installation work over the last 40 years. He was a founding member and past president of MIMA (Experimenta). His book The Performance of Trauma in Moving Image Art was published in 2014.

Summer reading series #2 : seeing eye to eye

Martin Rumsby’s Eye I Aye (2007) appears a straightforward, almost naive film. A camera is zoomed into a flat image of a community bench in front of a shop, with cars and some pedestrians passing by. It could be any suburban street. At times the de-facto main characters Dida and Erana or their surrogates are seated there, both are of mixed race from Māori and Pākehā parents and the soundtrack frames their ‘history’. This meditation is interrupted by the weather, with sheets of raindrops caught by the camera’s autofocus, patterning the window, wiping out the outside scene. Later Rumsby also inserts his body and face between the camera and window, his eyes in shot re-securing the camera’s position. This technical tampering registers as unsettling and suspicious.

Tenerbrosity scene 1

Tenerbrosity Scene 1, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 1 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with suggestions of the strange and unfamiliar, like a fragment or a moment, attempting to pull everything back together, somehow..somewhere… The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 1st in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.

Tenerbrosity scene 2

Tenerbrosity Scene 2, is a large format photographic artwork. The work visually explores memory through the recollection of incidents and the fragility of truth. This is situated within the practice of landscape photography in a post-colonial framework. In Scene 2 of 2, a woodland closed shot is presented for the audience. The scene was shot at night in a forest, and provides a focus on the details of trees and leaves, branches and an emerging blackness that surrounds the scene. The journey has taken a strange turn in Tenerbrosity, with scene 2 suggesting a mirror or reflection, a duplicate of or duality in combination with Scene 1. The size of the work as a large unframed print on canvas, actively seeks a physical engagement with the audience via a centrality of vision. The artwork hangs a metre out from the wall and the work sways in the breeze, to ensure the audience is located at a site for the production of meaning and this captures a mixed reality, between artwork, vision, audience and experience. This is achieved to engage with the multi-sequential narratives surrounding traces of memories and decay visually and theoretically traversed throughout the series. This is part of the ongoing exploration of states of the in-between and forms the 2nd in a series of 2 artworks. The work is exhibited in the Yarra Ranges, because the work explores the narratives of the decay of memory experienced in this location. Exhibiting here allows a cyclic dialogue with notions of place, home, longing and loss.