Analysis of operating environments: A diagnostic model for linking science, society and policy for sustainability

Through analysis of the dynamics between science and decision-making, we argue that diagnosing fit-for purpose approaches to linking science and decision-making may be possible. Such diagnosis should enable identification of appropriate processes, institutions, objects (e.g. tools, information products) and relationships that can facilitate outcomes. We begin the paper by unsettling the traditional constructions that science must distance itself from debates about values and what is at stake, and so from policy making. Then, drawing from mixed methods case studies in coastal South-eastern Australia, we describe how scientific research has had a bearing on decisions affecting society and the environment. These analyses suggest that the willingness and capacity of research organisations, programmes or projects to actively reflect on and participate in the evolution of the 'operating environment' for their research is integral to their ability to inform outcomes through science. © 2014 Elsevier Ltd.

Electrospun granular hollow SnO2 nanofibers hydrogen gas sensors operating at low temperatures

In this paper, we present H2 gas sensors based on hollow and filled, well-aligned electrospun SnO2 nanofibers, operating at a low temperature of 150 C. SnO2 nanofibers with diameters ranging from 80 to 400 nm have been successfully synthesized in which the diameter of the nanofibers can be controlled by adjusting the concentration of polyacrylonitrile in the solution for electrospinning. The presence of this polymer results in the formation of granular walls for the nanofibers. We discussed the correlation between nanofibers morphology, structure, oxygen vacancy contents and the gas sensing performances. X-ray photoelectron spectroscopy analysis revealed that the granular hollow SnO2 nanofibers, which show the highest responses, contain a significant number of oxygen vacancies, which are favorable for gas sensor operating at low temperatures. © 2014 American Chemical Society.

Theatre Australia (un)limited: review

 Review of Geoffery Milne's text 'Theatre Australia (Un)Limited'

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.

Sayonara interviews: android-human theatre

Featuring a life-like humanoid robot, Seinendan Theatre Company (Japan) brought their performance Sayonara: Android-Human Theatre to Melbourne in August 2012. Geminoid F, an android, starred alongside Canadian actress Bryerly Long, in a performance that asks the question: What does life and death mean for humans as opposed to robots?

Performing desistance: how might theories of desistance from crime help us understand the possibilities of prison theatre?

Despite the ubiquity of theatre projects in prisons there has been little (published) discussion of the application of theatre to the theories of criminology or rehabilitation of offenders, and scant examination of the potential for criminological theories to inform theatre practice in criminal justice settings. This article seeks to address this deficit and argues that positioning prison theatre within the discipline of positive criminology, specifically contemporary theories of desistance from crime, provides a theoretical framework for understanding the contribution that prison theatre might be making in the correctional setting. Through a review of related literature, the article explores how prison theatre may be motivating offenders toward the construction of a more adaptive narrative identity and toward the acquisition of capabilities that might usefully assist them in the process of desisting from crime.

The status and function of Inanimate 'object-actors' in cyborg theatre

 This practice-led research investigates the relationships between human and technological actors in theatre with specific reference to theatrical presence.The research proposes to advance knowledge in the fields of directing and theatre making by putting forward new strategies for directing actors who perform with computer-based technologies.