Artworks : Water Table and Rain Table : presented as part of the Periscope Exhibition, Castlemaine State Festival

Rain Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table - In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the centre of the Universe.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 1: "Water Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

Castlemaine State Festival 2013: Periscope Exhibition: Artwork No 2: "Rain Table"

Rian Table and Water Table: Delicate splashes and droplets of water act like primitive lenses bringing transparency to the diffused images of celestial bodies. These two installation pieces are inspired by the beauty of the night sky and invite the viewer to consider the cosmos in relation to ones self and to contemplate the discoveries which have changed our understanding of the universe. Water Table and Rain Table are the two works being presented as part of Periscope. Through the form of the science bench or museum cabinet, luminous and projected images play against glass and water invoking the sublime sense of wonder that we have when we look to the starry night sky. Water Table In 1912 the astronomer, Vesto Slipher made the discovery that “Nebula” were moving at incredible velocities due to the expansion of space itself. This discovery revealed these “Nebula” to be vastly remote and independent galaxies. Water Table speculates on the understanding that when we look into deep space, we also look into deep time. Rain-Table is a new work produced for the festival and makes reference to the first telescopic observations of the Moon made by the mathematician, philosopher and astronomer, Galileo Galilei in 1610. The implication of Galileo’s observations gave rise to a radical new understanding of the heavens and our place in it and the final acceptance that the Earth was not the center of the Universe.

Killing the father, Parmenides: on Lacan’s anti-philosophy

This paper examines the historical claims about philosophy, dating back to Parmenides, that we argue underlie Jacques Lacan’s polemical provocations in the mid-1970s that his position was an “anti-philosophie”. Following an introduction surveying the existing literature on the subject, in part ii, we systematically present the account of classical philosophy Lacan has in mind when he declares psychoanalysis to be an antiphilosophy after 1975, assembling his claims about the history of ideas in Seminars XVII and XX in ways earlier contributions of this subject have not systematically done. In part iii, focusing upon Lacan’s remarkable reading of Descartes’ break with premodern philosophy—but touching on Lacan’s readings of Hegel and (in a remarkable confirmation of Lacan’s “Parmenidean” conception of philosophy) the early Wittgenstein—we examine Lacan’s positioning of psychoanalysis as a legatee of the Cartesian moment in the history of western ideas, nearly-contemporary with Galileo’s mathematization of physics and carried forwards by Kant’s critical philosophy and account of the substanceless subject of apperception. In different terms than Slavoj Žižek, we propose that it is Lacan’s famous avowal that the subject of the psychoanalysis is the subject first essayed by Descartes in The Meditations on First Philosophy as confronting an other capable of deceit (as against mere illusion or falsity) that decisively measures the distance between Lacan’s unique “antiphilosophy” and the forms of later modern linguistic and cultural relativism whose hegemony Alain Badiou has decried, at the same time as it sets Lacan’s antiphilosophy apart from the Parmenidean legacy for which thinking and being could be the same.

Whole-body vibration versus proprioceptive training on postural control in post-menopausal osteopenic women

BACKGROUND: To prevent falls in the elderly, especially those with low bone density, is it necessary to maintain muscle coordination and balance. The aim of this study was to examine the effect of classical balance training (BAL) and whole-body vibration training (VIB) on postural control in post-menopausal women with low bone density. METHODS: Sixty-eight subjects began the study and 57 completed the nine-month intervention program. All subjects performed resistive exercise and were randomized to either the BAL- (N=31) or VIB-group (N=26). The BAL-group performed progressive balance and coordination training and the VIB-group underwent, in total, four minutes of vibration (depending on exercise; 24-26Hz and 4-8mm range) on the Galileo Fitness. Every month, the performance of a single leg stance task on a standard unstable surface (Posturomed) was tested. At baseline and end of the study only, single leg stance, Romberg-stance, semi-tandem-stance and tandem-stance were tested on a ground reaction force platform (Leonardo). RESULTS: The velocity of movement on the Posturomed improved by 28.3 (36.1%) (p<0.001) in the VIB-group and 18.5 (31.5%) (p<0.001) in the BAL-group by the end of the nine-month intervention period, but no differences were seen between the two groups (p=0.45). Balance tests performed on the Leonardo device did not show any significantly different responses between the two groups after nine months (p≥0.09). CONCLUSIONS: Strength training combined with either proprioceptive training or whole-body vibration was associated with improvements in some, but not all, measures of postural control in post-menopausal women with low bone density. The current study could not provide evidence for a significantly different impact of whole-body vibration or balance training on postural control.

Vibration or balance training on neuromuscular performance in osteopenic women

Maintaining neuromuscular function in older age is an important topic for aging societies, especially for older women with low bone density who may be at risk of falls and bone fracture. This randomized controlled trial investigated the effect of resistive exercise with either whole-body vibration training (VIB) or coordination/balance training (BAL) on neuromuscular function (countermovement jump, multiple 1-leg hopping, sit-to-stand test). 68 postmenopausal women with osteopenia or osteoporosis were recruited for the study. 57 subjects completed the 9-month, twice weekly, intervention period. All subjects conducted 30 min of resistance exercise each training day. The VIB-group performed additional training on the Galileo vibration exercise device. The BAL-group performed balance training. An "intent-to-treat" analysis showed greater improvement in the VIB-group for peak countermovement power (p=0.004). The mean [95% confidence interval] effect size for this parameter was a  + 0.9[0.3 to 1.5] W/kg greater change in VIB than BAL after 9 months. In multiple 1-leg hopping, a significantly better performance in the VIB-group after the intervention period was seen on a "per-protocol" analysis only. Both groups improved in the sit-to-stand test. The current study provides evidence that short-duration whole-body vibration exercise can have a greater impact on some aspects of neuromuscular function in post-menopausal women with low bone density than proprioceptive training.

The telescopic eye: aqua optica

The Telescopic Eye: Aqua Optica was an installation work which explores concepts and philosophies related to instrumental, lens based observations of heavens as experienced when seeing through a telescope. In particular it considers how the eye of the observer and the lens of the telescope must act in unison to extend both the perception and conception of that which is remote and beyond direct naked eye sensing - an act of transcendence. A series of projected images (the video) of celestial objects are observed by the viewer through a large spherical aquatic lens which is mounted on a large wooden tripod. These images slowly dissolve and morph into each other. The sequence in which these images are presented is based on approximate chronological order in which these celestial objects were historically observed through the telescope – such as the local bodies of our the solar system starting with the Moon, Jupiter and Saturn (as first observed by Galileo in 1610) and eventually extending out to distant nebula, star clusters and galaxies. For the Transduction exhibition the Telescopic Eye: Aqua Optica was installed outside in a small quadrangle next to the Tech Bar and as the night drew darker it was able to also embody the lighting and other visual elements from the surrounding buildings and streets. The Aqua Optica system often encompasses such local lighting and images as a added layer to the video projection work. In this case (at night and outside at Federation Square) the extent of the layering was very successful and increased dramatically as the night became darker. This multi layering of images invokes (for the viewer) a connection between the immediate environment of the Federation square and cityscape with the vastly distant images of the cosmos. For me such a multilayered imaging represents how scientific instruments of observation can generate a complex and augmented visualisation of reality, one which has historically come to re-define our conception of the cosmos and our place in it both spatially and temporally.