Dora Lynnell Wilson (1883-1946) : a life in art

This thesis fills out Wilson's previously unresearched biography and argues for a reassessment of her standing as an important inter-war artist in Melbourne. The role of cultural gatekeepers in building and deconstructing artistic reputation is discussed, with examples of Wilson's art and an inaugural Catalogue of her known works.

An investigation into the origins of the British romantic tradition in art, its subsequent thematic legacy and its influence upon my own work

This study is comprised of a written exegesis and a folio of paintings and drawings. It explores the view that Romanicism in Britain survived its historical period and continues to influence contemporary British artists. Concentrates upon the prominence given by the Romantics to symbols, most commonly located in nature, which express spiritual impulses and ideas related to human destiny and feelings.

‘Else-where’ : essays in art, architecture, and cultural production 2002-2011

“Else-where”: Essays in Art, Architecture, and Cultural Production 2002–2011 is a synoptic survey of the representational values given to art, architecture, and cultural production at the closing of the twentieth century and the opening of the twenty-first. Written primarily as a critique of what is suppressed in architecture and what is disclosed in art, the essays are informed by the passage out of post-structuralism and its disciplinary analogues toward the Real (denoted over the course of the studies as the “Real-Irreal,” or “Else-where”). The essays collected in “Else-where” cross various disciplines (inclusive of landscape architecture, architecture, and visual art) to develop a nuanced critique of a renascent formal regard and elective exit from nihilism in art and architecture that is also an invocation of the highest coordinates given to the arts – that is, formal ontology as speculative intelligence itself, or the return of the universal as utopian thought “here-and-now.”

David Bowie: dancing with madness and proselytising the socio-political in art and life

A longstanding, successful and frequently controversial career spanning more than four decades establishes David Bowie as charged with individual agency. The notion of ‘agency’ here refers particularly to the ‘ability of people, individually and collectively to influence their own lives and the society in which they live’ (Germov and Poole, 2007: 7). That Bowie has influenced many lives is undeniable to his fans. He has long demonstrated an avid curiosity for the enduring patterns of social life which is reflected in his art. Bowie’s opus contains the elements of ideological narratives around sexual (mis)adventure, expressivity, and; resistance to ‘normative’ behaviour. He requisitions his audiences, through frequently indirect lyrics and images, to critically question sanity, identity and essentially what it means to be ‘us’ and why we are here. Here, in this context, ‘dancing with madness’ assumes an intimate relationship, even if brief, where ideas and emotions come passionately together for the purpose of creative expression much like the intertwining and energetic performance of the partner dance Tango. As such, ‘dancing’ is argued here to be an appropriate descriptor for how Bowie has engaged with creative cultural forms but not meant to be self-conscious nor indicate superficiality or ignorance. The idea of madness for its part is a theme in many of his compositions, for example the original album cover for The Man Who Sold the World (1971)  depicts an asylum and includes the song ‘All The Madmen’ and Aladdin Sane (1973)—a lad insane--are but two examples. This paper argues that Bowie’s frequently astute contemplations, manifest through his art over a period now spanning more than forty years, continues to draw fans of like mind to his work with the result that he has a legitimate claim to influence and affect.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

Effect of Alpha-Linolenic acid on retnal function in mammals

The retinal function of several different species is compromised by a dietary deficiency of α-linolenic acid. A review of the literature revealed that diets containing less than O. 1 gIl OOg diet as α-linolenic acid could not sustain retinal docosahexaenoic acid levels over a prolonged period and that such diets were associated with a reduced response of the retina to light. In these studies the median α-linoleinic acid intake of control animals was 1.25g/100g diet. A study on the comparative ability of dietary α-linolenic acid and dietary docosahexaenoic acid to provide for retinal docosahexaenoic acid in the guinea pig found that α-linolenic acid was only approximately 10% as effective as docosahexaenoic acid in this regard.

Ultraviolet vision and band-colour preferences in female zebra finches, Taeniopygia guttata

Zebra finches have previously been found to have preferences for particular colours of both natural and artificial traits among opposite sex conspecifics. For example, in some studies female zebra finches preferred males wearing red leg bands to orange-banded and unbanded birds and rejected light green-banded males. In other studies, females also preferred males with red beaks to orange-beaked males. However, several authors have failed to replicate these results. We show that females may fail to show a colour preference because of the absence or removal of ultraviolet light under experimental conditions. In mate-choice trials, females observing males through filters that transmitted ultraviolet preferred red-banded males but where females viewed males through ultraviolet-blocking filters, no such preference was observed. Further investigation revealed that the lack of a colour preference when ultraviolet was absent was probably due to the change in overall appearance of the bird, rather than the change in appearance of the rings themselves. This work highlights the importance of proper consideration of the sensory capabilities of animals in experimental design, particularly with regard to the role of ultraviolet light in avian colour perception. (C) 1997 The Association for the Study of Animal Behaviour.

Ultraviolet colour perception in European starlings and Japanese quail

Whereas humans have three types of cone photoreceptor, birds have four types of single cones and, unlike humans, are sensitive to ultraviolet light (UV, 320-400 run). Most birds are thought to have either a violet-sensitive single cone that has some sensitivity to UV wavelengths (for example, many non-passerine species) or a single cone that has maximum sensitivity to UV (for example, oscine passerine. species). UV sensitivity is possible because, unlike humans, avian ocular media do not absorb UV light before it reaches the retina. The different single cone types and their sensitivity to UV light give birds the potential to discriminate reflectance spectra that look identical to humans. It is clear that birds use UV signals for a number of visual tasks, but there are few studies that directly demonstrate a role for UV in the detection of chromaticity differences (i.e. colour vision) as opposed to achromatic brightness. If the output of the violet/UV cone is used in achromatic visual tasks, objects reflecting more UV will appear brighter to the bird. 11, however, the output is used in a chromatic mechanism, birds will be able to discriminate spectral stimuli according to the amount of reflected light in the UV part of the spectrum relative to longer wavelengths. We have developed a UV 'colour blindness' test, which we have given to a passerine (European starling) and a non-passerine (Japanese quail) species. Both species learnt to discriminate between a longwave control of orange vs red stimuli and UV vs 'non-UV' stimuli, which were designed to be impossible to differentiate by achromatic mechanisms. We therefore conclude that the output of the violet/UV cone is involved in a chromatic colour vision system in these two species.