Eye tracking the sublime in spectacular moments of science fiction film

In this chapter I will explore science fiction film spectacle as a particular type of endangering sensorial experience. Employing eye-tracking technology to assess where a small group of viewers look, I will contend that through its spectacular set pieces, science fiction film creates two distinct gazing regimes. First, such spectacular scenes create an experience of sublime contemplation where the viewer is (haptically) lost in the wondrous images liquefying before them. These moments of sublime contemplation create the condition where the viewer feels as if they have had an outer-body experience; one that has been cut free from the borders of the linguistic-led self of everyday life. Second, I will argue that certain scenes of science fiction spectacle work to commodify the viewing experience, creating a gazing pattern that is ‘driven’ by the mechanics of the event moment, by the theme park ride aesthetic and the logic of late capitalism. Set in this sensible, empirical context, the sublime dangers of science fiction film can be considered in two distinct ways. On the one hand, when the viewer is caught gazing in a moment of sublime contemplation there is embodied transgression and transcendence: here I will postulate that the viewer exists purely as a carnal being, or are newly if momentarily constituted as post-human, in the impossible present or possible future world that has been spectacularly imagined for them. On the other hand, when the viewer is presented with a spectacle that demands attention to the mechanics and drivers of the scene as it unfolds, a viewing position is created where the very rhythms of the theme park ride is created, where capitalist life is simply being re-engineered. Sublime and spectacular science fiction endangerment, then, liberates and destroys, and it is the encounter between these two vexing poles that is of central concern in this chapter. My focus will predominately be on the eyes, on vision. Undertaking a small-scale empirical study that uniquely utilizes eye tracking technology, this chapter will concentrate on what viewers attend to, gaze at and ‘contemplate’ when viewing two differently constituted ‘spectacle’ sequences: the sun explodes scene from Sunshine (Boyle, 2007) and the Godzilla enters Manhattan scene from Godzilla (Emmerich, 1998).

Metaphors are good mirrors: reflecting on change for teacher educators

In this paper we discuss the use of metaphor as an educative tool for reflection. In the instance of this paper we use metaphor to reflect on the personal images of change that were used by some women teacher educators to make sense of their professional lives and practices over the last decade. This last decade in teacher education has seen significant institutional and cultural change. The paper discusses the strengths and limitations of the use of metaphor. The different interpretations of these metaphors illustrates how these women have used metaphor for explaining facets of change in their professional lives. The challenge of professional renewal is apparent in the metaphors in the ways that complexity, change, journeys, and movement are indicated. Reflection on change in professional practice needs to be continuous. Use of metaphor in the way described in this paper encourages that ongoing process.

Urban growth centres on the periphery : ad hoc policy vision and research neglect

The focus of this paper is peripheral urban growth centres on the edges of capital cities in Australia and the challenges they face as dormitory suburbs attempting to establish their own local business development. These challenges create dilemmas as infrastructure and climate change place pressure on long commuting times, while developing strong locally based communities is limited by many resource and demand constraints. The main research question is to examine how these challenges are being addressed in both public policy and academic research. Two propositions emerge from this analysis. The first is that, despite clear recognition of these challenges by public policy makers, there is a lack of coherent policy vision in addressing the dilemmas that are facing these urban growth centres. The second is that, despite all the concerns and lack of policy vision, there is a dearth of useful academic research in Australia to understand the dilemmas and provide guidance for appropriate policy options. In the context of ad hoc policy and academic neglect; Casey, Melton and Wyndham are the three major urban peripheral local government areas in Victoria that are profiled in this paper. They serve as examples in examining incoherence of policy and then analysing the elements that are needed for effective and strong peripheral growth centres that could propel these centres towards efficient and equitable liveable communities. A broad composite model of regional economic development is used to examine the attendant problems in these urban centres and the various viable policy options for addressing these problems. In the process, this paper aims to provide a basis for further rigorous academic investigation of peripheral urban growth centres in Australia and, arising from this, more coherent policies for the economic development of such centres.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Rehabilitation staff perspectives on training for problem-solving therapy for primary care in a low vision service

Vision rehabilitation staff were trained to deliver problem-solving therapy for primary care (PSTPC) over the telephone to adults with depressive symptoms and low vision. Training was a 2-day workshop, completion of training cases, and assessment of treatment fidelity. Staff perspectives of training and challenges in PST-PC delivery were explored. Telephone-administered semistructured interviews were conducted pre- and post-workshop and following PST-PC competency. In all, 14 staff (mean age = 47.64 years, SD = 12.68 years, 93% females) achieved competency and 6 withdrew. Results showed an increased understanding of PST-PC from pre- to post-workshop (Z = −2.71, p = .007) and pre-workshop to post-competency (Z = −3.09, p = .002). A high level of satisfaction with training was reported. Staff challenges included the clients’ ability to define problems and brainstorm solutions. Training enabled staff to competently deliver PST-PC and may serve as a model for integrating depression care into vision rehabilitation services recommended by international guidelines.

Futures for Australian curriculum studies: metaphors, genres and complicated conversations

My specific brief for the conference presentation on which this essay is based was to speak from the standpoint of a 'curriculum theorist'. However, I rarely use the terms 'curriculum theory' or 'curriculum theorising' other than in the company of US and Canadian colleagues. I prefer to speak of 'curriculum inquiry' or 'curriculum work' and I think of my work as a university teacher and researcher as being directed towards understanding curriculum. From this standpoint I interpret the theme of this Point and Counterpoint, 'Futures for Australian Curriculum', as a focus for speculation on the possible and desirable ways in which the arts of curriculum inquiry can be developed, tested and renewed. In other words, how can we sustain rigorous, vigorous and generative forms of curriculum work?
I will respond to this question by referring to three artefacts of Australian curriculum studies, the first two of which come from the Australian
Curriculum Studies Association's (ACSA) own material history; the third is (arguably) the major synoptic text of North American 'curriculum theory' published during the past decade. I will use these artefacts to illustrate three key issues concerning futures in curriculum inquiry, namely:
• the significance of metaphor;
• questions about genre and a renewed role for
the arts in our work;
• the idea of 'complicated conversation'.

Take four pioneering poly women : a review of three classical texts on polyamory

This article reviews three classics of polyamory, Anapol's Love Without Limits: The Quest for Sustainable Intimate Relationships; Easton and Liszt's The Ethical Slut; and Nearing's Loving More: The Polyfidelity Primer. The reviewer defines the authors as pioneering poly women who have mapped the territory for authentic alternatives to compulsory monogamy in realistic yet visionary ways.

Machine vision system for automatic inspection of surface defects in aluminum die casting

A camera based machine vision system for the automatic inspection of surface defects in aluminum die casting is presented. The system uses a hybrid image processing algorithm based on mathematic morphology to detect defects with different sizes and shapes. The defect inspection algorithm consists of two parts. One is a parameter learning algorithm, in which a genetic algorithm is used to extract optimal structuring element parameters, and segmentation and noise removal thresholds. The second part is a defect detection algorithm, in which the parameters obtained by a genetic algorithm are used for morphological operations. The machine vision system has been applied in an industrial setting to detect two types of casting defects: parts mix-up and any defects on the surface of castings. The system performs with a 99% or higher accuracy for both part mix-up and defect detection and is currently used in industry as part of normal production.

A review on current work in mobility prediction for wireless networks

The vision of next generation networks (4G & beyond) is to make possible seamless mobility across heterogeneous networks and to support real-time multimedia services. This would require intra/inter-domain handovers and service reconfiguration procedures to be completed with minimum latency. Mobility Prediction has been identified as a key abettor to this goal. The increasing ease of coupling between the mobile user and the network requires that a mobility prediction scheme that is to be deployed in next generation networks be capable of high levels of prediction accuracy despite randomness in user movement. In this work we have presented a survey on mobility prediction schemes that have been proposed for wireless networks. The results of our simulation study focused on the robustness of different schemes to randomness in user movement are also presented.