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.

Mirrors of ink

Comprising a critical theory piece and a reflexive novella, Mirrors of ink reflects upon the literary works of Jorge Luis Borges to innovatively articulate Borgesian theories of representation, influence and creativity. Informed by Kabbalah and psychoanalysis, it reveals a quirky but cohesive perspective that regards the world and its inhabitants as inherently textual entities.

Kierkegaard's mirrors: Interest, self, and moral vision

What is it to see the world, other people, and imagined situations not just as morally compelling, but as making personal demands of us? What is it to experience stories as speaking to us individually and directly? Kierkegaard's Mirrors explores Kierkegaard's unique and challenging answers to these questions. Beginning with the structural account of consciousness offered in Johannes Climacus, this book develops a new phenomenological interpretation of what Kierkegaard calls 'interest': a self-reflexive mode of thought, vision and imagination that plays a central role in moral experience. Tracing this concept across Kierkegaard's work takes us through topics such as consciousness, the ontology of selfhood, ethical imagination, admiration and imitation, seeing the other, metaphors of self-recognition and mirroring, our need for transcendent meaning, and the relationship between scholarship and subjective knowledge. 'Interest' equips us with a new understanding of Kierkegaard's highly original normative, teleological account of moral vision.

Numerical investigation of the turbulent energy budget in the wake of freely oscillating elastically mounted cylinder at low reduced velocities

We present a numerical study of the turbulent kinetic energy budget in the wake of cylinders undergoing Vortex-Induced Vibration (VIV). We show three-dimensional Large Eddy Simulations (LES) of an elastically mounted circular cylinder in the synchronization regime at Reynolds number of Re=8000. The Immersed Boundary Method (IBM) is used to account for the presence of the cylinder. The flow field in the wake is decomposed using the triple decomposition splitting the flow variables in mean, coherent and stochastic components. The energy transfer between these scales of motions are then studied and the results of the free oscillation are compared to those of a forced oscillation. The turbulent kinetic energy budget shows that the maximum amplitude of VIV is defined by the ability of the mean flow to feed energy to the coherent structures in the wake. At amplitudes above this maximum amplitude, the energy of the coherent structures needs to be fed additionally by small scale, stochastic energy in form of backscatter to sustain its motion. Furthermore, we demonstrate that the maximum amplitude of the VIV is defined by the integral length scale of the turbulence in the wake

Strategic thinking versus strategic planning: towards understanding the complementarities

In an environment characterised by flux and uncertainty, a capacity for innovative, divergent strategic thinking rather than conservative, convergent strategic planning is seen as central to creating and sustaining competitive advantage. As the case study of Communications Co. illustrates, scenario planning is one tool that many organisations, committed to redesigning their strategic planning processes, are using with some success. However, scenario planning requires both left- and right-brain thinking styles. The elements of left-brain thinking reflect the planning side of strategy making, while right-brain thinking mirrors the thinking component of strategy making. The relationship between the factors that enable strategic thinking and the level of “emotional intelligence” of business leaders is also considered. The Communications Co. case findings appear to support the view that while strategic thinking capabilities can be nurtured and diffused through an organisation, it will need business leaders with a high degree of emotional intelligence to lead the way.

Baby, it`s you : international capital discovers the under threes

Well-established international entertainment firms such as Disney and Fisher-Price are joining new start-up firms such as Baby Einstein to create a 'Baby' market of products (including toys, games and videos) specifically targeted at children aged 0-3 years. Despite its novelty, the 'Baby' market mirrors older markets that these firms have created around other demographic groups (e.g. older children, adolescents and adults) - it redefines its target demographic group around specific commodities and promotes its redefinition as 'common sense'. The 'Baby' firms redefine babies solely as early learners whose potential to learn can be released by these firms' brand-name 'educational' or 'developmental' products. Many adults buy these products because they accept the firms' redefinition of babies, but other adults ignore the firms' promotional messages and buy the products to give themselves some time apart from their babies. The 'Baby' market is significant for children and adults because it changes young children's relationships with adults and because it subordinates local cultural differences to a children's culture that purports to be 'global' but has, in reality, extremely narrow foundations in class, race and gender.

Challenging librarians : the relevance of the doctorate in professional practice

We, as librarians, are adept at challenging academics, students and administrators about the crucial role of information literacy in higher education and lifelong learning. Consequently, the push for strategic partnerships with academics is frequently in the foreground of our thinking. Concomitantly, the push for academic status for librarians is raised occasionally, particularly as a pay and equity issue. Yet, our purposes may appear somewhat misguided or rhetorical when contrasted to the nominal prerequisites required for professional practice, especially when compared with those of academics. The issues of information literacy and knowledge production within a knowledge economy compound such debate. This paper argues that ‘credential creep’ is catching up with librarians in the university sector. In order to be regarded as integral to academic endeavour, those of us who ‘teach’ information literacy may need to match the qualifications normally required by academics. Consonant with this proposal is the Australian and New Zealand Information Literacy Framework: Principles, Standards and Practice (Bundy, 2004) of the Australian and New Zealand Institute for Information Literacy (ANZIIL) and the Council of Australian University Librarians (CAUL). The Framework mirrors many of the desired outcomes of a doctoral degree, a degree possessed by approximately one per cent of Australian librarians but, in comparison, by more than fi fty-four per cent of Australian academics. This paper challenges—not academics—but librarians, to embrace the notion of undertaking doctoral study to enhance our professional (or amateur) practice and our information literacy. The recommendation is derived in essence from my study on doctoral research and information literacy (Macauley, 2001). It also incorporates the current discourse on these issues and uses personal narrative to articulate the findings. It seeks also to explore those tensions and contradictions commensurate with practising what we preach.

What do general practitioners think depression is? A taxonomy of distress and depression for general practice

Objective:
To create a taxonomy of distress and depression for use in primary care, that mirrors the thinking and practice of experienced general practitioners.

Design:
Qualitative study, using an ethnomethodological approach, with observation of videotaped routine GP–patient consultations and in-depth interviews with GPs.

Setting and participants:
The study was conducted in metropolitan Melbourne in 2005. Fourteen GPs conducted 36 patient consultations where depression was a focus; nine GPs participated in in-depth interviews to elicit details of how they recognised and diagnosed depression in their patients.

Results:
GPs consider distress and depression in three steps. In the first step, a change in a group of symptoms and signs is observed (eg, facial expression, loss of drive). The second step categorises the syndrome according to whether or not there is an identifiable environmental cause (reactive or “endogenous”), with the final step categorising the reactive syndromes according to their most prominent symptoms: either anxiety and worry, or helplessness and hopelessness. The resulting taxonomy includes: endogenous depression (a chronic and perhaps characterological depression characterised by a lack of interest and motivation); anxious depressive reaction (stress or worry); and hopeless depressive reaction (demoralisation).

Conclusion:
This simple and parsimonious taxonomy has validity based on its derivation from within the primary care setting.

Beyond mimesis : place, interpretation and response

My study examines the subjective nature of artistic interpretation through the notion of mimesis as process or transformation of material. Influential factors that mediate in the artistic process, such as memory, reflection and an awareness of cultural analogy and metaphor, are examined and related to a specific project in the studio, where the mediation process is further influenced by the materials used to produce the images. My studies of the concept of mimesis have revealed an intermediary realm that exists in the space between empirical reality and its interpretation. Throughout history the process of mimesis has been integral to all forms of the arts. In Plato's time the production of an image that simulated things as they appeared to the eye was considered a desired ideal. Aristotle later introduced developments which extended this concept to include a refiguring or reforming of material derived from the original source, making new connections between existing factors and in this transformation bringing new meanings to a symbolically constituted world. This discussion of the representation of reality, the influence of a dialogue between notions of imitation and the recreation of material continues throughout the exegesis. My study emphasises the interpretive stage of the mimetic process where a consideration of these themes is most relevant and some of the factors that can influence its outcome. It is my opinion that the production of images in response to the particularities of place can be defined in three stages. Firstly, the experience of the place; secondly, the beginning and maturation of the idea or concept; where mimesis takes place, and thirdly, the production of the art work in response. This process is illustrated in Part 2 of the exegesis, where the development of the studio work is documented and linked with the themes discussed in Part 1. The geographic site or place I selected to study is adjacent to Mt. Noorat, a volcanic site in the Western district of Victoria; the surrounding plains are littered with scoria that has been thrown out of the volcano thousands of years ago. Early British, Scottish and Irish settlers to this region used the stone to construct fences reminiscent of their homeland, through this activity they cleared the land and confined and protected their stock. My interests are in factors that include - the material of the stone, notions of enclosure and safety, of boundaries and circumscribed space, and of the cultural reflection that has taken place in this reconstruction of Eurocentric vision. These walls also represent the means by which land was enclosed and property defined, moving from a situation of public access to notions of ownership and the annexation of land for individual gain. Around each point of eruption, the craggy volcanic scoria has been used to create a constructed landscape which both symbolises and mirrors the Anglo - Celtic origins of the people. I have used the legend of Narcissus to illustrate the self-reflective and introspective processes that the settlers invoked in their attempts to come to terms with a strange land. I consider that the story of Narcissus, who fell in love with his own reflection, finds a parellel in the creation of the walls. The re-creation of artifacts from their own cultural environment provided the settlers with a familiar 'face' in an alien world; a reassurance of the familiar in an unfamiliar terrain. Part of this study is an investigation of this notion of landscape as cultural reflection. Geographers have long known that landscape is a cultural construct, an historically evolving ideal manifested in painting, prints and drawings as well as poetry, gardens and parks. One can view these constructions as illustrations or images of meaning which constitute representations of cultural ideals. The neo-classical influence reflected in the paintings of artists who accompanied the early expeditions to Australia demonstrates these themes. The medium of the mirror provides the opportunity to suggest aspects of a cultural reflection and an awareness of identity that has relevance to contemporary Australian culture, therefore, I have allowed it to play a major role throughout this study. Its role in mimesis, firstly, as a reflection in an imitative sense is established, then in its refigurative role, in which the similarities between the original and the reformed rely more on correlative factors than representation. I have used examples from the history of art to illustrate this potential. The formation and development of a narrative involving reflection threads throughout the thesis, both in the visual presentation and in the exegesis. The production of a body of paintings, drawings and sculpture reflect my interpretation and response to the particular site. The correspondences between these works and my theoretical concerns is articulated in the exegesis. The metaphor implied by the use of the walls as agents of enclosure also refers to the capacity of the individual to be confined by notional boundaries and restrictive practices where totalising systems of thought dominate theoretical debate and restrict its freedom. I have used images where gaps in the walls represent the potential implicit to the concept of liminal space, where the spectator moves from one physical space to another and from one stage of development to another. The threshold of this opening in the walls becomes the site where transformation can take place, a metaphor for the mimetic process where the initial experience is translated and transformed into the final product. The paintings, drawings and other works in this series fulfil the role of marks on the surface of the mirror, separating the initial experience from the processes of memory, reflection and speculation. The works draw attention to the materiality that they represent and yet provide the opportunity for new insights and experiences, allowing the subjective nature of artistic activity to combine symbolic elements relating to the site, resulting in the production of meaning.

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.

Moral rights, heritage and Australian contemporary architecture : thoughts & designs of Peter Muller

Peter Muller is one of the most unique Australian architects of the 20th century possessing a passion for organic architecture realised in several significant Australian and Indonesian design exemplars. His inquiry in the organic style of architecture stylistically mirrors that of Frank Lloyd Wright whom wrote to Muller expressing his pleasure in his successful pursuit of this style in Australia.3 This paper considers the position of moral rights under the Australian Copyright Act 19684 having regard to the Australian exemplars of Muller. It considers recent Australian debates about moral rights and projects that implicate several architectural and landscape architecture projects, the interpretations the legal fraternity are taking in approaching this topic, and positions the ideas, values, and attitudes of Muller in this context. Muller’s personal opinion is expressed providing an insight into the thoughts of one senior contemporary Australia architect as to 'their' architecture and ‘heritage’.

Unlocking door of opportunity

There is a little bit of "smoke and mirrors" going on in Australian higher education.

The Commonwealth Government has set the sector a target that, by 2020, 20 per cent of undergraduate university students should come from low socioeconomic status (SES) backgrounds.

Journalism education 'down under' : a tale of two paradigms

Journalism studies is currently undergoing one of the periodic renovations that is characteristic of an active and diverse community of scholars. This paper examines aspects of this renewal debate among journalism scholars by focusing on the situation in Australia and New Zealand. It argues that the debate ‘‘Down Under’’ mirrors global differences on the issues of ‘‘theory’’ and ‘‘practice’’ in journalism education and that an understanding of the key fault lines in this context can provide useful insights into the wider arguments. In Australia and New Zealand a key area of discussion is around attitudes towards the concept of professionalism in the practice, training and scholarship of journalism. These tensions are apparent in both the news media and in the academy. The contradictory positions of those who favour greater industry involvement in curriculum matters, including accreditation of courses, and those who are less sanguine about the normative influence of industry on critical scholarship are explored in relation to differing attitudes to professionalism and the political economy of news production. The paper concludes that rather than pegging the debate to an unstable definition of professionalism, journalism educators should instead focus more on journalism scholarship founded on a political economy approach.