Visual perception of movement kinematics and the acquisition of "action prototypes"

Recognizing a class of movements as belonging to a "nominal" action category, such as walking, running, or throwing, is a fundamental human ability. Three experiments were undertaken to test the hypothesis that common ("prototypical") features of moving displays could be learned by observation. Participants viewed moving stick-figure displays resembling forearm flexion movements in the saggital plane. Four displays (presentation displays) were first presented in which one or more movement dimensions were combined with 2 respective cues: direction (up, down), speed (fast, slow), and extent (long, short). Eight test displays were then shown, and the observer indicated whether each test display was like or unlike those previously seen. The results showed that without corrective feedback, a single cue (e.g., up or down) could be correctly recognized, on average, with the proportion correct between .66 and .87. When two cues were manipulated (e.g., up and slow), recognition accuracy remained high, ranging between .72 and .89. Three-cue displays were also easily identified. These results provide the first empirical demonstration of action-prototype learning for categories of human action and show how apparently complex kinematic patterns can be categorized in terms of common features or cues. It was also shown that probability of correct recognition of kinematic properties was reduced when the set of 4 presentation displays were more variable with respect to their shared kinematic property, such as speed or amplitude. Finally, while not conclusive, the results (from 2 of the 3 experiments) did suggest that similarity (or "likeness") with respect to a common kinematic property (or properties) is more easily recognized than dissimilarity.

Conventions of pictorialism (iconic imagery, perceived space and the picture plane) deconstructed and reconstructed as alternative models of perception, embodied in paintings and drawings

This thesis is concerned with conventions of pictorialism, viz. the surface of an artwork or the plane of denotation (in my case paper, canvas or wood); and iconic imagery and the depiction of perceptual space that is connotated by marks, colours and forms upon that surface. Most importantly this thesis is concerned with the relationship between these elements and the deconstruction of them. That the reconstruction of the deconstructed language can create expressive iconic structures that perhaps contain conflicting information and elements, but are simultaneously single and self-contained perceptual models of seeing the world, and the things in it, in another way; is a major focus. The thesis is embodied in the paintings and drawings which are documented in the exegesis that follows.

Characteristics of the deformed and recrystallised grains obtained after hot plane strain compression of a model Fe-30wt%Ni alloy

The development of physically-based models of microstructural evolution during hot deformation of metallic materials requires knowledge of the grain/subgrain structure and crystallographic texture characteristics over a range of processing conditions. A Fe-30wt%Ni based alloy, retaining a stable austenitic structure at room temperature, was used for modelling the development of austenite microstructure during hot deformation of conventional carbon-manganese steels. A series of plane strain compression tests was carried out at a temperature of 950 °C and strain rates of 10 s-1 and 0.1 s-1 to several strain levels. Evolution of the grain/subgrain structure and crystallographic texture was characterised in detail using quantitative light microscopy and highresolution electron backscatter diffraction. Crystallographic texture characteristics were determined separately for the observed deformed and recrystallised grains. The subgrain geometry and dimensions together with the misorientation vectors across sub-boundaries were quantified in detail across large sample areas and the orientation dependence of these characteristics was determined. Formation mechanisms of the recrystallised grains were established in relation to the deformation microstructure.

Plane wave scattering by a spherical di-electric particle in motion : a relativistic extension of the Mie theory

Light scattering from small spherical particles has applications in a vast number of disciplines including astrophysics, meteorology optics and particle sizing. Mie theory provides an exact analytical characterization of plane wave scattering from spherical dielectric objects. There exist many variants of the Mie theory where fundamental assumptions of the theory has been relaxed to make generalizations. Notable such extensions are generalized Mie theory where plane waves are replaced by optical beams, scattering from lossy particles, scattering from layered particles or shells and scattering of partially coherent (non-classical) light. However, no work has yet been reported in the literature on modifications required to account for scattering when the particle or the source is in motion relative to each other. This is an important problem where many applications can be found in disciplines involving moving particle size characterization. In this paper we propose a novel approach, using special relativity, to address this problem by extending the standard Mie theory for scattering by a particle in motion with a constant speed, which may be very low, moderate or comparable to the speed of light. The proposed technique involves transforming the scattering problem to a reference frame co-moving with the particle, then applying the Mie theory in that frame and transforming the scattered field back to the reference frame of the observer.

Double horizons : shifting figure and ground in some Australian photography

"Rogue" figure skews attainment data

The ABS higher education attainment data has been skewed by a statistical blip that artificially inflated the 2009 figure, according to higher education researcher Alan Olsen.

Aeroplane engines from inside of plane SFX

A sound effect, made on a generator, that mimics the sound of aeroplane engines when sitting inside a plane during embarkation.