Melbourne Festival review: Blood Lines challenges and rewards senses and sensibility

DANCE BORDER LINES ★★★½ ​Sarah-Jane Norman, Nacera Belaza Dance Territories, Dancehouse Until October 16 Border Lines features three works by Indigenous Australian artist Sarah-Jane Norman and one by French artist Nacera Belaza in a curated program as part of Dance Territories that explores perceptions of the body and borders.

The sense and non-sense of Rudolf Steiner's architecture

According to Rudolf Steiner, within the sensory world there exists a spiritual world that remains concealed from our consciousness to the extent that our perception is limited to our senses and sense bound thinking. He argued that ignorance of this supersensible realm was the result of a limited understanding of the senses. Rather than the usual five senses, Steiner differentiated twelve sense functions through which, he believed, human beings were capable of perceiving subtle dimensions of life beyond the immediately apparent physical realm of being. His theory of the senses elucidated the potentiality for an understanding of the way the spiritual world creates its image in the physical world and he saw artistic activity as a means of making this hidden union manifest. As such, Steiner advocated a multi-sensory architecture that articulated its spiritual presence experientially through an active engagement with its forms, colours, textures, light and sound. However, due to the esoteric overtones of Steiner's writing, his theory of the senses has received very little scholarly attention, particularly in relation to its relevance to architectural creation. This paper aims to peel back the layers of jargon and mysticism that Steiner employed in order to reveal how his unique insights into the nature of the senses informed his architectural products. Such an approach will provide a more comprehensive understanding of Steiner's distinctive architectural forms as well as the significant philosophical ideas that inform them.

The Gambling Urge Scale : reliability and validity in a clinical population

The aim of this study was to establish reliability and validity of the Gambling Urge Scale (GUS) in a clinical population of problem gamblers. This cohort study was conducted in South Australia between March 2008 and March 2009. Participants were problem gamblers aged ≥18 years (n = 158) who were seeking treatment from a range of gambling help services. Measures included gambling urge, problem gambling screening, gambling behaviour and problems caused by gambling, such as personal health and relationships. The psychometric properties investigated were internal reliability, criterion-related validity, concurrent validity and construct validity. Results showed high internal consistency for GUS (α = 0.93) and significant item-rest correlations ranging from 0.72 to 0.86. For criterion-related validity, a GUS cut score of three correctly classified 81.13% of participants as problem gambling with sensitivity 84.75% and specificity 76.6%. Concurrent validity was significant with a number of gambling-related symptoms and problems including psychological disturbance, work and social functioning and gambling-related cognitions (p < 0.001). An insignificant correlation was found between gambling urge and sensation seeking traits (p = 0.663). When controlling for gender and age the instrument was shown to have significant predictive properties for different levels of gambling severity (p < 0.001). A principal component analysis for the one component showed an overall explained variance of 75.54%. These findings indicate that GUS is a valid and reliable instrument for problem gambling screening, to measure treatment outcomes and may predict relapse in problem gambling.

Treatment outcomes and predictors of drop out for problem gamblers in South Australia : a cohort study

OBJECTIVES: Recent prevalence studies in Australia, the USA and Canada have estimated 1-2% of the adult population meet the diagnostic criteria for problem or pathological gambling. The Statewide Gambling Therapy Service (SGTS) provides treatment for problem gamblers in key metropolitan and rural regions in South Australia. The aims of this study were two-fold: to analyse the short and mid-term outcomes following treatment provided by SGTS and to identify factors associated with treatment drop-out. METHOD: A cohort of treatment seeking problem gamblers was recruited through SGTS in 2008. Repeated outcome measures included problem gambling screening, gambling related cognitions and urge. Treatment drop-out was defined as participants attending three or less treatment sessions, whilst potential predictors of drop-out included perceived social support , anxiety and sensation-seeking traits. RESULTS: Of 127 problem gamblers who participated in the study, 69 (54%) were males with a mean age of 43.09 years (SD = 12.65 years) and with 65 (52%) reporting a duration of problem gambling greater than 5 years. Follow up time for 50% of participants was greater than 8.9 months and, overall, 41 (32%) participants were classified as treatment drop-outs. Results indicated significant improvement over time on all outcome measures except alcohol use for both treatment completers and drop-outs, although to a lesser extent for the treatment drop-out group. A significant predictor of treatment drop-out was sensation-seeking traits. CONCLUSION: These results will inform future treatment planning and service delivery, and guide research into problem gambling including aspects of treatment drop-out.

Practising research, researching practice : thinking through contemporary dance

Practice as research is now an accepted mode whereby artists can obtain a higher degree in our universities. But what conditions pertain for them there? Daily experiences of the misfit between the university, particularly in its current corporate guise, and the embodied practices upon which I draw have helped me, paradoxically, to clarify certain dance values which can perhaps have wider resonance. These values relate to concepts and ideas that can be found articulated by many practising artists and a number of other thinkers and practitioners including Winnicott, Alexander and Arendt. Focusing on here and now practicalities and issues, such as the nature of the studio floor, this article explores and argues for the importance of aesthetic experience and attention to life as we are living it: to experience, paradox, action, and sensation.

Typology of alcohol mixed with energy drink consumers: motivations for use

Background: Previous research on alcohol mixed with energy drinks (AmED) has shown that use is typically driven by hedonistic, social, functional, and intoxication-related motives, with differential associations with alcohol-related harm across these constructs. There has been no research looking at whether there are subgroups of consumers based on patterns of motivations. Consequently, the aims were to determine the typology of motivations for AmED use among a community sample and to identify correlates of subgroup membership. In addition, we aimed to determine whether this structure of motivations applied to a university student sample. Methods: Data were used from an Australian community sample (n = 731) and an Australian university student sample (n = 594) who were identified as AmED consumers when completing an online survey about their alcohol and ED use. Participants reported their level of agreement with 14 motivations for AmED use; latent classes of AmED consumers were identified based on patterns of motivation endorsement using latent class analysis. Results: A 4-class model was selected using data from the community sample: (i) taste consumers (31%): endorsed pleasurable taste; (ii) energy-seeking consumers (24%): endorsed functional and taste motives; (iii) hedonistic consumers (33%): endorse pleasure and sensation-seeking motives, as well as functional and taste motives; and (iv) intoxication-related consumers (12%): endorsed motives related to feeling in control of intoxication, as well as hedonistic, functional, and taste motives. The consumer subgroups typically did not differ on demographics, other drug use, alcohol and ED use, and AmED risk taking. The patterns of motivations for the 4-class model were similar for the university student sample. Conclusions: This study indicated the existence of 4 subgroups of AmED consumers based on their patterns of motivations for AmED use consistently structured across the community and university student sample. These findings lend support to the growing conceptualization of AmED consumers as a heterogeneous group in regard to motivations for use, with a hierarchical and cumulative class order in regard to the number of types of motivation for AmED use. Prospective research may endeavor to link session-specific motives and outcomes, as it is apparent that primary consumption motives may be fluid between sessions.

To the very ground of meaning, to vary the ground of meaning

Parody may be understood as the absorption of a revolutionary impulse into the everyday production of meaning as continuous variation and soft subversion. Considered in this way, parody is transformative because it operates on the components within a system of meaning and/or the context, logic or spatial perspective that grounds the possibility of meaning. It is the conditions under which shared meaning, sense and sensation depend that I aim to unpack in order to suggest the ways in which parody can alter a person’s relationship to the world. By approaching parody as a mode of lived abstraction and as an embodied approach to affective self-organisation, body-environment co-construction and a challenge to identity, it becomes possible to move from formal concerns that have characterised parody to a set of transformative practices. Thus parody indicates where the anchors of embodied, embedded, extended, enacted and affective are dug in and hold identity and the ground of meaning in a steady state. This paper will examine how parody moves from the impulse to overthrow and invert — ‘Beneath the street, The beach’—to a collective impulse that moves the ground of meaning into a reconfigurative process that is allows totalised systems of meaning to collide and intersect. What is left is not the rubble and ruins of meaning but revitalised fragments, stems cells of meaning ready-to-be-remade.A lineage of parodic works will be paraded and discussed that directly address the tacit relation of ground, horizon, orientation and position. This parody parade will form the basis of a critique and the analysis of the ontological orientations that for example, opposing systems of perspective insert as the very ground of meaning. The implication of this line of inquiry leads to the assertion that all descriptions of the world, universe and the cosmos are parodies in search of an origin. Totalised or unified images of the ground of meaning are already parodies of a/the set of conditions by which meaning operates that also produce a trajectory that as a lived-abstraction directs or hijacks subsequent productions of meaning

Painterface: an integrated responsive architectural interface

Interface design is one of the main research areas in human-computer interaction (HCI). In computer science, many HCI re-searchers and designers explore novel interface designs with cutting-edge technology, but few investigate alternative interfaces for existing built environments, especially in the area of architecture. In this pa-per, we investigate alternative interface designs for existing architectural elements—such as walls, floors, and ceilings—that can be created with off-the-shelf materials. Instead of merely serving as discrete sensing and display devices integrated to an existing building’s surface, these liquid and thin materials act as interventions that can be ‘painted’ on a surface, transforming it into an architectural interface. This interface, Painterface, is a responsive material intervention that serves as an analogue, wall-type media interface that senses and responds to people’s actions. Painterface is equipped with three sensing and responsive capacities: touch, sound, and light. While the inter-face’s touch capacity performs tactile sensing, its sound-production and illumination capacities emit notes and light respectively. The out-comes of this research suggest the possibility of a simple, inexpensive, replaceable, and even disposable interface that could serve as an architectural intervention applicable to existing building surfaces.

Souvenirs of the senses - Handdunes

This series of works "Handunes" were in response to a curatorial premise that my colleagues, Patrick West and Valerie Jeremijenko produced for a invited workshop and in tensive fabrication. The premise was to re-think the notion of the souvenir and how things are mad in a place by starting with a sensation of place and building an object (reverse engineering it) from that sensation or experience. this works against the notion of an miniature icon. these objects and documented processes were exhibited at the end of the one week intensive workshop.

Souvenirs of the senses: collaborative and cross-artform makings

Souvenir hunters are often limited in their selection of souvenirs to objects that evoke an iconic and/or generic relationship to place. For example, a small-scale replica of the Eiffel Tower might substitute for a whole range of other more personal responses to the sensory experience of being in Paris. This paper reports on a collaborative and cross-artform five-day workshop, “Souvenirs of the Senses”, conducted in Qatar in early 2013 as part of Tasmeem Doha: Hybrid Making, a biennial international art and design conference. Two of the three workshop leaders, Patrick West and Jondi Keane, were Australian-based visitors whereas workshop leader Valerie Jeremijenko is permanently based in Qatar. There were five workshop participants from a diverse range of international and Qatari backgrounds. One of the conference themes, “Made in Qatar”, heightened our attention to what it means to be spending time in, and making things in, one place as opposed to any other place. What did it mean to be making something in a country where so many things have to be imported? Building on this line of thought, the second conference theme, “Hybrid Making”, suggested possibilities for undoing traditional modes of souvenir making as part of the creation of more complex objects that might be sutured to the singular experiences of place that happen when a.) established regimes of tourism are disrupted, and b.) experiences of place are curated via a focused awareness of the operations of the senses as sustained within our collaborative, cross-artform workshop environment. What attracts our attention is how objects ripe for “souveniring”, when they are considered as perceptual systems, suggest new ways of experimenting with the fabrication of objects and of artistic and individual relationships to place, and further, how hybrid souvenirs affect the way in which a place is re-membered (put together) and re-made in memory.

The impact of cultural and climatic background on thermal sensation votes

The increasing number of migration and the creation of multicultural cities have generated a new challenge for urban designers. The design of shared, welcoming and well utilised urban open places is important in order to promote inclusion, interaction, belonging, and diversity within cities. Thermal comfort is directly related to the users' attitude and behaviour in outdoor places. Fulfilling the comfort needs for users having a variety of cultural and climatic backgrounds needs therefore to be taken into consideration. Microclimatic parameters strongly affect thermal sensation, however, physical, physiological and psychological adaptation have also proven to have significant influence. The satisfaction with the thermal environment does not only depend on the place, but also on personal variables people bring to that place with them. The paper investigates the role of the culture and climatic background of users' in the complex relationships between microclimate, thermal adaptation factors and human behaviour in open public places. The paper aims to understand the influence of users' cultural and climatic background variations on their thermal needs and usage of the outdoor places. Climatic measurements, surveys and observations were carried out in Federation square in Melbourne along the year to examine thermal comfort and patterns of behaviours of users having different cultural origins. Quantitative analysis is used to examine the influence of culture and climatic background of the users' on thermal sensations and adaptation factors. The findings contribute to guiding the design of outdoor public places in multicultural cities.

Diderot’s body and cognitive science: sensation, impulse and action in performer training

This essay places Diderot's materialist philosophy articulated in Paradox of the Actor in the late Nineteenth century, alongside emerging thinking from neurobiology. Taking Diderot’s pursuit for the recognition acting as an art as a point of departure, it reflects on the labour of the actor as awareness within multiple cognitions: impulse, sensation, and action. The discussion maps various examples including Stanislavsky in the early 1900s through to contemporary more regulated techniques like Susana Bloch’s Alba Emoting method and Phillip Zarrilli’s psychophysical approach. It considers the language of neuroscience in explicating the nuances of technique in acting and proposes that good acting requires a mastery of self at a neural level. ​