Clouds and shadows

Displayed 27 artworks by Deborah Walker. 6 were oil on linen, the other works  were oil on board.

Boerdery

"A time-lapse document of a farm house in the Netherlands mapping the changing seasons, the light and shadows." http://www.innersense.com.au/mif/debruyn_films.html

Real-time lane detection on suburban streets using visual cue integration

The detection of lane boundaries on suburban streets using images obtained from video constitutes a challenging task. This is mainly due to the difficulties associated with estimating the complex geometric structure of lane boundaries, the quality of lane markings as a result of wear, occlusions by traffic, and shadows caused by road-side trees and structures. Most of the existing techniques for lane boundary detection employ a single visual cue and will only work under certain conditions and where there are clear lane markings. Also, better results are achieved when there are no other onroad objects present. This paper extends our previous work and discusses a novel lane boundary detection algorithm specifically addressing the abovementioned issues through the integration of two visual cues. The first visual cue is based on stripe-like features found on lane lines extracted using a two-dimensional symmetric Gabor filter. The second visual cue is based on a texture characteristic determined using the entropy measure of the predefined neighbourhood around a lane boundary line. The visual cues are then integrated using a rulebased classifier which incorporates a modified sequential covering algorithm to improve robustness. To separate lane boundary lines from other similar features, a road mask is generated using road chromaticity values estimated from CIE L*a*b* colour transformation. Extraneous points around lane boundary lines are then removed by an outlier removal procedure based on studentized residuals. The lane boundary lines are then modelled with Bezier spline curves. To validate the algorithm, extensive experimental evaluation was carried out on suburban streets and the results are presented. 

Different shades of the collective way of thinking: Vietnamese and Chinese international students' reflection on academic writing

Investigating ELF/ESL students' experiences in constructing their academic written texts seems to be of great significance in EFL/ESL writing syllabus design and teaching. The case study reported in this paper explores the underlying factors which shape students' ways of supporting ideas in academic essays in English. Drawing on Lillis' (2001) framework for exploring student writing, the study examines the writing experiences of students from Vietnam and mainland China at an Australian university. Based on the students' reflection on their different ways of meaning making, this paper argues for the need to challenge the tendency to essentialize cultural rhetoric patterns and their effects upon Chinese and Vietnamese students' writing in English as a foreign or second language. Several implications for teaching EFL/ESL writing have also been drawn from the findings of this study.

Dance review: Metadata explores shadows and space

The interplay between movement, human physicality and complex projections are brought to the fore across the two works that make up Metadata. The artists offer a variety of interpretations about how that relationship might deepen our understanding of space, volume and the passage of time within a performance context.

Bringing shared values out of the shadows

As part of its wider promotion of a world that is peaceful and tolerant, the United Nations declared 2005 the International Year of Sport and Physical Education. At the fore of the UN's proclamation was recognition of the important role sport and PE play in nurturing the health and harmony of society. Sport and PE, the UN declared, provide important nodes for social connection around which shared values and understandings can be formed. In the wake of the UN's endorsement of the role that sport and PE can play in fostering social and emotional development, it is more important that ever that we reflect on and refine our practices towards this end. This paper draws on two research narratives to illustrate how easily this potential can be undermined. Indeed, behind some of the wonderful opportunities for connection that exist through a participation in PE and sport exists a dark shadow of alienation and oppression. The challenge raised through this paper centres on the need for PE teachers and coaches to work deliberately and strategically towards the cultivation of inclusive, tolerant and responsible forms of participation, and not leave their development to chance.

Shades of grey : reflections on researching indigenous Australian issues

This paper contains our reflections and responses to a recent research project which sought to understand the meaning of anger in Indigenous Australian prisoners. Throughout this project the authors became increasingly aware of the essential ambiguities inherent in Indigenous research practice: the potential for our research to reproduce inequities and contribute to the colonisation of knowledge, the demands for academic accountability, the juxtaposition of world views and the central importance of difference. Our aim throughout this project has been to examine our responses to the process of indigenous research practice. This paper contains reflections that may assist others who might embark on indigenous qualitative research and those interested in theorizing the production of knowledge.

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.

Shifting shadows in postmodern communities

Postmodern society frequently presents new technologies and ways of doing things. The definition of community has been reshaped by the impact of globalisation. Distances have been reduced by people’s ability to access various types of technology. Many nations foster Lifelong Learning because education is believed to be ‘one of the principal means available to foster a deeper and more harmonious form of human development’ (Delors 1996: un). Networking among communities and/or stakeholders links social and educational resources. In Victoria, initiatives such as the Local Learning and Employment Network (LLEN) have resulted in networks of local stakeholders to scaffold the school to work transition. Schools, Adult Community Education (ACE) providers and Technical and Further Education (TAFE) providers have networked to provide alternative pathways to further education or work for young people in years 11 and 12. However, despite the intent of lifelong learning to overcome exclusion and increase social capital, Bauman (1998) indicates that the freedoms of postmodernity may result in feelings of powerlessness, as previously secure spaces become destabilised. This paper, drawing on the theories of Bauman, discusses some consequences that the shifting of local and global boundaries has on communities and asks if lifelong learning meets the challenges of postmodernity.

Rough justice : young people in the shadows

Even in an age of economic prosperity, there are young people who live on the edge of western societies and who are held accountable for their every indiscretion, sometimes even for those of others. This book employs a sociological imagination to make connections between the public issues and private troubles of youth living on the street.

Separating shadows

A series of performance investigations that negotiate site, body and shadow.

Out of the shadows: a discussion on law reform for the prevention of financial abuse of older people

Financial abuse of older people too often lives ‘in the shadows, hidden by fear and shame’. This and the protective love between family members can screen changes that are critical to an older person’s financial and living arrangements. Rather than a single event, it is usually a series of well-intentioned but ill-considered financial acts, which at some point tips over into abuse interwoven with an intricate web of family relationships. Was a transfer of title or a loan to an adult child really misappropriation? Has thoughtlessness become undue influence or even theft?