Uneasily along the sand

Uneasily Along the Sand evokes the state of mind of the great Mallee poet John Shaw Neilson during a period of hospitalization for nervous exhaustion around 1900. To his bed come the voices and apparitions of all those people whom he might have met but who in life eluded him. It is a ghost community of jesters, singers and seers, who parade in harlequin costumes and recall the poet to the vanishing spirit of the Mallee forest. In particular, a Wotjobaluk man by the name of ‘Jowley’ haunts him, a man found by white people as a child abandoned in a hollow log - abandoned, lost, stolen? The sound installation ‘Mac’ (that forms part of Uneasily and which will receive its first national broadcast to coincide with Mildura Palimpsest #8) evokes their strange meeting and a kind of reconciliation of peoples and cultures with environments that remains elusive. The hospital, where Neilson heard strange voices and saw strange visions, is evoked in a video work based on a set of ‘actions’ performed in Mildura’s Old Base Hospital, and sound recordings made in Pyrenees House, Ararat (a replica of the Swan Hill Hospital where Neilson was confined). The hospital solarium is transformed into a strangely distorted Mallee paddock, of sand, barbed wire and mattresses that leak like hour glasses. Caught in the fence lines of this dream world are scraps of a woman’s dress, bed sheets inscribed with charcoaled graffiti and footprints alluding to the ‘unevennesses’ of a life. Uneasily Along the sand is inspired by Paul Carter’s recent book, ‘Ground Truthing: explorations in a creative region’. The installation of Uneasily in Mildura coincides with Opening, another work inspired by ‘Ground Truthing’ that Carter and Dirk de Bruyn have created for the big screen at Federation Square, Melbourne.

Migrant mobilities: cruel optimism and the case of AJ D’Cruz

Migrants are mobile by definition. They literally uproot themselves and move to sometimes-distant lands for a variety of reasons. Some move away from real or imagined threats to their very existence. Others seek a better quality of life. And some adventurous souls are inhabited by a restless wanderlust – a desire to roll the dice and see what happens. Such mobility requires fortitude and faith. Migrants move through space and, if they have an aspirational disposition, they attempt to accumulate symbolic capital to move up those social and economic hierarchies that bestow status and prestige within their adopted homes. The migrant journey to Australia often ends with the realisation that one has to make and re-make one’s identity, and perform a series of adjustments – adjustments in terms of comportment, dress, accent and disposition. My father was a migrant to Australia. More specifically, he was an Anglo-Indian migrant – a member of the ‘mixed-race’ community produced by British colonialism. He left India for the UK in 1962 and, after living in London for 10 years or so, immigrated to Australia in 1973, dragging his immediate family with him. Lured to the so-called ‘lucky country’ by the optimistic prospect of building wealth and prosperity under the Southern Cross, his ambitions were thwarted by casual and institutional racism. He died prematurely at the age of 53. This multi-media presentation tells his story through a series of encounters with the historical archive and the material remnants of my father’s relatively short life (letters, photographs, sound recordings, 8mm films). It provides a singular account of the performance practices involved in becoming a ‘New Australian’. Combining personal anecdotes and philosophical ruminations on history, technology, and cultural identity, the performance interrogates and performs a series of migrant mobilities.

I me mine: artistic self/artistic persona

This work comprises of a series of video portraits and sound recordings that explore the connections between gesture, gaze and voice in video portraiture. Most of the subjects are artists represented in the current exhibition, but the disjunction between sound and image makes it difficult to categorically identify the authors of the sound bites on the work’s soundtrack. Designed to function as an introduction to the themes and issues generated by the Self/Persona relationship in the nascent field of Persona Studies, the work is also concerned with the presentation of the artistic self, and the ‘loss of self’ that may or may not occur as a consequence of artistic practice. Formally, the piece plays with the repetition and symmetry to underscore the vulnerability and mutability of the self within contemporary culture.

Use of an auditory looming task to test infants' sensitivity to sound pressure level as an auditory distance cue

This study describes how an auditory looming technique was used to investigate 4-to 6-month-old infants' sensitivity to sound pressure level (SPL) as an auditory distance cue. Thirty-two infants were tested in complete darkness and presented with auditory stimuli that underwent unidirectional variations in SPL (40–70dB). The rate at which SPL was varied during the course of trials (past vs. slow) was manipulated by varying trial length (5s vs. 10s).

Dance card : light : sound : space : moves : a live-performance mix-re-mix event

12 minute solo within an hour-long work, performed 18 - 22 February 2004  at the Dancehouse, Melbourne

A sound barrier

A sound barrier made from recycled concrete aggregate, the sound barrier being divided into at least two or more sections, each said section including: an inner layer for supporting the barrier, and an outer layer, said outer layer having a predetermined number of voids for absorbing sound energy at a particular frequency, wherein said respective outer layers of said at least two or more sections have different predetermined numbers of voids so as to absorb sound energy at different frequencies.

Shaking hands on the fringe : negotiating the Aboriginal world at King George's Sound

In 1826 the British set up a garrison on the edges of an Aboriginal world at King George’s Sound, the site of present day Albany, Western Australia, with the aim of deterring the French from occupying the area.

The British newcomers and the area’s Indigenous inhabitants, the King Ya-nup, came to share a small space, forcing both cultures to adapt in order to communicate and interact with one another. Within this sphere associations and friendships were formed that were as surprising as they were unique.

This ethnographic history narrates several intimate cross-cultural stories of the developing relationships between British and Aboriginal individuals at King George’s Sound. The episodes recounted go beyond the common ‘friendly’ or ‘violent’ encounters, unearthing instead how and why particular King Ya-nup engaged with the British world, utilising the new presence to seeming advantage.

Shaking Hands on the Fringe presents innovative history writing and beautifully crafted prose in the tradition of Greg Dening and other writers of ethnographic history.

Despite the limited scope of the subject, the first two points liberate this book into a national (and international) interest: it is not a local book.

Monaural sound localization : mechanisms and processes

A review of the literature established that localization acuity measured during monaural listening conditions was directly related to various methodological considerations. These included method of attenuation, segment of auditory space where monaural localization was measured, and the presence or absence of head movements. An extensive measurement of monaural localization was made with due consideration of these factors, allowing a more comprehensive evaluation of monaural acuity and the underlying processes that were involved. Establishing a monaural condition is dependent both on the attenuation level of the occluded ear and the signal level, both of which are clearly inter-related since the attenuation level of the occluded ear sets the maximum level of die stimulus. In a series of experiments it was established that there was a minimum signal level for accurate localization. Testing on both sides of the head revealed that there were three regions of monaural localization acuity. The first was about the interaural axis on the ipsilateral ear where monaural localization was relatively accurate, the second a region either side of the MSP where there was some loss of localization, and a third about the interaural axis on the ipsilateral side where virtually no monaural localization ability existed. In the final series of experiments it was established that head-movements allowed subjects to extend the accuracy of the first region by minimizing the distance between the sound and the ipsilateral interaural axis, thus compensating for the loss of localization ability in the second and third regions. This was determined from changes recorded in the error data, and also the extent and direction of measured head-movements. The results of this series of experiments demonstrated the relationship between spectral cues and monaural localization. Firstly, monaural localization was not possible in the absence of accurate spectral information. Thus large errors were observed in the third region where there was blockage of the high-frequencies by the head, and in all regions during the presentation of low signal levels where the high-frequencies fell below threshold. Secondly, the inaccuracy of the second region due to the loss of information from the second pinna suggested that there was a binaural component with relation to pinna cues. It seems that for sounds in this region the spectral modifications from both pinnae are processed to determine a sound's location in space.