The unhallowed art : literature and literary fakes in Australia

The fiction of Peter Carey is peopled by the unhallowed; by ghosts and the ghostly. In Bliss (1981), Carey presents us with the Dantesque trials of an advertising executive after he has a heart attack on his front lawn. In The Unusual Life of Tristan Smith (1994), phantom nations are inhabited by simulacra. In True History of the Kelly Gang (2001), a dead bushranger talks. Carey's My Life as a Fake (2003), the subject of this essay, gives us an apotheosis of this literary habit of bringing the unliving to life. It presents us with the flesh-and-blood, machete-wielding, gladiatorial figure of Bob McCorkle, a poet created as a literary hoax.

Towards haptic microrobotic intracellular injection

This paper proposes a system providing the operator with an intuitive method for controlling a micromanipulator during intracellular injection. A low-cost haptic device is utilised and 3D position-to-position kinematic mapping allows the operator to control the micropipette using a similar method to handheld needle insertion. The workspaces of the haptic device and micromanipulator are analysed and the importance of appropriate scaling to positioning resolution and tracking performance is investigated. The control issues integral to achieving adequate control of the micromanipulator using the Phantom Omni haptic device are addressed. Aside from offering an intuitive method for controlling the micropipette, this work lays the foundation for real-time haptic assistance in the cell injection task.

Cancer-cell microsurgery using nonlinear optical endomicroscopy

Near-infrared laser-based microsurgery is promising for noninvasive cancer treatment. To make it a safe technique, a therapeutic process should be controllable and energy efficient, which requires the cancer cells to be identifiable and observable. In this work, for the first time we use a miniaturized nonlinear optical endomicroscope to achieve microtreatment of cancer cells labeled with gold nanorods. Due to the high two-photon-excited photoluminescence of gold nanorods, HeLa cells inside a tissue phantom up to 250 μm deep can be imaged by the nonlinear optical endomicroscope. This facilitates microsurgery of selected cancer cells by inducing instant damage through the necrosis process, or by stopping cell proliferation through the apoptosis process. The results indicate that a combination of nonlinear endomicroscopy with gold nanoparticles is potentially viable for minimally invasive cancer treatment.

Enabling multi-point haptic grasping in virtual environments

Haptic interaction has received increasing research interest in recent years. Currently, most commercially available haptic devices provide the user with a single point of interaction. Multi-point haptic devices present a logical progression in device design and enable the operator to experience a far wider range of haptic interactions, particularly the ability to grasp via multiple fingers. This is highly desirable for various haptically enabled applications including virtual training, telesurgery and telemanipulation. This paper presents a gripper attachment which utilises two low-cost commercially available haptic devices to facilitate multi-point haptic grasping. It provides the ability to render forces to the user's fingers independently and using Phantom Omni haptic devices offers several benefits over more complex approaches such as low-cost, reliability, and ease of programming. The workspace of the gripper attachment is considered and in order to haptically render the desired forces to the user's fingers, kinematic analysis is discussed and necessary formulations presented. The integrated multi-point haptic platform is presented and exploration of a virtual environment using CHAI 3D is demonstrated.

Grasping virtual objects with multi-point haptics

The majority of commercially available haptic devices offer a single point of haptic interaction. These devices are limited when it is desirable to grasp with multiple fingers in applications including virtual training, telesurgery and telemanipulation. Multipoint haptic devices serve to facilitate a greater range of interactions. This paper presents a gripper attachment to enable multi-point haptic grasping in virtual environments. The approach employs two Phantom Omni haptic devices to independently render forces to the user's thumb and other fingers. Compared with more complex approaches to multi-point haptics, this approach provides a number of advantages including low-cost, reliability and ease of programming. The ability of the integrated multi-point haptic platform to interact within a CHAI 3D virtual environment is also presented.

A multi-point haptic platform for grasping and manipulating virtual objects

This work presents a multi-point haptic platform that employs two Phantom Omni haptic devices. A gripper attachment connects to both devices and enables multi-point haptic grasping in virtual environments. In contrast to more complex approaches, this setup benefits from low-cost, reliability, and ease of programming while being capable of independently rendering forces to each of the user’s fingertips. The ability to grasp with multiple points potentially lends itself to applications such as virtual training, telesurgery and telemanipulation.

Evanescent

Exhibition of original artworks created in 2013. Evanescent is a new series produced in 2013 which premiered at the Castlemaine State Festival 15-24 March 2013. The series revisits a childhood delight and fascination with the projected image and the natural world. For me then, as it is now, a magnifying glass was a wonder; its simple optics twisted light into abstract comas and sci-fi aberrations; able to compact a whole view into a luminous, paradoxically inverted phantom that could fit literally into the palm of my hand. By curling fingers and thumb around the lens and cupping both hands around the elusive rays, and by peering into the space in which I had trapped them, I fancied that I had entered into the secret workings of the eye. Chrysalis, for example, appears as a scenic projection from a hand-held lens and simultaneously as the litter of the forest floor. It is produced with a makeshift camera-obscura. The nebulous silhouettes of trees, some blurred under the passing clouds of a summer wind resolve here and there into crisp lines curled across the surface of a fallen leaf on which a moth chrysalis adheres. The leaf assumes Brobdingnagian proportions and thickness as the evanescent image shrinks and is foreshortened then dissolves in the enlarged dust and grit. It manifests the unique sight anchored at this fixed point, to reveal what we might see if we were to become vegetable or mineral. Near and far, large and small, superimpose, trigonometrically exact in their adjacency and spatial relations, presenting us with a located point of view.Why? I want to understand more intimately the interior of the natural landscape, rather than any ‘scene’ of human presence, or the context of any cultural landmark. In the steep, bush locations in which I am making these images, my means are necessarily makeshift; my camera and an old manual-aperture lens able to be carried in a backpack with a black T-shirt as a 'dark-tent'. The project is not systematic but intuitive and responsive to prevailing conditions and the effect on the projection caused by sun, shade, weather and situation. I am guided by the response of objects, textures and surfaces to the projected image and how they modulate and map it. This is landscape, but not from a human point of view.