983 resultados para JPEG-LS
Resumo:
This research explores a new approach to Beckett’s Not I, a work in which the spectator is asked to focus primarily on a human mouth suspended in space eight feet off the ground. The digital reconstitution of the x, y and z axes in Beckett's work has been retitled "?ot I". In "?ot I", the prescribed x, y and z axes of the original have been re-spatialised environmentally, physically and aurally to create an invigorated version of the text. In this work, it is primarily the reconstitution of spatial dynamics and time that are explored. An adaption and series of responses to Samuel Beckett's "Not I", first performed at Melbourne University and Deakin Motion.Lab, Deakin University, 2007
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Architecture for a Free Subjectivity reformulates the French philosopher Gilles Deleuze's model of subjectivity for architecture, by surveying the prolific effects of architectural encounter, and the spaces that figure in them. For Deleuze and his Lacanian collaborator Félix Guattari, subjectivity does not refer to a person, but to the potential for and event of matter becoming subject, and the myriad ways for this to take place. By extension, this book theorizes architecture as a self-actuating or creative agency for the liberation of purely "impersonal effects." Imagine a chemical reaction, a riot in the banlieues, indeed a walk through a city. Simone Brott declares that the architectural object does not merely take part in the production of subjectivity, but that it constitutes its own.
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Purpose: To investigate the influence of accommodation upon axial length (and a comprehensive range of ocular biometric parameters), in populations of young adult myopic and emmetropic subjects. Methods: Forty young adult subjects had ocular biometry measured utilizing a non-contact optical biometer (Lenstar LS 900) based upon the principle of optical low coherence reflectometry, under three different accommodation demands (0 D, 3 D and 6 D). Subjects were classified as emmetropes (n=19) or myopes (n=21) based upon their spherical equivalent refraction (mean emmetropic refraction -0.05 ± 0.27DS and mean myopic refraction -1.82 ± 0.84 DS). Results: Axial length changed significantly with accommodation, with a mean increase of 11.9 ± 12.3 µm and 24.1 ± 22.7 µm for the 3 D and 6 D accommodation stimuli respectively. A significant axial elongation associated with accommodation was still evident even following correction of the axial length data for potential error due to lens thickness change. The mean ‘corrected’ increase in axial length was 5.2 ± 11.2 µm, and 7.4 ± 18.9 µm for the 3 D and 6 D stimuli respectively. There was no significant difference between the myopic and emmetropic populations in terms of the magnitude of change in axial length with accommodation, regardless of whether the data were corrected or not. A number of other ocular biometric parameters, such as anterior chamber depth, lens thickness and vitreous chamber depth also exhibited significant change with accommodation. The myopic and emmetropic populations also exhibited no significant difference in the magnitude of change in these parameters with accommodation. Conclusions: The eye undergoes a significant axial elongation associated with a brief period of accommodation, and the magnitude of this change in eye length increases for larger accommodation demands, however there is no significant difference in the magnitude of eye elongation in myopic and emmetropic subjects.
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Sections contributed by Jean Sim Agricultural Colleges; p.12 Anzac Park, Townsvile; p.22 Anzac Square, Brisbane; pp.22-23 Benson, Albert Herbert; p.86 Bick, Edward Walter; p.88 Bougainvillea Gardens; p.101 Bowen Park; pp.101-102 Boyd, A.J.; p.103 Brisbane Botanic Gardens; pp.104-105 Bush-house; pp.119-121
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Caulfield, Harold William; p.131 Cowan, Alexander; p.164 Cowley, Ebenezer; p.164 East Talgai Station; p.193 Eaves, S.H.; p.193-194 Edgar, J.S.; p.196 Everist, Selwyn; p.206 Experimental Farms and Gardens; pp.207-208 Government Houses - Queensland; pp.267-268
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The Oxford Companion to Australian Gardens is the first comprehensive reference book to cover all aspects of Australian gardens, and the history of gardening and garden design in Australia. The book is comprised of over 400 thematic, bibliographic and place based entries, and is extensively illustrated and cross referenced to ensure ease of use and thorough coverage of the field. The Companion contributes to the understanding of gardens and gardening by including entries on designed landscapes, agriculture, architecture, art, botany, ecology, forestry, horticulture, landscape architecture, town planning and viticulture and will become the standard reference on the subject. Herbert,
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New Farm Park; p.436 Oakman, H.O. (with Jan Seto); p.449 Paranella, Jose; p.463 Perrott family; p.469 Pink, James; p.475 Queensland; pp.495-497 The Queenslander; pp.497-498 The Queensland Horticulturist; p.498 Rawson, Mina; p.502 Rockhampton Botanic Gardens; p.572
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Presented as part of the Sampled Festival at Sadlers Wells UK in January 2009, PIPP #2 continues the exploration of the first installation (PIPP #1 Leeds) and asks audiences to connect with an interactive work presented in the foyer of a major dance festival. Literally choreographing their own dances on the walls of the venue, pedestrians re-connect with the architectural surrounds generating unique memories of self.
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The Silk Road Project was a practice-based research project investigating the potential of motion capture technology to inform perceptions of embodiment in dance performance. The project created a multi-disciplinary collaborative performance event using dance performance and real-time motion capture at Deakin University’s Deakin Motion Lab. Performances at Deakin University, December 2007.
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This paper presents evidence of an apparent connection between ball lightning and a green fireball. On the evening of the 16th May 2006 at least three fireballs were seen by many people in the skies of Queensland, Australia. One of the fireballs was seen passing over the Great Divide about 120 km west of Brisbane, and soon after, a luminous green ball about 30 cm in diameter was seen rolling down the slope of the Great Divide. A detailed description given by a witness indicates that the phenomenon was probably a highly luminous form of ball lightning. An hypothesis presented in this paper is that the passage of the Queensland fireball meteor created an electrically conductive path between the ionosphere and ground, providing energy for the ball lightning phenomenon. A strong similarity is noted between the Queensland fireball and the Pasamonte fireball seen in New Mexico in 1933. Both meteors exhibit a twist in the tail that could be explained by hydrodynamic forces. The possibility that multiple sightings of fireballs across South East Queensland were produced owing to fragments from comet 73P Schwassmann-Wachmann 3 is discussed.
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The artwork I created is to depict missing of face-to-face communication in this digital and information era. It can be seen that social network technologies have enhanced people-to-people communications and enriched their interactions. Yet, these inundated communication mediums have changed people’s preferences for communication through visual-driven interface. This has reduced people’s capabilities of communication skills including listening. Surprisingly, it was reported that 70 percent of young generations are non-auditory learners, influenced by the visual nature of communication (McCrindle, 2006). As a result, they are defined as a pragmatic generation focussed on outcomes and not processes. This serious and societal issue was drawn with a somewhat violent and aggressive form, yet its pop art style should enable audience to approach to the theme with a satirical and light way.
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The artwork was created to respond to the exhibition theme, "DIGILOG+IN". It aimed to express the beauty when digital and analogue materials are combined. It visualised an organic harmony between digital and natural objects through digitalisation and builded a fantasy of digital world. However, there was a conceptual dilemma that a “digitalisation” of natural objects into a digital format should merely become a digital work. In other words, a harmony between digital and analogue (natural) can be only achieved through a digitalising process by removing intrinsic nature of analogues. Therefore, the substance of analogues no longer exists in a digitally visualised form, but is virtually represented. The title of art work “digitualisation” is a combined word with “digi-tal” and vir-tualisation”. It refers to a digitally virtualising the substance of natural objects. The artwork visualised the concept of digitualisation by using natural objects (flowers) that are merged within a virtual space (a building entrance foyer).
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This article describes how to use a siphon to drain floodwaters. A siphon is a tube that conveys water to a lower level via point above the upper water level by gravity. A siphon can be set up to drain existing floodwaters more quickly than they would naturally and can also prevent flooding. Siphons are particularly useful in situations where no pump is available, and a drainage point exists lower than the level of the floodwaters. Some case studies are presented.
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This exhibition engages with one of the key issues facing the fashion textiles industry in terms of future sustainability: that of the well being of fashion industry workers in Australia and New Zealand (people). This collection formed the basis of my honours dissertation (completed in New Zealand in 2008) which examines the contribution that design can make to sustainable manufacturing; particularly design for local production and consumption. An important aspect this work is the discussion of source, the work suggests that the made in China syndrome (in reference to the current state of over-consumerism in Australia and New Zealand) could be bought to a close through design to minimize waste and maximize opportunity for ‘people’: in this case both garment workers and the SMEs that employ them. The garments reflect the possibilities of focusing on a local approach that could be put into practice by a framework of SMEs that already exist. In addition the design process is highly transferrable and could be put into practice almost anywhere with minimal set up costs and a design ethos that progresses at the same pace as the skills of workers. This collection is a physical and conceptual embodiment of a source local/make local/sell local approach. The collection is an example of design that demonstrates that this is not an unrealistic ideal and is in fact possible through the development of a sustainable industry, in the sense of people, profit and planet, through adoption of a design process model that stops the waste at the source, by making better use of the raw materials and labour involved in making fashion garments. Although the focus of this research appears to centre on people and profit, this kind of source local/make local/sell local approach also has great benefits in terms of environmental sustainability.
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This series comprises three artefacts described below: Evangeline: Classic Gothic Lolita [3 piece garment]. Evangeline 2: Classic Gothic Lolita Pullip Doll Costume [2 piece garment]. Evangeline 3: Classic Gothic Lolita Mini Pullip Doll Costume [3 piece garment]. The series was part of an exhibition curated by Kathryn Hardy Bernal entitled: "Loli-Pop: A downtown Auckland view on Japanese street fashion". The exhibition explored the connections between gothic lolita fashion and popular culture. This work reflects on the aspect of collections in respect of the work of Hardy Bernal in relation to the connection between the japanese classic gothic lolita and the doll culture surrounding the movement. The pieces are interconnected and intended to communicate these aspects through a doll like dress worn by a model (Evangeline 1], carrying a doll wearing the same dress [Evangeline 2], carrying a smaller doll again wearing the same dress [Evangeline 3]. The artefacts appeared appeared as a central piece in the exhibition which was held at the War Memorial Museum in Auckland, New Zealand (15 September - 25 November 2007).