something 2.0

In ‘something 2.0’, a section of a Hollywood film is re-edited to include textual elements that appear as ‘Pinocchio-ish’ protrusions from the actors faces. As they sit in what appears to be an interview or therapy session, this re-editing and looping imposes a new fictionalized narrative upon the characters. The histrionic yet vague nature of the text, and its imperfect integration into the footage, can be read as both a comical imposition and a failed critical gesture, both speaking to the complications involved in the relationship of the artist and the fan as they engage with popular culture. Thw work was included in the group show 'Perfection' part of the Metro Arts Artistic Program 2008.

Top Ten Box Office Blockbusters of All Time

‘Top Ten Box Office Blockbusters in Dollars’, is an ongoing series of works that represent the production budgets and worldwide gross profits of the top ten grossing films of all time. By displaying this data on top of the full running time of each blockbuster, the viewer’s attention is drawn back and forth between the amassing dollar figures, and the original film’s highly polished presentation. In doing so, the work aims to provide a new opportunity to enjoy these immensely popular films with a new sense of value. The exhibition was selected for the Artistic Program at MetroArts, Brisbane in 2010

Turtle Twilight

“Turtle Twilight” is a two-screen video installation. Paragraphs of text adapted from a travel blog type across the left-hand screen. A computer-generated image of a tropical sunset is slowly animated on the right-hand screen. The two screens are accompanied by an atmospheric stock music track. This work examines how we construct, represent and deploy ‘nature’ in our contemporary lives. It mixes cinematic codes with image, text and sound gleaned from online sources. By extending on Nicolas Bourriad’s understanding of ‘postproduction’ and the creative and critical strategies of ‘editing’, it questions the relationship between contemporary screen culture, nature, desire and contemplation.

My mother is water, my father is wood

'my mother is water, my father is wood' was an installation comprised of two large cork discs mounted on the gallery floor and wall, overlaid with images of photographic and archival research evidence, and a turned wood sculptural object. It also included a short video work on a miniature screen embedded in the upright disc. The work explored the language of natural elements and the structure of genealogical research to discuss the Scandinavian history of Queensland and my own family. The work was selected by the directors of LEVEL ARI in Brisbane for inclusion in their 2011 exhibitions program.

Swimming but drowning

This single-channel digital video work documents a performative event, the disintegrative process as a drawing-object is progressively submerged within water. This work forms part of a series of video works examining ephemerality within art and the iconoclastic impulse. This is informed by Gustav Metzger’s conceptualisation of auto-destructive art (1959) as that which contains within itself an agent, which automatically leads to its destruction. Here, the ontological moment of the work corresponds to its demise, investigating a symbiotic relationship between creation and destruction. It addresses the phenomenology and epistemology of destruction in art when presented by the artist, as both a process and an ethical position. The work was included in the group show 'The Construct', curated by Kris Carlon for Artworkers' Residency and Exhibition Project 2006 at the State Library of Queensland.

Grounded Media: Expanding the Scope of Ecological Art Practices Within New Media Arts Culture

‘Grounded Media’ is a form of art practice focused around the understanding that our ecological crisis is also a cultural crisis, perpetuated by our sense of separation from the material and immaterial ecologies upon which we depend. This misunderstanding of relationships manifests not only as environmental breakdown, but also in the hemorrhaging of our social fabric. ‘Grounded Media’ is consistent with an approach to media art making that I name ‘ecosophical’ and ‘praxis-led’ – which seeks through a range of strategies, to draw attention to the integrity, diversity and efficacy of the biophysical, social and electronic environments of which we are an integral part. It undertakes this through particular choices of location, interaction design,participative strategies and performative direction. This form of working emerged out of the production of two major projects, Grounded Light [8] and Shifting Intimacies [9] and is evident in a recent prototypical wearable art project called In_Step [6]. The following analysis and reflections will assist in promoting new, sustainable roles for media artists who are similarly interested in attuning their practices.

Relics

Relics is a single-channel video derived from a 3D computer animation that combines a range of media including photography, drawing, painting, and pre-shot video. It is constructed around a series of pictorial stills which become interlinked by the more traditionally filmic processes of panning, zooming and crane shots. In keeping with these ideas, the work revolves around a series of static architectural forms within the strangely menacing enclosure of a geodesic dome. These clinical aspects of the work are complemented by a series of elements that evoke fluidity : fireworks, mirrored biomorphic forms and oscillating projections. The visual dimension of the work is complemented by a soundtrack of rainforest bird calls. Through its ambiguous combination of recorded and virtual imagery, Relics explores the indeterminate boundaries between real and virtual space. On the one hand, it represents actual events and spaces drawn from the artist studio and image archive; on the other it represents the highly idealised spaces of drawing and 3D animation. In this work the disembodied wandering virtual eye is met with an uncanny combination of scenes, where scale and the relationships between objects are disrupted and changed. Through this simultaneity between the real and the virtual, the work conveys a disembodied sense of space and time that carries a powerful sense of affect. Relics was among the first international examples of 3D animation technology in contemporary art. It was originally exhibited in the artist’s solo show, ‘Places That Don’t Exist’ (2007, George Petelin Gallery, Gold Coast) and went on to be included in the group shows ‘d/Art 07/Screen: The Post Cinema Experience’ (2007, Chauvel Cinema, Sydney) , ‘Experimenta Utopia Now: International Biennial of Media Art’ (2010, Arts Centre, Melbourne and national touring venues) and ‘Move on Asia’ (2009, Alternative space Loop, Seoul and Para-site Art Space, Hong Kong) and was broadcast on Souvenirs from Earth (Video Art Cable Channel, Germany and France). The work was analysed in catalogue texts for ‘Places That Don’t Exist’ (2007), ‘d/Art 07’ (2007) and ‘Experimenta Utopia Now’ (2010) and the’ Souvenirs from Earth’ website.

Delivery

'Delivery' (2005) was an installation work at MetroArts, Brisbane that incorporated drawings, paintings, video projections and temporary architectural structures. The work made central use out of a mock public event, staged in a Gold Coast park by the artist. Documentary footage of the ambiguous event comprised one of the video projections and formed the basic iconographic palette upon which the rest of the works were based. Using 3D animation as well as conventional drawing and paintign approaches, the works conveyed a palpable sense of fragmentation and social dislocation - a quality that was heightened by the reflective panels that bisected the exhibition space. The work was [part of the MetroArts Artistic Program in 2005 and its video elements were included in the 2008 exhibition Video Ground, curated by Rachel O'Reilly for Multimedia Art Asia Pacific (MAAP)/Bangkok Experimental Film Festival (Touring show). The work was the subject of a feature article by Mark Pennings in Eyeline magazine, and also appeared on the front cover of that issue.

Property, planning and purpose : legal concerns facing broadband rollout in Australia

The Australian government, and opposition, are committed to facilitating high-speed broadband provision. In April 2009 the (then) Labor government announced a proposal to facilitate provision by mandating “…the use of fibre optic infrastructure … in greenfield estates ….” Separately, the installation of (usually overhead) cables commenced in select brownfield areas throughout Australia. In the lead up to the 2010 federal election, the broadband policy focus of the (then) federal opposition was to enabling private investment rather than direct investment by government itself. High-speed broadband is essential for Australia’s economic future. Whether implementation is undertaken by government, government owned corporations or private investors, will impact on the processes to be followed. Who does what, also will determine the rights available to land owners. The next stage, of necessity, will involve the establishment of procedures to require the retrofitting of existing urban environments. This clearly will have major property, property rights and valuation impacts. As Horan (2000) observed “…preserving... unique characteristics … of…regions requires a compromise between economic ambitions and social, cultural, and environmental values”. The uncertainty following the federal election, and the influence of independants with individual agendas; presents unique challenges for broadband implementation. This paper seeks to identify the processes to be followed by various potential broadband investors as they work to establish a ubiquitous network. It overviews current legislative regimes and examines concerns raised by stakeholders in various government reviews. It concludes by plotting a clear way forward to the future, with particular regard to property rights and usage.

Rethinking prefabricated construction management using the VP-based IKEA model in Hong Kong

Prefabricated construction is regarded by many as an effective and efficient approach to improving construction processes and productivity, ensuring construction quality and reducing time and cost in the construction industry. However, many problems occur with this approach in practice, including higher risk levels and cost or time overruns. In order to solve such problems, it is proposed that the IKEA model of the manufacturing industry and VP technology are introduced into a prefabricated construction process. The concept of the IKEA model is identified in detail and VP technology is briefly introduced. In conjunction with VP technology, the applications of the IKEA model are presented in detail, i.e. design optimization, production optimization and installation optimization. Furthermore, through a case study of a prefabricated hotel project in Hong Kong, it is shown that the VP-based IKEA model can improve the efficiency and safety of prefabricated construction as well as reducing cost and time.

Wilkins Hill : on the cusp of meaning

If contemporary artworks are often considered to be puzzles or riddles, then Wilkins Hill take this to a new level. Their recent exhibition Windows impersonating other windows, confronts viewers with an extremely ludic configuration: a spa bath full of almonds, towel racks placed before photos of Martin Heidegger distorted in neat grids, a video of a water tower in a Hamburg park, wooden cut-out speech bubbles and monitors that continuously play interviews with the artists themselves. What does it all mean?

When There's Love

This work is an installation featuring three video projections, music and mirror balls. The three projections fill the walls with scrolling text borrowed from love song lyrics. Headphones in the gallery space allow you to hear a male voice sing the same words to an impromptu tune. Mirror balls send fragments of light spinning around the room while The Righteous Brothers’ Unchained Melody plays on repeat. This work emphasizes fragmentary, repetitious and spatio-temporal experiences of language in order to question the symbolic conventions of romance. By exaggerating and mixing hackneyed symbolic elements, this work extends on some of Nicolas Bourriaud’s theoretical insights into the creative and critical strategies of ‘postproduction’. In particular, it toys with the intersections between popular culture and inter-subjective experiences.

Evaluation of the Type I child car restraints fitting service in WA

Child passenger injury remains a major road safety issue despite advances in biomechanical understanding and child restraint design. In Australia, one intervention with parents to encourage universal and consistent use of the most appropriate restraint as well as draw their attention to critical aspects of installation is the RoadWise Type 1 Child Car Restraints Fitting Service, WA. A mixed methods evaluation of this service was conducted in early 2010. Evaluation results suggest that it has been effective in ensuring good quality training of child restraint fitters. In addition, stakeholder and user satisfaction with the Service is high, with participants agreeing that the Service is valuable to the community, and fitters regarding the training course, materials and post-training support as effective. However, a continuing issue for interventions of this type is whether the parents who need them perceive this need. Evidence from the evaluation suggests that only about 25% of parents who could benefit from the Service actually use it. This may be partly due to parental perceptions that such services are not necessary or relevant to them, or to overconfidence about the ease of installing restraints correctly. Thus there is scope for improving awareness of the Service amongst groups most likely to benefit from it (e.g. new parents) and for alerting parents to the importance of correct installation and getting their self-installed restraints checked. Efforts to inform and influence parents should begin when their children are very young, preferably at or prior to birth and/or before the parent installs the first restraint.

Green buildings for greying people : a case study of a retirement village in Australia

Purpose With an increasingly ageing population and widespread acceptance of the need for sustainable development in Australia, the demand for green retirement villages is increasing. This paper aims to identify the critical issues to be considered by developers and practitioners when embarking on their first green residential retirement project in Australia. Design/methodology/approach In view of the lack of adequate historical data for quantitative analysis, a case study approach is employed to examine the successful delivery of green retirement villages. Face-to-face interviews and document analysis were conducted for data collection. Findings The findings of the study indicate that one of the major obstacles to the provision of affordable green retirement villages is the higher initial costs involved. However, positive aspects were identified, the most significant of which relate to: the innovative design of site and floor plans; adoption of thermally efficient building materials; orientation of windows; installation of water harvesting and recycling systems, water conservation fittings and appliances; and waste management during the construction stage. With the adoption of these measures, it is believed that sustainable retirement development can be achieved without significant additional capital costs. Practical implications The research findings serve as a guide for developers in decision making throughout the project life-cycle when introducing green features into the provision of affordable retirement accommodation. Originality/value This paper provides insights into the means by which affordable green residential retirement projects for aged people can be successfully completed.

Analysis and correction of voltage profile in low voltage distribution networks containing photovoltaic cells and electric vehicles

Voltage drop and rise at network peak and off–peak periods along with voltage unbalance are the major power quality problems in low voltage distribution networks. Usually, the utilities try to use adjusting the transformer tap changers as a solution for the voltage drop. They also try to distribute the loads equally as a solution for network voltage unbalance problem. On the other hand, the ever increasing energy demand, along with the necessity of cost reduction and higher reliability requirements, are driving the modern power systems towards Distributed Generation (DG) units. This can be in the form of small rooftop photovoltaic cells (PV), Plug–in Electric Vehicles (PEVs) or Micro Grids (MGs). Rooftop PVs, typically with power levels ranging from 1–5 kW installed by the householders are gaining popularity due to their financial benefits for the householders. Also PEVs will be soon emerged in residential distribution networks which behave as a huge residential load when they are being charged while in their later generation, they are also expected to support the network as small DG units which transfer the energy stored in their battery into grid. Furthermore, the MG which is a cluster of loads and several DG units such as diesel generators, PVs, fuel cells and batteries are recently introduced to distribution networks. The voltage unbalance in the network can be increased due to the uncertainties in the random connection point of the PVs and PEVs to the network, their nominal capacity and time of operation. Therefore, it is of high interest to investigate the voltage unbalance in these networks as the result of MGs, PVs and PEVs integration to low voltage networks. In addition, the network might experience non–standard voltage drop due to high penetration of PEVs, being charged at night periods, or non–standard voltage rise due to high penetration of PVs and PEVs generating electricity back into the grid in the network off–peak periods. In this thesis, a voltage unbalance sensitivity analysis and stochastic evaluation is carried out for PVs installed by the householders versus their installation point, their nominal capacity and penetration level as different uncertainties. A similar analysis is carried out for PEVs penetration in the network working in two different modes: Grid to vehicle and Vehicle to grid. Furthermore, the conventional methods are discussed for improving the voltage unbalance within these networks. This is later continued by proposing new and efficient improvement methods for voltage profile improvement at network peak and off–peak periods and voltage unbalance reduction. In addition, voltage unbalance reduction is investigated for MGs and new improvement methods are proposed and applied for the MG test bed, planned to be established at Queensland University of Technology (QUT). MATLAB and PSCAD/EMTDC simulation softwares are used for verification of the analyses and the proposals.