Image featuring for retrieval of multimedia documents

The utilization of massive multimedia documents collections, such as multimedia documents in the global Internet, needs search engines which can rank using both text and image evidence. Massive size and (dynamic) nature of collection can make manual indexing prohibitively expensive in such situations. Traditional search engines utilize only text components of multimedia documents. But there are information needs, which require the utilization of image evidence. In this paper, we investigate image-feature for large and heterogeneous collections. Both the nature and complexities of information needs are key elements for an effective retrieval. Retrieval needs that depend on perceptual similarities (as found in art galleries, building architecture) require the utilization of visual cues. In such situations, the retrieval of multimedia document based on image ranking can provide higher effectiveness. Experimental results show that effectiveness of ranking based on image feature can be higher where perceptual similarities are key elements for retrieval than the retrieval effectiveness of algorithms based on text ranking algorithms

A virtual environment for cultural and linguistic inclusivity teaching in a global environment

The Deakin University (Melbourne, Australia) operational policy on 'International and Culturally Inclusive Curricula' states that Deakin will incorporate international/intercultural perspectives and inclusive pedagogies into its courses in order to prepare all students to perform capably, ethically and sensitively in international, multicultural, professional and social contexts.

This paper is about a specific project to internationalise the teacher education curriculum through the use of Information and Communication Technologies (ICT). This project is scoped in the context of the UNESCO thrust of 'Education for All' in agreeing that inclusive societies begin with inclusive education practices. In our view current strategies have been insufficient to ensure that marginalized and excluded children receive access to their right to education.

The project aims to operationalise part of the UNESCO Dakar Framework for high quality learning environments by responding to ‘…the diverse needs and circumstances of learners and giving appropriate weight to the abilities, skills and knowledge they bring to the teaching and learning process’ by minimising language acquisition barriers that can otherwise impede effective communication and learning.

In addition, we need to be mindful of the marginalisation of people from non-English speaking backgrounds and therefore, in this initiative we use ICT to bridge the 'tyranny of distance' and offer a curriculum that values cultural and linguistic diversity.

In this paper we will discuss how we intend to develop these project principles. In particular we will indicate our plans to use relatively low cost, accessible software to develop a virtual environment where students can enter text in their native language, view foreign language text in their native language, hear text in their own language and automatically encode text into MP3 files and attach the files to messages.

Revelationary art of Joyce Lorraine Sullivan : an artist's experience of her inner dimensions, an inner journey of discovery

[No Abstract]

Metaphoric use of the mountain symbol in painting

This paper consists of two parts. The focus of Part I is the symbol of the mountain and its metaphoric use in art history and in the mythology of many cultures. Part II links an examination of twentieth century contemporary artists and relevant issues, the mythology and historical references covered in Part I and the paintings that make up the body of the thesis. The study is concerned with the role of the symbol and the form of its interpretation in the expression of ideas and images that are relevant to it. These themes have been developed in order to place the paintings in a context of continuity and establish iconographic links with the past. One particular site has been chosen through which to examine the symbolic associations between the mountain and the metaphoric quest. The metaphor of pilgrimage to the site and of searching for a lost unity is implicit in this process. The realisation reached at the summit confirms the significance of this journey. Each painting is discussed and linked with the themes that are relevant to it, linking the research recorded in Part I with the execution of the paintings, aiming at a synthesis of theory and practice.

Beyond the analogon; the "transfer of the referent" : the relationship between the external world experienced through culturally generated perceptual models constructed in the human mind, and the transfer of these images, via visual language, onto referen

Within 20th. Century art, the concept of the ‘normative’ image, as an attribute of things, has been challenged. As a consequence, paintings must now picture the ‘real’ world in other ways, incorporating knowledge and meaning beyond the analogon. Such descriptive representations were revealed as paradigmatic, rather than incontrovertible fact. Dependent on pre-conceived notions of stereotypicality, these descriptive images relied on surface illumination. My thesis explores images of things in the world as culturally inspired and information based. I examine paintings and sculptures of other cultures, such as black African, and other historical periods such as the Medieval, which reveal metonymously the basis for variations in representations of the ‘real’ world. The new enhanced representations which Modern artists created in their work were denigrated as deviant from the absolute ‘normative’ or regarded as distortions for purely mannerist and stylistic reasons. Postmodern research has reassessed them as multiple or extended imagings in whose facture new knowledge and human responses can be incorporated. These new forms of representation can be regarded as theoretical constructs rather than stylised depictions of appearance. In this way referents are transferred through the mind onto objects and vistas in the real world to align with our developed view of the physical world and better our understanding of humanity’s symbiotic relationship with nature.

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.

Tracks

The artwork is intended to celebrate the rich cultural heritage of North Terrace and by extension, the many layered cultural facets of South Australia. It is called ‘Tracks’ because the stories are presented as moving tracks of electronic text in vertical columns, in an LED(lighting omitting diode) medium. It is also called ‘Tracks’ because the siting of the LED pillars is determined by a ‘variable grid’ ground pattern which forms a significant feature of the new landscape design. It celebrates the cultural heritage of North Terrace through the composition of four text gathering histories, anecdotes, facts and aspirations under the four headings of air, water, fire and earth. These stories are presented to the public as four colour differentiated continuous streams or tracks of electronic text in four columns placed on the northern side of North Terrace.

L. Bernard Hall and the feminine in Australian painting 1885-1935

This thesis draws on images to explore the processes by which an individual - Lindsay Bernard Hall - and a categorical concept - the feminine - became devalued in Australia's national tradition. It celebrates Hall's contribution to Australia's cultural heritage and the significance of his art in the visual record of modernising womanhood.

Murder and art : the causal links

The central focus of the thesis is to make clear certain links the author perceives between the criminal temperament and the artistic temperament. Concentrates on a small selection of these artists and attempts to come to terms with their preoccupation with dark subject matter.

The staging of identity in other/s' spaces

Exploring the framing of identity within different modes of representation, particularly Australian art, the thesis built on poststructural discussions of inside/outside power relations, conceptualising art as a political tool for the staging of identity, not only for the subjects inside the artwork, but also the viewer, and marginalised artist/author.

Cultural politics in the English classroom : textually dangerous territory?

How might one approach cultural politics in the English classroom? What might the role of the class text be in these discussions? This article is a snapshot of the author's journey from a pre-service English teacher to her most recent experiences of English teaching. Her pre- service pedagogy indicated a 'minimization' of the role of the text in unpacking cultural politics; the text itself was overshadowed by the important points the teacher was making about critiquing the way the world is socially, culturally and politically organised. In her beginning teaching year, the author was in a remote rural school where she encountered attitudes to hegemonic masculinity and heterosexuality which she felt she did not deal appropriately with. She now believes that more emphasis on how the features of the text itself work to create meaning and construct identities is needed. She recognises the importance of close textual analysis as a way toward engaging in culturally political conversations about constructions of gender and sexuality in media and non-media texts. If she were to have her beginning teaching years over again, she would probably collate a series of contrasting representations of masculinity and femininity from a variety of sources, including popular culture. She would then develop activities based around undertaking textual analysis of the constructions of gender and sexuality, and ask students to identify the different elements in the texts that create meaning, and compare similarities and differences between texts.

A naïve, salience-based method for speaker identification in fiction books

This paper presents a salience-based technique for the annotation of directly quoted speech from fiction text. In particular, this paper determines to what extent a naïve (without the use of complex machine learning or knowledge-based techniques) scoring technique can be used for the identification of the speaker of speech quotes. The presented technique makes use of a scoring technique, similar to that commonly found in knowledge-poor anaphora resolution research, as well as a set of hand-coded rules for the final identification of the speaker of each quote in the text. Speaker identification is shown to be achieved using three tasks: the identification of a speech-verb associated with a quote with a recall of 94.41%; the identification of the actor associated with a quote with a recall of 88.22%; and the selection of a speaker with an accuracy of 79.40%.

Spirituality in the work of Theodore Roszak : implications for contemporary ecopsychology

Despite the recent flourishing of ecopsychology research, risks may be involved if ecopsychology remains a loosely defined paradigm. We suggest that drawing from some of the central themes of Theodore Roszak’s The Voice of the Earth (1992), a seminal text of ecopsychology, may help to elucidate the unique contribution of ecopsychology and its sustained relevance for environmentally focused psychologies. To provide a comprehensive review, we consider The Voice of the Earth by placing this text in the context of Roszak’s broader body of literature, discussing his earlier and more recent works. We particularly focus on the theme of spiritual experience throughout Roszak’s literature, as we believe that this is one of the more unique and important aspects of his work that has implications for the future development of ecopsychology as a paradigm and social movement. In conclusion, we suggest that Roszak’s emphasis on the value of a spiritual or animistic experience of nature, as a means of fostering empathy toward the natural world, may assist in providing meaningful focus to contemporary ecopsychology.

Fusionscape: Corangamarah Art Prize

Pre-selected finalist in Art Award

Attrition and maintenance of the Berber language in Tunisia

In this article, I examine the situation of Tunisian Berber from a linguistic and sociolinguistic perspective. The prolonged institutional marginalization of this language, the lack to date of a comprehensive documentation, and the passive attitude of the speakers themselves are contributing factors to its current decline. Present predictions as to its immediate extinction are alarming. However, conclusions drawn in other studies are not adequately supported and evidence from data recently collected in southern Tunisia partially refutes the claim that the decline of Tunisian Berber is irreversible. Even though attrition is evident in borrowing en masse from Arabic, grammatical evidence shows little structural change. After many years of neglect, efforts to document fully the remaining vernaculars are a positive step towards the revival of this variety of Berber. In this article I have three goals. First, to give an assessment of the problems and the challenges facing Tunisian Berber. Second, to describe the extent of attrition of this language based on field-collected data and, third, to suggest some directions for future studies of Tunisian Berber and strategies to stimulate its revival. Complete oral narratives, the first to be published, will be appended to the text in order to allow the linguistic community access to materials in its language.