Supermassive

“Supermassive” is a synchronised four-channel video installation with sound. Each video channel shows a different camera view of an animated three-dimensional scene, which visually references galactic or astral imagery. This scene is comprised of forty-four separate clusters of slowly orbiting white text. Each cluster refers to a different topic that has been sourced online. The topics are diverse with recurring subjects relating to spirituality, science, popular culture, food and experiences of contemporary urban life. The slow movements of the text and camera views are reinforced through a rhythmic, contemplative soundtrack. As an immersive installation, “Supermassive” operates somewhere between a meditational mind map and a representation of a contemporary data stream. “Supermassive” contributes to studies in the field of contemporary art. It is particularly concerned with the ways that graphic representations of language can operate in the exploration of contemporary lived experiences, whether actual or virtual. Artists such as Ed Ruscha and Christopher Wool have long explored the emotive and psychological potentials of graphic text. Other artists such as Doug Aitken and Pipilotti Rist have engaged with the physical and spatial potentials of audio-visual installations to create emotive and symbolic experiences for their audiences. Using a practice-led research methodology, “Supermassive” extends these creative inquiries. By creating a reflective atmosphere in which divergent textual subjects are pictured together, the work explores not only how we navigate information, but also how such navigations inform understandings of our physical and psychological realities. “Supermassive” has been exhibited internationally at LA Louver Gallery, Venice, California in 2013 and nationally with GBK as part of Art Month Sydney, also in 2013. It has been critically reviewed in The Los Angeles Times.

Tranquility falls

“Tranquility Falls” depicts a computer-generated waterfall set to sentimental stock music. As the water gushes, text borrowed from a popular talk show host’s self-help advice fade in and out graphically down the screen. As the animated phrases increase in tempo, the sounds of the waterfall begin to overwhelm the tender music. By creating overtly fabricated sensations of inspiration and awe, the work questions how and where we experience contemplation, wonderment and guidance in a contemporary context. “Tranquility Falls” contributes to studies in the field of contemporary art. It is particularly concerned with representations of spirituality and nature. These have been important themes in art practice for some time. For example, artists such as Olafur Eliasson and James Turrell have created artificial insertions in nature in order to question contemporary experiences of the natural environment. Other artists such as Nam Jun Paik have more directly addressed the changing relationship between spirituality and popular culture. Using a practice-led research methodology, “Tranquility Falls” extends these creative inquiries. By presenting an overtly synthetic but strangely evocative pun on a ‘fountain of knowledge’, it questions whether we are informed less by traditional engagements with organised religions and natural wonder, and instead, increasingly reliant on the mechanisms of popular culture for moments of insight and reflection. “Tranquility Falls” has been exhibited internationally at LA Louver Gallery, Venice, California in 2013 and nationally with GBK as part of Art Month Sydney, also in 2013. It has been critically reviewed in The Los Angeles Times.

Controlling buoyancy-driven profiling floats for applications in ocean observation

Establishing a persistent presence in the ocean with an autonomous underwater vehicle (AUV) capable of observing temporal variability of large-scale ocean processes requires a unique sensor platform. In this paper, we examine the utility of vehicles that can only control their depth in the water column for such extended deployments. We present a strategy that utilizes ocean model predictions to facilitate a basic level of autonomy and enables general control for these profiling floats. The proposed method is based on experimentally validated techniques for utilizing ocean current models to control autonomous gliders. With the appropriate vertical actuation, and utilizing spatio–temporal variations in water speed and direction, we show that general controllability results can be met. First, we apply an A* planner to a local controllability map generated from predictions of ocean currents. This computes a path between start and goal waypoints that has the highest likelihood of successful execution. A computed depth plan is generated with a model-predictive controller (MPC), and selects the depths for the vehicle so that ambient currents guide it toward the goal. Mission constraints are included to simulate and motivate a practical data collection mission. Results are presented in simulation for a mission off the coast of Los Angeles, CA, USA, that show encouraging results in the ability of a drifting vehicle to reach a desired location.

Organized crime in Oceania

Oceania has a relatively low level of crime prevalence yet in the smaller and under-developed PICs we have shown that transnational crime has become increasingly common. A risk contained but potentially dangerous if state failure or fragility undermines law enforcement capacities. We predict that as the pace of globalization quickens and the demand for raw materials and resources grows some parts of the Pacific will be prone to criminal enterprises run by both indigenous and foreign crime groups. Australia and New Zealand will remain attractors of illicit goods notably ATS but will in turn be source countries for diminishing fish stock such as beche de mere and abalone as well forest timber. Finally the role of states such as Australia and New Zealand in helping to maintain law enforcement capacities throughout the region will be crucial if organized crime in Oceania is to be kept in check while demand for illicit resources grow.

Transnational organized crime in Oceania

Oceania has a relatively low level of crime prevalence yet in the smaller and under-developed PICs we have shown that transnational crime has become increasingly common. A risk contained but potentially dangerous if state failure or fragility undermines law enforcement capacities. We predict that as the pace of globalization quickens and the demand for raw materials and resources grows some parts of the Pacific will be prone to criminal enterprises run by both indigenous and foreign crime groups. Australia and New Zealand will remain attractors of illicit goods notably ATS but will in turn be source countries for diminishing fish stock such as beche de mere and abalone as well forest timber. Finally the role of states such as Australia and New Zealand in helping to maintain law enforcement capacities throughout the region will be crucial if organized crime in Oceania is to be kept in check while demand for illicit resources grow.

Show me the magic : the adventures of Don McAlpine

Synopsis Show Me The Magic takes us on an enthralling and joyful journey into the life and work of the legendary and world-renowned Australian cinematographer, Don McAlpine. A country kid from the small wheat-belt town of Quandialla in isolated south-western New South Wales, Australia, McAlpine was born in 1934 - the year before the first technicolour film was released. There wasn’t even a cinema in Quandialla. Don helped his mother support their family from the age of 14, when his father was stricken by tuberculosis. His part-time job at the Temora chemist as a darkroom photo developer struck a chord in young Don's soul. Soon, a school performance of The Mikado ignited in him the desire to entertain an audience. His fascination with the magical images emerging from his darkroom set him on the winding path that would eventually lead to the glittering lights of Hollywood, where, in 2009, he received the American Society of Cinematographers’ “International Cinematographer of the Year” Award in front of the foremost luminaries of the American film industry. That same year, Don shot his 50th film, X-Men Origins: Wolverine, a big-budget, effects-driven action movie directed by Oscar-winner Gavin Hood and starring Hugh Jackman. Show Me the Magic takes us on set and behind the scenes of that film. In 2011, Don posted another landmark: Mental, a low budget movie directed by PJ Hogan (Muriel’s Wedding, My Best Friend’s Wedding, Peter Pan). Mental was Don’s first digital film and his first Australian film in 25 years. As we travel with Don back into his past, and into the Australian outback landscape that he loves so much, we experience the extremes of movie making: embedded alongside him on the contrasting sets of Wolverine and Mental, we peel back the layers of what Don calls ‘the beautiful deception' of cinema to illuminate the world behind the screen. Joined by celebrated Australian directors Bruce Beresford and Gillian Armstrong, we explore the heritage of the remarkable Australian films that Don photographed, including the iconic Breaker Morant and My Brilliant Career. In Los Angeles, Don reconnects with Paul Mazursky who gave him his big break in Hollywood with Tempest and followed up with Down and Out in Beverly Hills. And two Australians of a later generation - Baz Luhrmann and Catherine Martin - take us behind the scenes on Don’s spectacular creative achievements – Romeo + Juliet and Moulin Rouge! At once the story of a remarkable man and an exploration of filmmaking at the highest level, Show Me The Magic will engage and entrance anyone who has ever been touched by the magic of movies. - See more at: http://www.showmethemagic.com.au/film.htm#synopsis" This film is dedicated to the memory of South African film-maker Peter Henkel, 1924 - 1992.

Measuring Nutrition Work Across Queensland

The public health and community nutrition workforce in Queensland has experienced significant change. These changes happened following a new government in 2012, and its response to the National Health and Hospitals Reform and budget constraints. This research documented and analysed current roles and activities of the preventative health nutrition workforce. An online survey was conducted with all positions known to be working in nutrition prevention (n=320). The sample population was generated using existing databases which were validated by comparisons with workforce data from the Queensland Health Department and sector consultation. Snowballing was also used. 128 practitioners responded to the survey (response rate =40%). This was made up of those whose job title included the words “nutritionist” or “dietitian” (n=64) and those whose job title did not (n=61). Three respondents did not supply a title. Ninety-four practitioners had a nutrition or dietetic qualification indicating that a number of the workforce have shifted to more generalist positions. Between 2009 and 2013 there has been a 90% reduction in the state-funded nutrition prevention workforce. The existing reduced workforce is now dispersed across a range of organisations. Areas of workforce growth such as Medicare Locals tend to attract less experienced practitioners (50% had ≤ 5years’ experience). These changes present challenges for the co-ordination and communication of nutrition work and equity and access of service delivery. This research highlights the need for adaptability of the public health and community nutrition workforce. These issues require consideration by the profession.

Social media and journalism during times of crisis

Around lunchtime on 22 February 2011, the New Zealand city of Christchurch – the country’s second largest city – was hit by a magnitude 6.3 earthquake. Built on a geological faultline, like Los Angeles and Tokyo, Christchurch is no stranger to tremors; indeed, it had experienced a magnitude 7.1 quake just months before, in September 2010, and technically, this new earthquake was no more than an aftershock of the earlier tremor. That earlier quake had caused significant structural damage, but no fatalities, but the February earthquake was different: with its epicentre located no more than ten kilometres from the Christchurch city centre, at a depth of only five kilometres, it proved considerably more destructive – and it affected buildings whose structural integrity had already been severely compromised by the September quake, in the middle of a weekday when schools and city offices would have been fully occupied. While the full death toll has yet to be determined, it is estimated at close to 200.

ICANN and the concept of democratic deficit

The Internet Corporation for Assigned Names and Numbers (ICANN) is an institution besieged. It has endeavored to be democratic but its attempts to do so have been disastrous. The typical explanation for this is that the problem is with ICANN: it fails to meet its democratic obligations. My view is that the problem is with our understanding of "democracy." Democracy is an empty concept that fails to describe few, if any, of our genuine political commitments. In the real world, the failings inherent in "democracy" have been papered over by some unusual characteristics of the physical political process. However, in online trans-national institutions like ICANN, democracy is exposed as a poor substitute for a number of other conceptions of our political commitments. This Article seeks to articulate these political commitments and to explain why democracy and ICANN are such a poor mix. It begins by charting the rise of ICANN and its attempts to be democratic. It then explains why democracy is an empty shell of a concept. It then explores some features of democracy and ICANN, explaining why the online world exposes limitations in implications of democracy such as the nature of the demos, the idea of constituencies, direct democracy, voting, and the like. It concludes that ICANN's example demonstrates that democracy is in fact anything but a coherent general theory of political action. We need to consider, then, whether we should continue to berate ICANN for its undemocratic actions.

Beyond rule based reasoning - the meaning and use of cases

Commercial legal expert systems are invariably rule based. Such systems are poor at dealing with open texture and the argumentation inherent in law. To overcome these problems we suggest supplementing rule based legal expert systems with case based reasoning or neural networks. Both case based reasoners and neural networks use cases-but in very different ways. We discuss these differences at length. In particular we examine the role of explanation in existing expert systems methodologies. Because neural networks provide poor explanation facilities, we consider the use of Toulmin argument structures to support explanation (S. Toulmin, 1958). We illustrate our ideas with regard to a number of systems built by the authors

Beyond Bilbao : rethinking flagship cultural development and planning in three California cities

Since the widely publicized revitalization success story of the Guggenheim Museum Bilbao, local governments have been scrambling to create their own flagship cultural projects. Because of the broad public sponsorship of such projects, urban planners need a full understanding of the associated potentials and problems. However, little research specifically examines the localized complexities of the flagship cultural strategy. Examining projects in Los Angeles, San Francisco, and San Jose, California, the article illustrates that much more than impressive architecture influences their catalytic ability. Flagship cultural projects are highly dependent on a variety of contextual factors and, therefore, should be positioned to build on existing arts and related commercial activity rather than gamble that they will generate new development from scratch.

Looking beyond image and tourism : the role of flagship cultural projects in local arts development

State and local governments frequently look to flagship cultural projects to improve the city image and catalyze tourism but, in the process, often overlook their potential to foster local arts development. To better understand this role, the article examines if and how cultural institutions in Los Angeles and San Francisco attract and support arts-related activity. The analysis reveals that cultural flagships have mixed success in generating arts-based development and that their ability may be improved through attention to the local context, facility and institutional characteristics, and the approach of the sponsoring agencies. Such knowledge is useful for planners to enhance their revitalization efforts, particularly as the economic development potential of arts organizations and artists has become more apparent.

Museums as urban catalysts : the role of urban design in flagship cultural development

A long-held urban redevelopment strategy has been the investment in flagship cultural projects—large-scale, iconic museums and arts centres that are intended to enhance the city image while catalyzing private sector investment and attracting tourists to the surrounding area. This paper concentrates on an aspect of the flagship cultural strategy that has received surprisingly little focused attention—the role that urban design and context play in realizing project outcomes. The analysis concentrates on two established flagship museums in Los Angeles and San Jose, California. The research demonstrates that certain urban design characteristics can negatively affect the ability of a project to attract visitors and generate commercial activity. However, at the same time, factors beyond the local context may be an overriding factor in project outcomes thus calling into question the concept of cultural catalyst.

Listening to the talk of the city: media and urban informatics in community consultation for architectural and urban design

The discipline of architecture focuses on designing the built environment in response to the needs of society, reflecting culture through materials and forms. The physical boundaries of the city have become blurred through the integration of digital media, connecting the physical environment with the digital. In the recent past the future was imagined as highly technological; Ridley Scott’s Blade Runner is set in 2019 and introduces a polluted world where supersized screens inject advertisements in the cluttered urban space. Now, in 2014 screens are central to everyday life, but in a completely different way in respect to what had been imagined. Through ubiquitous computing and social media, information is abundant. Digital technologies have changed the way people relate to urban form supporting discussion on multiple levels, allowing citizens to be more vocal than ever before. Bottom-up campaigns to oppose anticipated developments or to suggest intervention in the way cities are designed, are a common situation in several parts of the world. For some extent governments and local authorities are trying to engage with developing technologies, but a common issue is that social media cannot be controlled or filtered as can be done with more traditional consultation methods. We question how designers can use the affordances of urban informatics to obtain and navigate useful social information to inform architectural and urban design. This research investigates different approaches to engage communities in the debate on the built environment. Physical and digital discussions have been initiated to capture citizens’ opinions on the use and design of public places. Online platforms, urban screens, mobile apps and guerrilla techniques are explored in the context of Brisbane, Australia.