She’s done alright for a girl : strategies for teaching women artists

While evidence suggests that up to 65% of visual arts graduates in Australia are women, women artists are still dramatically under-represented in most sectors of the industry, from institutional exhibitions through to commercial gallery representation. Gender awareness in art school education was a prominent aspect of second wave feminist activism in this country, however the outcomes for women artists, particularly as their careers proceed, often remain discouraging. Over approximately the past ten years, the Visual Arts discipline at Queensland University of Technology has integrated a range of gender awareness strategies into its teaching program across both studio practice and history/theory areas, with relatively strong outcomes amongst female graduates, both as artists and arts workers. Employing practitioner reflection and praxis-based research, this paper takes stock of the approaches that have been trialled over this period and reflects on the combination of both explicit and implicit strategies employed, as well as student responses to them.

Lifesaver

Lifesaver is an installed object as well as a performance aid. A re-contextualised life jacket has been adapted to include soothing sounds of a beach landscape. The work aims to provide a reprieve from the stresses of everyday life to the wearer and their surrounds. It explores the relationship between the outside world and the gallery, the performer and the viewer and the role of art in contemporary society. This work was included in the group exhibitions 'Conversation Pieces' at Boxcopy Contemporary Art Space (2014) and 'Extended Conversation Pieces' curated by Boxcopy as part of the Melbourne Art Fair (2014).

Choose wisely: Network, ontology and annotation resources for the analysis of Staphylococcus aureus omics data

Staphylococcus aureus (S. aureus) is a prominent human and livestock pathogen investigated widely using omic technologies. Critically, due to availability, low visibility or scattered resources, robust network and statistical contextualisation of the resulting data is generally under-represented. Here, we present novel meta-analyses of freely-accessible molecular network and gene ontology annotation information resources for S. aureus omics data interpretation. Furthermore, through the application of the gene ontology annotation resources we demonstrate their value and ability (or lack-there-of) to summarise and statistically interpret the emergent properties of gene expression and protein abundance changes using publically available data. This analysis provides simple metrics for network selection and demonstrates the availability and impact that gene ontology annotation selection can have on the contextualisation of bacterial omics data.

Crossing lines: Sport history, transformative narratives, and Aboriginal Australia

In this collaborative article, we seek to unsettle the dominance of Western, reconstructionist accounts of Indigenous Australian sport history through reflections on our past research in the Queensland Aboriginal community of Cherbourg. That research focussed on a statue of legendary 1930s cricketer, Eddie Gilbert, and on sport exhibitions in Cherbourg's Ration Shed Museum. Here, we are less concerned with unveiling the ‘true’ account of Australian Aboriginal sporting history, or even a ‘true’ Indigenous representation of events. Rather, we are interested in analysing various perspectives in order to generate a more inclusive and complete account of Aboriginal sport history and the narrative implications of these for Indigenous and non-Indigenous Australia. Central to this endeavour is the positioning of Indigenous knowledge and understanding at the centre of history-making. The article is in two sections: reflections on our past work from the perspectives of the researchers themselves and an Aboriginal academic colleague, followed by a discussion of how those experiences and reflections will inform our pending project on the 1950s and 1960s Cherbourg marching girls teams.

Art museums and the global tourist: Experience centres in experience-scapes

In the experience economy, the role of art museums has evolved so as to cater to global cultural tourists. These institutions were traditionally dedicated to didactic functions, and served cognoscenti with elite cultural tastes that were aligned with the avant-garde’s autonomous stance towards mass culture. In a post-avant-garde era however museums have focused on appealing to a broad clientele that often has little or no knowledge of historical or contemporary art. Many of these tourists want art to provide entertaining and novel experiences, rather than receiving pedagogical ‘training’. In response, art museums are turning into ‘experience venues’ and are being informed by ideas associated with new museology, as well as business approaches like Customer Experience Management. This has led to the provision of populist entertainment modes, such as blockbuster exhibitions, participatory art events, jazz nights, and wine tasting, and reveals that such museums recognize that today’s cultural tourist is part of an increasingly diverse and populous demographic, which shares many languages and value systems. As art museums have shifted attention to global tourists, they have come to play a greater role in gentrification projects and cultural precincts. The art museum now seems ideally suited to tourist-centric environments that offer a variety of immersive sensory experiences and combine museums (often designed by star-architects), international hotels, restaurants, high-end shopping zones, and other leisure forums. These include sites such as Port Maravilha urban waterfront development in Rio de Janiero, the Museum of Old and New Art in Hobart, and the Chateau La Coste winery and hotel complex in Provence. It can be argued that in a global experience economy, art museums have become experience centres in experience-scapes. This paper will examine the nature of the tourist experience in relation to the new art museum, and the latter’s increasingly important role in attracting tourists to urban and regional cultural precincts.

Climate-ready crops: Intellectual property, agriculture, and climate change

In The Climate Change Review, Ross Garnaut emphasised that ‘Climate change and climate change mitigation will bring about major structural change in the agriculture, forestry and other land use sectors’. He provides this overview of the effects of climate change on food demand and supply: ‘Domestic food production in many developing countries will be at immediate risk of reductions in agricultural productivity due to crop failure, livestock loss, severe weather events and new patterns of pests and diseases.’ He observes that ‘Changes to local climate and water availability will be key determinants of where agricultural production occurs and what is produced.’ Gert Würtenberger has commented that modern plant breeding is particularly concerned with addressing larger issues about nutrition, food security and climate change: ‘Modern plant breeding has an increasing importance with regard to the continuously growing demand for plants for nutritional and feeding purposes as well as with regard to renewal energy sources and the challenges caused by climate changes.’ Moreover, he notes that there is a wide array of scientific and technological means of breeding new plant varieties: ‘Apart from classical breeding, technologies have an important role in the development of plants that satisfy the various requirements that industrial and agricultural challenges expect to be fulfilled.’ He comments: ‘Plant variety rights, as well as patents which protect such results, are of increasingly high importance to the breeders and enterprises involved in plant development programmes.’ There has been larger interest in the intersections between sustainable agriculture, environmental protection and food security. The debate over agricultural intellectual property is a polarised one, particularly between plant breeders, agricultural biotechnology companies and a range of environmentalist groups. Susan Sell comments that there are complex intellectual property battles surrounding agriculture: 'Seeds are at the centre of a complex political dynamic between stakeholders. Access to seeds concerns the balance between private rights and public obligations, private ownership and the public domain, and commercial versus humanitarian objectives.' Part I of this chapter considers debates in respect of plant breeders’ rights, food security and climate change in relation to the UPOV Convention 1991. Part II explores efforts by agricultural biotechnology companies to patent climate-ready crops. Part III considers the report of the Special Rapporteur for Food, Olivier De Schutter. It looks at a variety of options to encourage access to plant varieties with climate adaptive or mitigating properties.

Pars pro toto: Experimental exhibition design and curatorial paradigms

'Pars pro toto: Experimental Exhibition Design and Curatorial Paradigms' is situated within the ongoing debate over the conflation of art and curating, and the subsequent tension between artistic autonomy and curatorial intervention. This practice-led research project acclimates these polarities using a collaborative and discursive curatorial methodology in the creation of two exhibitions. Both exhibitions, one digital and one primarily physical, investigated how the temporary exhibition can operate as a site for provocation, how the suggested methodology facilitates the relationship between artist and curator within this paradigm, and outlines factors that assist in expanding the definition of the contemporary curatorial role.

Bouncing back : Students learning through real-world experiences

The Bouncing Back research study, which began after the Queensland flooding in January 2011, has organically expanded through a number of architectural student design projects and exhibitions, which have sought to respond to catastrophic flooding events. In September 2011, 10 Queensland University of Technology architecture students travelled to Sydney to help construct a 1:1 true-to-life scale shelter, for the Emergency Shelter Exhibition at Customs House in Circular Quay. During the construction of the shelter, data were collected in situ, through dynamic interviews with the students. Using a grounded theory methodology, data were coded and then thematically analysed, to reveal three influential factors that positively impacted the students’ learning in this informal context. These were the student experience, the process of learning through physical making/fabrication, and development of empathy with the community. Analysis of these three factors demonstrated how this informal situated learning activity promoted vitally important learning in a real-world context, which is difficult to replicate in a physical on-campus environment.

Molecular and pathological insights into Chlamydia pecorum-associated sporadic bovine encephalomyelitis (SBE) in Western Australia

Background Despite its global recognition as a ruminant pathogen, cases of Chlamydia pecorum infection in Australian livestock are poorly documented. In this report, a C. pecorum specific Multi Locus Sequence Analysis scheme was used to characterise the C. pecorum strains implicated in two cases of sporadic bovine encephalomyelitis confirmed by necropsy, histopathology and immunohistochemistry. This report provides the first molecular evidence for the presence of mixed infections of C. pecorum strains in Australian cattle. Case presentation Affected animals were two markedly depressed, dehydrated and blind calves, 12 and 16 weeks old. The calves were euthanized and necropsied. In one calf, a severe fibrinous polyserositis was noted with excess joint fluid in all joints whereas in the other, no significant lesions were seen. No gross abnormalities were noted in the brain of either calf. Histopathological lesions seen in both calves included: multifocal, severe, subacute meningoencephalitis with vasculitis, fibrinocellular thrombosis and malacia; diffuse, mild, acute interstitial pneumonia; and diffuse, subacute epicarditis, severe in the calf with gross serositis. Immunohistochemical labelling of chlamydial antigen in brain, spleen and lung from the two affected calves and brain from two archived cases, localised the antigen to the cytoplasm of endothelium, mesothelium and macrophages. C. pecorum specific qPCR, showed dissemination of the pathogen to multiple organs. Phylogenetic comparisons with other C. pecorum bovine strains from Australia, Europe and the USA revealed the presence of two genetically distinct sequence types (ST). The predominant ST detected in the brain, heart, lung and liver of both calves was identical to the C. pecorum ST previously described in cases of SBE. A second ST detected in an ileal tissue sample from one of the calves, clustered with previously typed faecal bovine isolates. Conclusion This report provides the first data to suggest that identical C. pecorum STs may be associated with SBE in geographically separated countries and that these may be distinct from those found in the gastrointestinal tract. This report provides a platform for further investigations into SBE and for understanding the genetic relationships that exist between C. pecorum strains detected in association with other infectious diseases in livestock.

Planning, development and management of sustainable cities: A commentary from the guest editors

Cities are the most dramatic manifestations of human activities on the surface of the earth. These human-dominated organisms—i.e., cities—degrade natural habitats, simplify species composition, disrupt hydrological systems, and modify energy flow and nutrient cycling. Today, these consequential impacts of human activities, originated from population increase, rapid urbanization, high private motor vehicle dependency, deregulated industrialization and mass livestock production, are increasing exponentially and causing great deal of environmental, social, and economic challenges both at global and local scales. In such a situation, establishment of sustainable cities, through sustainable urban development practices, is seen as a potential panacea to combat these challenges responsibly, effectively, and efficiently. This paper offers a critical review of the key literature on the issues relating to planning, development and management of sustainable cities, introduces the contributions from the Special Issue, and speculates on the prospective research directions to place necessary mechanisms to secure a sustainable urban future for all.

Impact of Grazing, Fire and Extraction on the Bamboo (Dendrocalamus-Strictus and Bambusa-Arundinacea) Populations of Karnataka

Dendrocalamus strictus and Bambusa arundinacea are monocarpic, gregariously flowering species of bamboo, common in the deciduous forests of the State of Karnataka in India. Their populations have significantly declined, especially since the last flowering. This decline parelleis increasing incidence of grazing, fire and extraction in recent decades. Results of an experiment in which the intensities of grazing and fire were varied, indicate that while grazing significantly depresses the survival of seedlings and the recruitment of new eulms of bamboo clumps, fire appeared to enhance seedling survival, presumably by reducing competition of lass fire-resistant species. New shoots of bamboo are destroyed by insects and a variety of herbivorous mammals. In areas of intense herbivore pressure, a bamboo clump initiates the production of a much larger number of new culrm, but results in many fewer and shorter intact culms. Extraction renders the new shoots more susceptible to herbivore pressure by removal of the protective covering of branches at the base of a bamboo clump. Hence, regular and extensive extraction by the paper mills in conjuction with intense grazing pressure strongly depresses the addition of new culms to bamboo clumps. Regulation of grazing in the forest by domestic livestock along with maintenance of the cover at the base of the clumps by extracting the culms at a higher level should reduce the rate of decline of the bamboo stocks.

Use of Petrifilm(R) 3M to assess coliform numbers on lamb carcasses.

Petrifilm(R) (6410) was used directly on lamb carcasses to enumerate coliforms. 10 sites on 30 carcasses were sampled at each of 4 separate meat processing establishments (works). Coliform counts obtained by this technique were statistically analysed using analysis of variance (ANOVA) to select the optimum sampling sites on the carcass and to assess contamination of the carcass by gut flora at a particular establishment. There was a large variation between sites and between works. In general, works 3 and 4 produced cleaner carcasses than works 2, which in turn was cleaner than works 1. Works 1, 2 and 4 used conventional dressing techniques and works 3 used the inverted dressing method, therefore, the coliform counts found at works 3 and 4 are achievable regardless of dressing technique. Coliform bacteria were most concentrated around the posterior pelvic rim and less prevalent at the carcass extremities. The posterior pelvic rim (sites 3 and 4) had higher (P < 0.05) coliform counts than the exterior ventral flank area (sites 5, 6, 7 and 8), which in turn had higher (P < 0.05) counts than the proximal hind and proximal fore limbs (sites 1, 2, 9 and 10) across all works. With in-line routine testing it is recommended that the majority of carcasses sampled should give coliform counts of <50 cfu/20 cm2 for sites 4 and 8. Reprinted with permission from Journal of Food Protection. Copyright held by the International Association of Food Protection, Des Moines, Iowa, USA. Authors affifiation. J.A.Guthrie & K.J.Dunlop International Food Institute of Queensland, Department of Primary Industries, Rockhampton and G.A.Saunders Veterinary Public Health Division, Livestock and Meat Authority of Queensland, Emerald.

Kansallista vai modernia : Taidegrafiikka osana 1930-luvun taidejärjestelmää

The theme of this doctoral thesis is the Finnish printmaking in the years 1930-1939. During this decade, there were approximately 100 artists making prints in Finland. Indeed, the period was an especially important one for printmaking. Associations for printmakers were founded in Helsinki and Turku, training in the field was launched, and the number of printmaking exhibitions increased considerably. Through their national organisations, Finnish printmakers participated in many exhibitions abroad, interaction with Nordic printmakers being especially intense. Thus, a firm basis for post-war developments was created. However, printmakers' activity- which had continued throughout the 1930s - declined notably after the Winter War broke out in the autumn of 1939. As a result, the period 1930-1939 forms a coherent and distinct unity in Finnish printmaking history. The study consists of two parts: the main text and an appendix in which the production of each printmaking artist active in the 1930s is examined separately. The study also includes a comprehensive list of the prints made in the course of the decade. One of the central themes is the printmakers' relationship to "Finnish nationalist" art and concepts of art in the 1930s. I analyse the various manifestations of this way of thinking in the visual arts of the period. Finnish fine art in the period between the world wars has usually been characterised as conservative, introverted and spiritually isolated from the modern European trends of the time. On the basis of this study, such a view is too simple. Many artists and printmakers adopted a modernistic notion of art that approached the newest in European modernism, including such trends as avant-garde classicism and general European new Objective Realism (Die neue Sachlichkeit). On the other hand, choosing Finnish nationalist motifs did not necessarily mean that the artist was opposed to modernism: modernist artists could still be interested in national themes. The relationship of 1930s printmaking to the world of nationalist ideas is examined in this doctoral thesis from several perspectives. Towards the end of the main text, I examine the issue from the point of view of selected artists. Another feature that emerged during the study and turned out to be surprisingly widespread was the close relationship of many artists to religious, theosophical and pantheistic views. I deal with this issue in greater detail through a few representative printmakers.

Developing a Beef Cattle Nutritional Management Education Package for Producers in Northern Australia

Meat and Livestock Australia (MLA) and the Queensland Beef Industry Institute (QBII) used the marketing process Quality Function Deployment (QFD) to determine the education needs of beef producers in northern Australia with regards to beef cattle nutrition management. This is the first time that such a process has been conducted in this sector of the industry. 290 producers from across Queensland, the Northern Territory and Western Australia were interviewed. The results of this process provide considerable insights into issues of concern to northern producers in terms of beef cattle nutrition and how education, extension and research organisations can ensure that they meet the needs of their target audience. Animal production for a consuming world : proceedings of 9th Congress of the Asian-Australasian Association of Animal Production Societies [AAAP] and 23rd Biennial Conference of the Australian Society of Animal Production [ASAP] and 17th Annual Symposium of the University of Sydney, Dairy Research Foundation, [DRF]. 2-7 July 2000, Sydney, Australia.

Kohti lyyristä abstraktismia : Anitra Lucanderin 1950-luvun modernismi

Towards Lyrical Abstraction Anitra Lucander s Modernism in the 1950s Anitra Lucander (1918-2000) was one of the early pioneers of abstract art in Finland. During the Second World War Finnish art and cultural life was isolated and stagnated and figurative art was still dominant after the war. In the late 1940s and early 1950s, new international abstract art movements started to come to Finland. Anitra Lucander was one of the artists of the younger generation after the war who took an interest in the abstract movements in the early 1950s. At the beginning of the 1950s, abstract art came to Finland primarily in the form of Concretism, but simultaneously, a more delicate abstract movement emerged, and Anitra Lucander was among those cultivating such conceptions in her art. In this thesis, I observe and analyze through Anitra Lucander s art this central movement in Finnish modern art that has not yet been extensively studied. I examine how Anitra Lucander s art connects with the style change in Finnish art. I scrutinize the factors that affected Lucander and turned her towards abstract expression, and the effect her art had on emergence of abstract art in Finland. I will also consider the development of her art, the reception and critique of her art and the effect the critique had on her position in the 1950s art world. Because of a lack of earlier studies, I will undertake basic research, relying on empirical primary source material, where the starting point is to place the phenomenon under examination in the historical and cultural context. The most significant study materials are the artist s paintings and graphics from 1948 to 1960, newspaper and magazine articles from the same era, archive sources and interviews with Lucander s relatives, fellow artists and friends. An interesting aspect of the topic is the fact that Anitra Lucander was the only woman among the important pioneers of early Finnish abstract art. Through Lucander s art, I also examine the position of female artists in the tradition of Modernism as well as in the Finnish art world of the 1950s. This theoretical background is provided by the studies of feminist art historians, such as Marsha Meskimmon, Gill Perry, Griselda Pollock and Anne Middleton Wagner. Lucander s position in the male-dominated Finnish art scene of the 1950s, and how she achieved her position, emerges as one of the central themes of the study. I will also observe whether gender is evident in Lucander s art and expression, as well as her reception and critique compared to the reception of her male colleagues art. From a woman s point of view, I reveal the masculine rhetoric and gendered attitudes in the critique of the era. As a theoretical and methodological frame of reference, I use discourse analysis. Anitra Lucander encountered modernistic, international art movements during her journeys to Paris in the late 1940s and early 1950s. Her art evolved from the geometric Concretism of the early decade towards more delicate and painterly abstract expression. After the mid-1950s, she had developed her signature expression; through Cubism and a collage technique, she developed in her painting a delicate, coloristic imagery, which can be characterized as Lyrical Abstraction. Lucander did not consider abstract expression to be categorical, but saw the abstract and the nonfigurative as equals: the line between the abstract and the figurative is very often fleeting in her art. Already in her own time, Lucander achieved a position as one of the most talented young artists of her generation and her work was included in significant exhibitions. This success can definitely be attributed to the fact that she embraced Modernism in its extreme form, abstraction, already at the beginning of her career and networked with male painters who shared her outlook and modernistic expression. For her, this was either a conscious or an unconscious method of adapting to the male-dominated Finnish art field in the 1950s. In spite of acclaim and attention, Lucander had to encounter the gendered attitudes in the critique of the time, and her art was often perceived through stereotypical views as overly feminine and dependent. However, with her art, Lucander played an important role in the breakthrough for colorism and abstract art in Finland in the 1950s.