Sculpture by Ellen Bernkopf nee Catzenstein in the home of her daughter Yael Arnold; Waldstetten Artworks

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Oriented Nanocrystal Arrays of Selectable Polymorphs by Chemical Sculpture

Growing crystals with selected structure and preferred orientations oil seed substrates is crucial for a wide variety of applications. Although epitaxial or textured film growth of a polymorph whose structure resembles the seed crystal structure is well-known, growing oriented nanocrystal arrays or more than one polymorph, selectable one at a time, from the same seed has not been realized. Here, we demonstrate for the first time the exclusive growth of oriented nanocrystal arrays of two titania polymorphs from a titanate crystal by chemically activating respective polymorph-mimicking crystallographic facets in the seed. The oriented titania nanocrystal arrays exhibit significantly higher photocatalytic activity than randomly oriented polymorphs. Our approach of chemically sculpting oriented nanocrystal polymorph arrays could be adapted to other materials systems to obtain novel properties.

Ellen Bernkopf nee Catzenstein working on a sculpture Portraits Women

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"Dancing Lady" sculpture by Ellen Bernkopf nee Catzenstein Artworks

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Sculpture by Ellen Bernkopf nee Catzenstein in the home of her daughter Yael Arnold; Waldstetten Artworks

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Liberty

In terms of critical discourse, Liberty contributes to the ongoing aesthetic debate on ‘the sublime.’ Philosopher Immanuel Kant (1724–1804) defined the sublime as a failure of rationality in response to sensory overload: a state where the imagination is suspended, without definitive reference points—a state beyond unequivocal ‘knowing.’ I believe the events of September 11, 2001 eluded our understanding in much the same way, leaving us in a moment of suspension between awe and horror. It was an event that couldn’t be understood in terms of scope or scale. It was a moment of overload, which is so difficult to capture in art. With my work I attempt to rekindle that moment of suspension. Like the events of 9/11, Liberty defies definition. Its form is constantly changing; it is always presenting us with new layers of meaning. Nobody quite had a handle on the events that followed 9/11, because the implications were constantly shifting. In the same way, Liberty cannot be contained or defined at any moment in time. Like the events of 9/11, the full story cannot be told in a snapshot. One of the dictionary definitions for the word ‘sublime’ is the conversion of ‘a solid substance directly into a gas, without there being an intermediate liquid phase’. With this in mind, I would like to present Liberty as a work that is literally ‘sublime.’ But what’s really interesting to me about Liberty is that it presents the sublime on all levels: in its medium, in its subject matter (that moment of suspension), and in its formal (formless) presentation. On every level Liberty is sublime—subverting all tangible reference points and eluding capture entirely. Liberty is based on the Statue of Liberty in New York. However, unlike that statue which has stood in New York since 1886 and can be reasonably expected to stand for millennia, this work takes on diminishing proportions, carved as it is in carbon dioxide, a mysterious, previously unexplored medium—one which smokes, snows and dramatically vanishes into a harmless gas. Like the material this work is carved from, the civil liberties of the free world are diminishing fast, since 9/11 and before. This was my thought when I first conceived this work. Now it’s become evident that Liberty expresses a lot more than just this: it demonstrates the erosion of civil liberties, yes. However, it also presents the intangible, indefinable moments in the days and months that followed 9/11. The sculptural work will last for only a short time, and thereafter will exist only in documentation. During this time, the form is continually changing and self-refining, until it disappears entirely, to be inhaled, metabolised and literally taken to heart by viewers.

Conditions and terms of leasing seats

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A study of interaction between two He+ ions in terms of the electronic forces

The potential energy curve of the He2+2 system dissociating into two He+ ions is examined in terms of the electronic force exerted on each nucleus as a function of the internuclear separation. The results are compared with the process of bond-formation in H2 from the separated atoms.

The transfer problem and the intertemporal terms of trade

In this paper the effects of a transfer on the intertemporal terms of trade are examined in the context of a simple two-country, two-period model. When intertemporal trade occurs because the two economies have different rates of time preference, a transfer improves the terms of trade of the paying country. Alternatively, when trade occurs owing to international differences in the endowments of goods over the two periods, the effect of a transfer depends on (a) the relationship between the interest rate and the rates of time preference of the two countries and (b) the relationship between their elasticities of intertemporal consumption substitution.

Improvising a future in the performing arts: The benefits of reframing performing arts entrepreneurship education in familiar terms

Improvisation is a central concept in any drama, theatre or performance studies degree. It is a critical skill, which helps performers learn to ‘make it up as they go along’, apply existing skills to new situations and environments, and, of course, adapt find the most effective or creative pathway towards a their aims. As such, the fact that improvisation is rarely listed as a core career competency — even for performing arts graduates, who can struggle to engage with entrepreneurial skill sets they will need to learn to manage their unpredictable portfolio careers when they are couched in business terms — is somewhat strange. This paper examines the benefits of reframing the administrative, management and entrepreneurial skills arts graduates need to navigate a complex, uncertain, constantly changing industrial landscape in terms of improvisation, play, and playful self - performance. It suggests that adding improvisation to our career training arsenal may be worthwhile, not just because it may assist graduates in navigating their way through a portfolio career, but because it may offer a more familiar, user- friendly terminology to assist graduates in understanding the need to develop administrative, management and entrepreneurial as well as artistic skills, and, in a sense, understand the similarities between the two sets of skills.

Material matters [curators]

The exhibition material matters brings together new works by Amy Commins, Jamie Behrendorff, Grace Kevill-Davies, Zoe Knight, Ruth McConchie and Courtney Pedersen – Brisbane-based artists whose experimental practices engage with materiality in specific ways. These works explore incidental viewpoints, suspended moments, constructed environments, cultural memory and repetitive processes. The artists in the exhibition investigate the temporal in terms of making and experiencing art in various modes – installation, sculpture, video, sound and works on paper. Through these material engagements, the artists question and re-imagine ways of connecting in the contemporary world, drawing together considerations of humour, history, politics, nature and everyday life. This exhibition was part of the 2014 Brisbane Experimental Art Festival, held at the Judith Wright Centre of Contemporary Arts.

What's in a name - Catherine or Kate?

This paper discusses the art practice of Australian artists Catherine Sagin and Kate Woodcroft, who have been working collaboratively under various monikers since 2008. The duo define their artworks in terms of winning and losing, and play out the division of labour in an artistic practice that employs video, performance, photography and sculpture. Catherine or Kate utilise combative and comparative processes, which challenge notions of artistic collaboration and highlight the inherent tensions and competitive nature of working together.

The prankster’s passion: Using theatrical terms to unpack players motivations in popular social performance

Amongst social players, the prank, as a social performance form, holds a lot of potential to impact on personal, relational and social status within a group or between one group and another group. More than simply showing off, a prank in the strictest definition of the term, is a social performance in which one player, a prankster, deploys mischief, trickery or deceit, to cause a moment of anxiety, fear or anger about a happening for another spectator-become-collaborating-player, a prankee – to enhance social bonds, entertain, or comment on a social, cultural or political phenomenon. During a prank, the prankster’s ability to be creative, clever or culturally astute, and the prankee’s ability to be duped, be a good sport, play along, or even play/pay the prankster back, both become fodder for other spectators and society to scrutinize. In Australia, pranking traditions are popular with many social groups, from the community-building pranks of footballers, bucks parties and ‘drop bear’ tales told to tourists, to the more controversial pranks of radio shock jocks, activists and artists. In this paper, I consider whether theatrical terms – theoretical terms from the stage such as actor, acting, objective, arc, performance, audience and emotion, such as those offered by Joseph Roach – are useful in understanding the passion some social players show for pranksterism. Are theatrical terms such as Roach’s as useful as analysts of social self-performance such as Erving Goffman suggest they are? Do they assist in understanding the personal actions, reactions and emotions of prankster and prankee? Do they assist in understanding the power relations between prankster and prankee? Do they assist in understanding the relation between the prank – be it an everyday prank amongst families, friends and coworkers, an entertainment program prank of the sort seen on Prank Patrol, Punked or Scare Tactics, or an activist pranks perpetrated by a guerrilla artist, ‘jammers’ or ‘hackers’ intent on turning dominant social systems back on themselves – the social players, and the public sphere in which the prank takes place? I reflect on how reading pranks as performances, by players, for highly participatory audiences, helps understand why they are so prevalent, and so recurrent across times, cultures and contexts, and also so controversial when not performed well enough – or when performed too well – prompting outrage from the prankster, prankee or society as passionate as any debate about a performance by players in a theatre.

Characterisation of head-hardened rail steel in terms of cyclic plasticity response and microstructure for improved material modelling

Stress- and strain-controlled tests of heat treated high-strength rail steel (Australian Standard AS1085.1) have been performed in order to improve the characterisation of the said material׳s ratcheting and fatigue wear behaviour. The hardness of the rail head material has also been studied and it has been found that hardness reduces considerably below four-millimetres from the rail top surface. Historically, researchers have used test coupons with circular cross-sections to conduct cyclic load tests. Such test coupons, typically five-millimetres in gauge diameter and ten‐millimetres in grip diameter, are usually taken from the rail head sample. When there is considerable variation of material properties over the cross-section it becomes likely that localised properties of the rail material will be missed. In another case from the literature, disks 47 mm in diameter for a twin-disk rolling contact test machine were obtained directly from the rail sample and used to validate ratcheting and rolling contact fatigue wear models. The question arises: How accurate are such tests, especially when large material property gradients exist? In this research paper, the effects of rail sampling location on the ratcheting behaviour of AS1085.1 rail steel were investigated using rectangular-shaped specimens obtained at four different depths to observe their respective cyclic plasticity behaviour. The microstructural features of the test coupons were also analysed, especially the pearlite inter-lamellar spacing which showed strong correlation with both hardness and cyclic plasticity behaviour of the material. This work ultimately provides new data and testing methodology to aid the selection of valid parameters for material constitutive models to better understand rail surface ratcheting and wear.

A study of interactions in He2 1 in terms of the electronic forces

The He+He+1 interactions have been studied, as a function of the internuclear separation R, in terms of the electronic forces acting on the nuclei and the change in the charge distribution. The analysis reveals that at large R the atomic densities are polarized inwards, causing an attractive force on each nucleus, while at small R the difference in the nature of the interactions in the 2Σu and 2Σg systems is noted. It is seen that the He+He+1 (2Σu) interaction is less attractive than the He+1+He+1 interaction at lower values of R.