Europe and the Media: Building a new kind of Europe; is mass media the key?

The book is a joint effort of eight academics and journalists, Europe specialists from six countries (Australia, Germany, Poland, Slovenia, the United Kingdom and the United States). They give sometimes divergent views on the future of the so-called “European Project”, for building a common European economy and society, but agree that cultural changes, especially changes experienced through mass media, are rapidly taking place. One of the central interests of the book is the operation of the large media centre located at the European Commission in Brussels – the world’s largest gallery of permanently accredited correspondents. Jacket notes: The Lisbon Treaty of December 2009 is the latest success of the European Union’s drive to restructure and expand; yet questions persist about how democratic this new Europe might be. Will Brussels’ promotion of the “European idea” produce a common European culture and society? The authors consider it might, as a culture of everyday shared experience, though old ways are cherished, citizens forever thinking twice about committing to an uncertain future. The book focuses on mass media , as a prime agent of change, sometimes used deliberately to promote a “European project”; sometimes acting more naturally as a medium for new agendas. It looks at proposed media models for Europe, ranging from not very successful pan-European television, to the potentials of media systems based on national markets, and new media based on digital formats. It also studies the Brussels media service, the centre operated by the European Commission, which is the world’s largest concentration of journalists; and ways that dominant national media may come to serve the interests of communities now extending across frontiers. Europe and the Media notes change especially as encountered by new EU member countries of central and eastern Europe.

The 'authentic dancer' as a tool for audience engagement

An engagement with performance is an experiential event. To have a lived experience within a performance construct infers that the experience is somehow ‘more live’. This paper situates the body of the audience member as a site of understanding and meaning making, and challenges the role of the traditional ‘passive’ presentation format and ensuing ethical considerations within that assertion. It looks at the relationships between audience experience and a series of creative tools that facilitate subtle shifts in this traditional dance paradigm. Along with the tools of audience agency, liminality, variations of site and proximity – tools that create engagement via physical interactions with the audience – can ‘performer authenticity’ also become a tool of connection with the audience? This paper looks at the overarching field of contemporary dance, with a primary focus on Western contemporary dance and the traditional dance paradigms prevalent in the construction and presentation of that form. It outlines the role of the experiential within this form and highlights established research and creation tools that encourage audience connection via audience interaction. It also looks at the role of the dancer within this construct, citing both current qualitative research into audience responses, as well as current theory and creative practice from an international field of artists creating work with the ‘authentic dancer’.

Dynamic analysis of on-board mass data to determine tampering in heavy vehicle on-board mass systems

Transport Certification Australia Limited, jointly with the National Transport Commission, has undertaken a project to investigate the feasibility of on-board mass monitoring (OBM) devices for regulatory purposes. OBM increases jurisdictional confidence in operational heavy vehicle compliance. This paper covers technical issues regarding potential use of dynamic data from OBM systems to indicate that tampering has occurred. Tamper-evidence and accuracy of current OBM systems needed to be determined before any regulatory schemes were put in place for its use. Tests performed to determine potential for, and ease of, tampering. An algorithm was developed to detect tamper events. Its results are detailed.

Thermogravimetric analysis-mass spectrometry (TG-MS) of selected Chinese kaolinites

Thermogravimetric analysis-mass spectrometry, X-ray diffraction and scanning electron microscopy (SEM) were used to characterize eight kaolinite samples from China. The results show that the thermal decomposition occurs in three main steps (a) desorption of water below 100 °C, (b) dehydration at about 225 °C, (c) well defined dehydroxylation at around 450 °C. It is also found that decarbonization took place at 710 °C due to the decomposition of calcite impurity in kaolin. The temperature of dehydroxylation of kaolinite is found to be influenced by the degree of disorder of the kaolinite structure and the gases evolved in the decomposition process can be various because of the different amount and kinds of impurities. It is evident by the mass spectra that the interlayer carbonate from impurity of calcite and organic carbon is released as CO2 around 225, 350 and 710 °C in the kaolinite samples.

Static accuracy and precision of heavy vehicle on-board mass systems

Objective • Feasibility programme for on-board mass (OBM) monitoring of heavy vehicles (HVs) • Australian road authorities through Transport Certification Australia (TCA) • Accuracy of contemporary, commercially-available OBM units in Australia • Results need to be addressed/incorporated into specifications for Stage 2 of Intelligent Access Program (IAP) by Transport Certification Australia

Effect of poly(acrylic acid) molecular mass and end-group functionality on calcium oxalate crystal morphology and growth

A number of series of poly(acrylic acids) (PAA) of differing end-groups and molecular mass were used to study the inhibition of calcium oxalate crystallization. The effects of the end-group on crystal speciation and morphology were significant and dramatic, with hexyl-isobutyrate end groups giving preferential formation of calcium oxalate dihydrate (COD) rather than the more stable calcium oxalate monohydrate (COM), while both more hydrophobic end-groups and less-hydrophobic end groups led predominantly to formation of the least thermodynamically stable form of calcium oxalate, calcium oxalate trihydrate. Conversely, molecular mass had little impact on calcium oxalate speciation or crystal morphology. It is probable that the observed effects are related to the rate of desorption of the PAA moiety from the crystal (lite) surfaces and that the results point to a major role for end-group as well as molecular mass in controlling desorption rate.

Undressing the actor : the erotic relationship with the audience

The intimacy and eroticism of the actor’s relationship with the audience is captured in the ecstatic revelation of the actor “being in the moment.” Drawing on the theories of Freud and Sartre and twenty years of performance praxis, this paper explores the exchange of erotic discourse between stage and spectator that not only heightens the experience of the liveness of theatre, but creates a symbiosis that is silently negotiated, agreed upon and sensuously performed during the suspended timeframe of the theatrical event. The actor draws the audience into the erotic transaction through various dramatic devices: the seduction of the soliloquy, the somatic and verbal discourses, the sensuality of light and costuming. The audience responds with its own paralingual and verbal foreplay: the playfulness of laughter, the slapping of hands and, most significantly, the gaze. While the gaze is often perceived as a form of voyeurism, this paper argues that the gaze of consensual agreement between audience and actor can work to unmask inhibitions enabling the actor to create the truth of the moment in complete abandon.