Cyber crime and its implications to the Pacific

Introduction Cybercrime consists of any criminal action or behaviour that is committed through the use of Information Technology. Common examples of such activities include cyber hacking, identity theft, cracking, spamming, social engineering, data tampering, online fraud, programming attacks, etc. The pervasive use of the internet clearly indicates that the impacts of cybercrime is far reaching and any one, may it be a person or an entity can be a victim of cybercriminal activities. Recently in the US, eight members of a global cybercrime ring were charged in one of the biggest ever bank heists. The cybercrime gang allegedly stole US$45 million by hacking into credit card processing firms and withdrawing money from ATMs in 27 countries (Jessica et al. 2013). An extreme example, the above case highlights how IT is changing the way crimes are being committed. No longer do criminals use masks, guns and get-a-way cars, criminals are able to commit crimes in the comfort of their homes, millions of miles from the scene of the crime and can access significant sums of money that can financially cripple organisations. The world is taking notice of this growing threat and organisations in the Pacific must also be proactive in tackling this emerging issue.

Open-ended art environments motivate participation

In this research we observe the situated, embodied and playful interaction that participants engage in with open-ended interactive artworks. The larger project from which this work derives [28] contributes a methodological model for the evaluation of open-ended interactive artwork that treats each work individually and recognises the importance of the artist intent and the traditions from which the work derives. In this paper, we describe this evolving methodology for evaluating and understanding participation via three case studies of open-ended interactive art installations. This analysis builds an understanding of open-ended free-play non-narrative environments and the affordances these environments enable for participants.

Building sensitising terms to understand free-play in open-ended interactive art environments

In this paper we introduce and discuss the nature of free-play in the context of three open-ended interactive art installation works. We observe the interaction work of situated free-play of the participants in these environments and, building on precedent work, devise a set of sensitising terms derived both from the literature and from what we observe from participants interacting there. These sensitising terms act as guides and are designed to be used by those who experience, evaluate or report on open-ended interactive art. That is, we propose these terms as a common-ground language to be used by participants communicating while in the art work to describe their experience, by researchers in the various stages of research process (observation, coding activity, analysis, reporting, and publication), and by inter-disciplinary researchers working across the fields of HCI and art. This work builds a foundation for understanding the relationship between free-play, open-ended environments, and interactive installations and contributes sensitising terms useful for the HCI community for discussion and analysis of open-ended interactive art works.

Evoking gesture in interactive art

In this paper, we describe an interactive artwork that uses large body gestures as its primary interactive mode. The artist intends the work to provoke active reflection in the audience by way of gesture and content. The technology is not the focus, rather the aim is to provoke memory, to elicit feelings of connective human experiences in a required-to-participate audience. We find the work provokes a diverse and contradictory set of responses. The methods used to understand this include qualitative methods common to evaluating interactive art works, as well as in-depth discussions with the artist herself. This paper is relevant to the Human - Centered Computing track because in all stages of the design of the work - as well as the evaluation - the focus is on the human aspect; the computing is designed to enable all-too-human responses.

Cartographic Strategies of Postmodernity : the Figure of the Map in Contemporary Theory and Fiction

The last fifty years have witnessed the growing pervasiveness of the figure of the map in critical, theoretical, and fictional discourse. References to mapping and cartography are endemic in poststructuralist theory, and, similarly, geographically and culturally diverse authors of twentieth-century fiction seem fixated upon mapping. While the map metaphor has been employed for centuries to highlight issues of textual representation and epistemology, the map metaphor itself has undergone a transformation in the postmodern era. This metamorphosis draws together poststructuralist conceptualizations of epistemology, textuality, cartography, and metaphor, and signals a shift away from modernist preoccupations with temporality and objectivity to a postmodern pragmatics of spatiality and subjectivity. Cartographic Strategies of Postmodernity charts this metamorphosis of cartographic metaphor, and argues that the ongoing reworking of the map metaphor renders it a formative and performative metaphor of postmodernity.

'A small space of chaos’ : Elizabeth Grosz’s chaos, territory, art : Deleuze and the framing of the earth

Review of Elizabeth Grosz’s Chaos, Territory, Art: Deleuze and the Framing of the Earth

Talk2Me : the art of augmenting conversations

This paper describes an interactive installation work set in a large dome space. The installation is an audio and physical re-rendition of an interactive writing work. In the original work, the user interacted via keyboard and screen while online. This rendition of the work retains the online interaction, but also places the interaction within a physical space, where the main 'conversation' takes place by the participant-audience speaking through microphones and listening through headphones. The work now also includes voice and SMS input, using speech-to-text and text-to-speech conversion technologies, and audio and displayed text for output. These additions allow the participant-audience to co-author the work while they participate in audible conversation with keyword-triggering characters (bots). Communication in the space can be person-to-computer via microphone, keyboard, and phone; person-to-person via machine and within the physical space; computer-to- computer; and computer-to-person via audio and projected text.

Dancing to too many tunes : contemporary course design in teacher education

Contemporary course designers in schools and faculties of Education are finding themselves dancing to many tunes, arguably too many tunes, in order to have their initial teacher education courses accredited by external agencies whilst satisfying internal approval processes and, critically, maintaining the philosophical integrity of their programs and their institutional watermarks. The “tunes” here are the agendas driven by and the demands made by distinct independent agencies. The external agencies influencing Education include: TEQSA (Tertiary Education Quality and Standards Agency) which will assure alignment to the AQF (Australian Qualifications Framework); professional bodies such as AITSL (Australian Institute for Teaching and School Leadership) which now accredits all pre-service teacher Education courses across Australia and assures alignment with the Australian Professional Standards for Teachers; and the state and territory regulatory authorities that have an impact within a specific jurisdiction, for example, the Queensland College of Teachers (QCT) and the Teacher Registration Board of Western Australia (TRBWA). This paper – whose findings have been arrived at through a year-long OLT National Teaching Fellowship - will outline the complex and competing agendas currently at play and focus on the disjuncture evident in the fundamental defining of who is a “graduate.” It will also attempt to identify where there are synergies between the complex demands being made. It will argue that there are too many “tunes” and the task of finding a balance between compliance and delivering effective initial teacher education may not be possible because of the cacophony of their conflicting demands.

Reframing Conceptions of Contemporary Literacy Capabilities in Pre-Service Primary Teacher Education

This chapter describes the challenges of integrating new technologies with literacy education in pre-service primary teacher education in Australia. The authors describe the policy context and regulatory mechanisms controlling pre-service education, including a national set of professional standards for graduate teachers, a new national curriculum for school students, the introduction of high stakes national assessment for school students, and the looming threat of decontextualized back-to-the-basics professional entry tests for aspiring teachers. The chapter includes three case studies of the authors’ pedagogical practices that attempt to reframe conceptions of the literacy capabilities of pre-service teachers to reflect the complex and sophisticated requirements of teachers in contemporary schooling. The authors conclude the chapter with a discussion of the implications of these case studies as they illustrate the ways that pre-service teachers can be scaffolded and supported to develop creative capacity and critical awareness of the kinds of literacies required in the digital age despite restrictive regimes.

Double trouble — the art of synthesis of chiral dimeric natural products

Double or nothing! Recently the total ynthesis of secalonic acids A and D was reported. This work and other natural product syntheses with a dimerization step as a common feature are featured in this highlight. The significant biological activity of the secalonic acids and the fact that their synthesis has fascinated synthetic chemists for the past forty years make this work a milestone in natural product synthesis.

Developing sustainable fish farming in the Western Pacific : a viewpoint on potential reasons for why many attempts failed

Capture fisheries and aquaculture have been a major source of food and providers of economic benefits to many communities around the world for a very long time. While the history of aquaculture or fish farming can be traced back for more than 2000 years in some corners of the globe, notably in China, Japan and the Mediterranean, this is not true everywhere, where in general, fish farming is a relatively new industry. Rapid human population growth and increasing urbanisation over the last 20 to 40 years has meant that while fish consumption has doubled globally, returns from capture fisheries have remained static or have declined due to overexploitation and rising pollution levels, with some fisheries either closing or becoming economically unviable. Data from studies suggest that this trend is unlikely to be reversed unless appropriate fisheries management allows depleted wild stocks to rebuild. This has occurred during a time when demand for fish products has grown, in part due to improved purchasing power in some developing countries and changing dietary habits where fish are now considered to have a positive impact on health. Based on the projected population growth over the next two decades, Food and Agricultural Organization (FAO) estimates that at least an additional 40 million tonnes of aquatic food will be required to maintain the current per capita consumption (FAO 2006).

Insider comes out : an artist's inquiry and narrative about the relationship of art and mental health

Background Through an account of prevailing experiences of art and mental illness, this paper aims to raise awareness, open dialogue and create agency about art created by people with experience of mental illness. Methods This paper draws on personal narrative and inquiry by an artist with mental illness and data collected as part of a larger participatory action research project that investigated understandings of identity, art and mental illness. Result An inquiry through art raised awareness and attentiveness to the importance of choice in identity construction and exposed frequent dichotomies in art and mental illness that were negotiated to eschew prescribed social stratification. As an artist, the first author challenged values present in one idea and absent in the other, and the options and concessions available to authorise her own dialogue and agency of being an artist. Conclusion Constructing an identity is an important part of being human, the labels that we choose or are chosen for us attribute to our identity. Reflections and recommendations are offered to consider expanded ways of thinking about art and mental illness and the functions that art play in identity construction.

State-of-the-art : track degradation at bridge transitions

Transition zones between bridge decks and rail tracks suffer early failure due to poor interaction between rail vehicles and sudden changes of stiffness. This has been an ongoing problem to rail industry and yet still no systematic studies appear to have been taken to maintain a gradually smoothening transmission of forces between the bridge and its approach. Differential settlement between the bridge deck and rail track in the transition zone is the fundamental issue, which negatively impacts the rail industry by causing passenger discomfort, early damage to infrastructure and vehicle components, speed reduction, and frequent maintenance cycles. Identification of mechanism of the track degradation and factors affecting is imperative to design any mitigation method for reducing track degradation rate at the bridge transition zone. Unfortunately this issue is still not well understood, after conducting a numbers of reviews to evaluate the key causes, and introducing a wide range of mitigation techniques. In this study, a comprehensive analysis of the available literature has been carried out to develop either a novel design framework or a mitigation technique for the bridge transition zone. This paper addresses three critical questions in relation to the track degradation at transition zone: (1) what are the causes of bridge transition track degradation?; (2) what are the available mitigation techniques in reducing the track degradation rate?; (3) what are the factors affecting on poor performance of the existing mitigation techniques?. It is found that the absence of soil-water response, dynamic loading response, and behaviour of geotechnical characteristics under long-term conditions in existing track transition design frameworks critically influence on the failures of existing mitigation techniques. This paper also evaluates some of the existing design frameworks to identify how each design framework addresses the track degradation at the bridge transition zone.