Existence of externalities from investment in higher education research and development

Research undertaken for this thesis supports the underlying claim that education does generate externalities. By examining the impact of higher education R&D on Australian state production, the results suggest that both pure and applied R&D have a statistically significant impact on Australia's regional economic performance.

Ethics, aesthetics and the transformation of the self : Foucault's practice of philosophy

Drawing in part on research carried out in the Foucault archives in Paris, the thesis both undertakes a critical assessment of Foucault's late work and attempts to reconstruct the ethical attitude which was emerging in that work. It situates Foucault's project in the context of its Nietzschean inspiration and offers a Foucauldian model of ethics as an aesthetic, transformative work carried out upon the self - as a 'spiritual exercise' in which the critical practice of philosophy takes a central role.

Revolt and discovery : towards an understanding of practice as research through Kristevan aesthetics

This paper will examine Kristeva’s conceptions of revolution and revolt to demonstrate the significance of her work for practitioners and researchers working in the emerging field of creative arts practice as research, a field of research that is burgeoning in the UK, Australia, Canada and Scandinavia. I will argue that Kristeva’ thought elaborates the aesthetic underpinnings of discovery and provides a rationale for the methodologies used in artistic research.

In her later work on interpretation, Kristeva places a greater emphasis on the need for analysis or theory, since the art and culture of revolt produce unfamiliar or mutant meanings that are difficult for audiences to grasp in terms of their potency for engendering social change and individual empowerment. However, she places the responsibility for this analysis and interpretation on the art critic. But what if (as is the case with the advent of artistic practice as research), the maker and the “critic” become one and the same? Can this shift in the status of artistic practice within the knowledge economy, be understood in terms of Kristeva account of the sense and nonsense of revolt? I will address these questions by revisiting aspects of Kristeva thinking on experience-in practice and examining her more recent and extended elaboration of revolutionary practice. The paper will explore how her thinking can provide practitioners with a framework for understanding creative arts research as the production of new knowledge. If as Kristeva argues, that art and literature are amongst the few means of revolt and renewal, it seems appropriate to turn to her thinking in order to articulate a rationale and argument for claiming that practice as research can operate as a driver of change and innovation in contemporary culture.

The first part of this task will involve tracing what Kristeva sees as three forms of revolt made possible through aesthetic experience. This will involve a closer examination of the notions of transgression and art as experience. Following on from this discussion, I will discuss how Kristeva’s work constitutes both an implicit and explicit critique of science allowing us to conceive of artistic research as an alternative and performative production of knowledge. Finally in this paper, I will apply and illustrate these ideas through an analysis of a selection of a number of research projects successfully completed by artistic researchers in Australia. I hope to show that artistic practice as a mode of enquiry, reveals the inextricable and necessary relationship between practice and theory, interpretation and making, art and life. I suggest that it is this interrelationship, that underpins what Kristeva describes as creative and revolutionary practice. In the context of creative arts practice as research, Kriteva’s account of experience–in-practice indicates that interpretation and analysis must fall to the practitioner-researcher himself or herself - rather than to another person who has been external to the procedures of making - to trace the significant experiential, subjective and emergent processes involved in the production of the work that allows it to reveal the new. This is necessary if the generative and revolutionary impact of artistic research is to be fully understood in the wider research arena.

The existence of gonadotropin-releasing hormone-like peptides in the neural ganglia and ovary of the abalone, Haliotis asinina L.

Gonadotropin-releasing hormone (GnRH) is a neuropeptide that is conserved in both vertebrate and invertebrate species. In this study, we have demonstrated the presence and distribution of two isoforms of GnRH-like peptides in neural ganglia and ovary of reproductively mature female abalone, Haliotis asinina, using immunohistochemistry. We found significant immunoreactivities (ir) of anti-lamprey(I) GnRH-III and anti-tunicate(t) GnRH, but with variation of labeling intensity by each anti-GnRH type. IGnRH-III-ir was detected in numerous type1 neurosecretory cells (NS1) throughout the cerebral and pleuropedal ganglia, whereas tGnRH-I-ir was detected in only a few NS1 cells in the dorsal region of cerebral and pleuropedal ganglia. In addition, a small number of type2 neurosecretory cells (NS2) in cerebral ganglion showed lGnRH-III-ir. Long nerve fibers in the neuropil of ventral regions of the cerebral and pleuropedal ganglia showed strong tGnRH-I-ir. In the ovary, lGnRH-III-ir was found primarily in oogonia and stage I oocytes, whereas tGnRH-ir was observed in stage I oocytes and some stage II oocytes. These results indicate that GnRH produced in neural ganglia may act in neural signaling. Alternatively, GnRH may also be synthesized locally in the ovary where it could induce oocytes development.

Injection, detection and repair of aesthetics in home movies

This paper details the design of an algorithm for automatically manipulating the important aesthetic element of video, visual tempo. Automatic injection, detection and repair of such aesthetic elements, it is argued, is vital to the next generation of amateur multimedia authoring tools. We evaluate the performance of the algorithm on a battery of synthetic data and demonstrate its ability to return the visual tempo of the final media a considerable degree closer to the target signal. The novelty of this work lies chiefly in the systematic manipulation of this high level aesthetic element of video.

Application of computational media aesthetics methodology to extracting color semantics in film

Using film grammar as the underpinning, we study the extraction of structures in video based on color using a wide configuration of clustering methods combined with existing and new similarity measures. We study the visualisation of these structures, which we call Scene-Cluster Temporal Charts and show how it can bring out the interweaving of different themes and settings in a film. We also extract color events that filmmakers use to draw/force a viewer's attention to a shot/scene. This is done by first extracting a set of colors used rarely in film, and then building a probabilistic model for color event detection. We demonstrate with experimental results from ten movies that our algorithms are effective in the extraction of both scene-cluster temporal charts and color events.

An anarchy of cultures: aesthetics and the changing school

It is the contention of this paper that schools are currently sandwiched between demands of the economy on one side and increasingly fundamentalist communities on the other; that schools need some degree of autonomy from each; that the greatest challenge of the century is how we can live together despite our differences; and that the only way of successfully meeting this challenge is for schools to put social justice at the heart of their activities, activities that are best informed by the cultivation of reasoned imagination – that is, by an aesthetic approach to the development of intellectual, social, cultural, economic and personal identities.