Preparing for Research Assessment: Co-evolution and Gamesmanship

In this paper we adopt a complex systems perspective to examine the perturbations caused by the introduction of the Research Quality Framework (RQF) at a research-intensive Australian university. This case is instructive as it 1) presents a Federal policy initiative that attempted to fundamentally alter the recognition and reward mechanism within a regulated funding environment, 2) analyses the strategies of an institution and its research groups as they sought to not only comply with the implementation of the RQF but to maximise their outcome,and 3) it reveals the ways that some actors used this perturbation to advance their own interests. In short, this case represents an instrumental study into the dynamics of how information systems, organisations, and individuals co-evolve in practice as they seek to navigate a complex problem scenario.

Moving towards a knowledge city? Brisbane's experience in knowledge-based urban development

: In the global knowledge economy, knowledge-intensive industries and knowledge workers are extensively seen as the primary factors to improve the welfare and competitiveness of cities. To attract and retain such industries and workers, cities produce knowledge-based urban development strategies, where such strategising is also an important development mechanism for cities and their economies. This paper investigates knowledge-based urban development strategies of Brisbane, Australia that support generation, attraction, and retention of investment and talent. The paper puts forward a clear understanding on the policy frameworks, and relevant applications of Brisbane’s knowledge-based urban development experience in becoming a prosperous knowledge city, and concludes by providing invaluable insights and directions for other cities seeking knowledge-based urban development.

Turtle Twilight

“Turtle Twilight” is a two-screen video installation. Paragraphs of text adapted from a travel blog type across the left-hand screen. A computer-generated image of a tropical sunset is slowly animated on the right-hand screen. The two screens are accompanied by an atmospheric stock music track. This work examines how we construct, represent and deploy ‘nature’ in our contemporary lives. It mixes cinematic codes with image, text and sound gleaned from online sources. By extending on Nicolas Bourriad’s understanding of ‘postproduction’ and the creative and critical strategies of ‘editing’, it questions the relationship between contemporary screen culture, nature, desire and contemplation.

The wandering

In this video, text sourced from dream description websites is combined into a narrative. The words floating against an animated cloud background are set to a stock music track. This work examines the nature of consciousness and identity in a contemporary context. It mixes the languages of dream description and cinematic narrative. By extending on some of Nicolas Bourriaud’s ideas around “postproduction” and the creative and critical strategies of ‘editing’, this work draws attention to the ways popular culture and private anxieties continually mix together in our experiences of lived and imagined realities.

Machinima

The research field was curatorship of the Machinima genre - a film-making practice that uses real time 3D computer graphics engines to create cinematic productions. The context was the presentation of gallery non-specific work for large-scale exhibition, as an investigation in thinking beyond traditional strategies of white cube. Strongly influenced by the Christiane Paul (Ed) seminal text, 'New Media in the White Cube and Beyond, Curatorial Models for Digital Art', the context was the repositioning of a genre traditionally focussed on delivery through small-screen, indoor, personal spaces, to large exhibition hall spaces. Beyond the core questions of collecting, documenting, expanding and rethinking the place of Machinima within the history of contemporary digital arts, the curatorial premise asked how to best invert the relationship between context of media production within the gaming domain, using novel presentational strategies that might best promote the 'take-home' impulse. The exhibition was used not as the ultimate destination for work but rather as a place to experience, sort and choose from a high volume of possible works for subsequent investigation by audiences within their own game-ready, domestic environments. In pursuit of this core aim, the exhibition intentionally promoted 'sensory overload'. The exhibition also included a gaming lab experience where audiences could begin to learn the DIY concepts of the medium, and be stimulated to revisit, consider and re-make their own relationship to this genre. The research was predominantly practice-led and collaborative (in close concert with the Machinima community), and ethnographic in that it sought to work with, understand and promote the medium in a contemporary art context. This benchmark exhibition, building on the 15-year history of the medium, was warmly received by the global Machinima community as evidenced by the significant debate, feedback and general interest recorded. The exhibition has recently begun an ongoing Australian touring schedule. To date, the exhibition has received critical attention nationally and internationally in Das Superpaper, the Courier Mail, Machinimart, 4ZZZ-FM, the Sydney Morning Herald, Games and Business, Australian Gamer, Kotaku Australia, and the Age.

Improvisation in interactive music systems

This project investigates machine listening and improvisation in interactive music systems with the goal of improvising musically appropriate accompaniment to an audio stream in real-time. The input audio may be from a live musical ensemble, or playback of a recording for use by a DJ. I present a collection of robust techniques for machine listening in the context of Western popular dance music genres, and strategies of improvisation to allow for intuitive and musically salient interaction in live performance. The findings are embodied in a computational agent – the Jambot – capable of real-time musical improvisation in an ensemble setting. Conceptually the agent’s functionality is split into three domains: reception, analysis and generation. The project has resulted in novel techniques for addressing a range of issues in each of these domains. In the reception domain I present a novel suite of onset detection algorithms for real-time detection and classification of percussive onsets. This suite achieves reasonable discrimination between the kick, snare and hi-hat attacks of a standard drum-kit, with sufficiently low-latency to allow perceptually simultaneous triggering of accompaniment notes. The onset detection algorithms are designed to operate in the context of complex polyphonic audio. In the analysis domain I present novel beat-tracking and metre-induction algorithms that operate in real-time and are responsive to change in a live setting. I also present a novel analytic model of rhythm, based on musically salient features. This model informs the generation process, affording intuitive parametric control and allowing for the creation of a broad range of interesting rhythms. In the generation domain I present a novel improvisatory architecture drawing on theories of music perception, which provides a mechanism for the real-time generation of complementary accompaniment in an ensemble setting. All of these innovations have been combined into a computational agent – the Jambot, which is capable of producing improvised percussive musical accompaniment to an audio stream in real-time. I situate the architectural philosophy of the Jambot within contemporary debate regarding the nature of cognition and artificial intelligence, and argue for an approach to algorithmic improvisation that privileges the minimisation of cognitive dissonance in human-computer interaction. This thesis contains extensive written discussions of the Jambot and its component algorithms, along with some comparative analyses of aspects of its operation and aesthetic evaluations of its output. The accompanying CD contains the Jambot software, along with video documentation of experiments and performances conducted during the project.

When There's Love

This work is an installation featuring three video projections, music and mirror balls. The three projections fill the walls with scrolling text borrowed from love song lyrics. Headphones in the gallery space allow you to hear a male voice sing the same words to an impromptu tune. Mirror balls send fragments of light spinning around the room while The Righteous Brothers’ Unchained Melody plays on repeat. This work emphasizes fragmentary, repetitious and spatio-temporal experiences of language in order to question the symbolic conventions of romance. By exaggerating and mixing hackneyed symbolic elements, this work extends on some of Nicolas Bourriaud’s theoretical insights into the creative and critical strategies of ‘postproduction’. In particular, it toys with the intersections between popular culture and inter-subjective experiences.

The feeling

In this video, a thumping house-music track is accompanied by lines of rotating text, which resemble computer screen-savers. The text is sourced from websites offering tips for dating and seducing potential lovers. This work engages with the language of online forums. It reworks text from online advice forums and mixes them with visual codes of computer graphics. By extending on some of Nicolas Bourriaud’s ideas around ‘postproduction’ and the creative and critical strategies of ‘editing’, it offers new speculative perspectives on the relationship between screen realities, desire and romance.

Bang

In this video, a male voice performs a script combining stories sourced from an anonymous confessions website. On screen, imagery of fireworks repeats into increasingly kaleidoscopic patterns. This work engages with the relationship between screen culture and contemporary subjectivity. It contrasts private confessions with the public spectacle of fireworks to question the ways screen cultures are informing constructions of subjectivity. By extending on some of Nicolas Bourriaud’s ideas around ‘postproduction’ and the creative and critical strategies of ‘editing’, it offers a speculative understanding of the contemporary tension between public and private.

Culture, technology and the city

The 21st century has been described as the “century of cities”. By 2030, 70 per cent of the world’s population will live in cities, with the most rapid urbanization occurring in the developing world. This paper will draw up geographer Ed Soja’s concept of the “spatial turn” in social theory to consider how the culture of cities can act as a catalyst to innovation and the development of new technologies. In doing so, the paper will develop a three-layered approach to culture as: the arts; the way of life of people and communities; and the embedded structure underpinning socio-economic relations. It will also consider technology at a three-layered element, including devices, practices and ‘logics’ of technology, or what the Greeks termed techne. The paper will consider recent approaches to urban cultural policy, including cluster development and creative cities, and suggest some alternatives, noting that a problem with current approaches is that they focus excessively upon production (clusters) or consumption (creative cities). It will also consider the development of digital creative industries such as games, and the strategies of different cities to develop an innovation culture.

Shift

Shift was an exhibition held in October 2008, and was the culmination of a 10 month artist in residence held at Metro Arts, Brisbane in 2008. A number of works were produced and exhibited, and were a response to the ambient urban landscape of inner city Brisbane. The research component contributes to the discussion of the form and display of digital animation, and builds upon strategies of presentation developed from series of works completed in 2005-2007 as part of an MA (research) at QUT, Brisbane. For the two week exhibition, one interactive kiosk and several large scale digital prints were produced, and also a site specific digital animation sequence was projected onto urban landscape features next to the gallery.

Innovative Leadership by School Principals : embedding Information Communication and Technology in Kuwaiti Schools

Kuwait is an oil rich country planning for a future that is not dependent on exploiting natural resources. A major policy initiative has been the introduction of Information Communication and Technology (ICT) to schools. However, contextual issues and teacher capabilities in the use of ICT have limited the success of this initiative. The study examines the leadership strategies of two secondary school principals whose schools have achieved this goal. The case study draws on intensive data collected through interviews of the principals, and teachers supported by document analysis and observations. Analysis was guided by theoretical perspectives drawn from the literature which identified a range of strategies used by the principals to manage change. The principals of Schools A and B employed three key strategies to maximise the impact on the teaching staff incorporating ICT into their teaching and learning practices. These strategies were: (a) encouragement for teaching staff to implement ICT in their teaching; (b) support to meet the material and human needs of teaching staff using ICT; and (c) provision of instructions and guidance for teaching staff in how and why such behaviours and practices should be performed. The outcome of this study proposes an innovative change leadership model that informs emerging countries, which are also undergoing major change related to ICT. However, the study also revealed limitations in the implementation of ICT in the classroom and provides insights into further strategies that principals need to adopt.

Submission to House Standing Committee on Infrastructure and Communications inquiry into IT Pricing

The strategies of price discrimination engaged in by a number of international publishers, coupled with a lack of competition and restrictions on the ability of consumers to engage in arbitrage, is likely to undermine the legitimacy of copyright law in Australia. By increasing prices beyond a reasonable and fair level, these strategies also undermine the goal of copyright law to enhance access to cultural goods. Enhancing access – and therefore lowering prices – is crucial to enhancing Australia's innovative capacity and the ability of Australians to experience, learn, act, and grow through cultural works. We recommend that the committee investigates the following options: 1. Repeal parallel importation restrictions; 2. Fundamentally reconsider the operation of anti-circumvention law in the context of digital distribution models; 3. Prohibit and render unenforceable contractual restrictions on parallel importation; 4. Introduce a right of digital resale in Australia.

Representing and discovering adversarial team behaviors using player roles

In this paper, we describe a method to represent and discover adversarial group behavior in a continuous domain. In comparison to other types of behavior, adversarial behavior is heavily structured as the location of a player (or agent) is dependent both on their teammates and adversaries, in addition to the tactics or strategies of the team. We present a method which can exploit this relationship through the use of a spatiotemporal basis model. As players constantly change roles during a match, we show that employing a "role-based" representation instead of one based on player "identity" can best exploit the playing structure. As vision-based systems currently do not provide perfect detection/tracking (e.g. missed or false detections), we show that our compact representation can effectively "denoise" erroneous detections as well as enabe temporal analysis, which was previously prohibitive due to the dimensionality of the signal. To evaluate our approach, we used a fully instrumented field-hockey pitch with 8 fixed high-definition (HD) cameras and evaluated our approach on approximately 200,000 frames of data from a state-of-the-art real-time player detector and compare it to manually labelled data.

Plaintext awareness in identity-based key encapsulation

The notion of plaintext awareness ( PA ) has many applications in public key cryptography: it offers unique, stand-alone security guarantees for public key encryption schemes, has been used as a sufficient condition for proving indistinguishability against adaptive chosen-ciphertext attacks ( IND-CCA ), and can be used to construct privacy-preserving protocols such as deniable authentication. Unlike many other security notions, plaintext awareness is very fragile when it comes to differences between the random oracle and standard models; for example, many implications involving PA in the random oracle model are not valid in the standard model and vice versa. Similarly, strategies for proving PA of schemes in one model cannot be adapted to the other model. Existing research addresses PA in detail only in the public key setting. This paper gives the first formal exploration of plaintext awareness in the identity-based setting and, as initial work, proceeds in the random oracle model. The focus is laid mainly on identity-based key encapsulation mechanisms (IB-KEMs), for which the paper presents the first definitions of plaintext awareness, highlights the role of PA in proof strategies of IND-CCA security, and explores relationships between PA and other security properties. On the practical side, our work offers the first, highly efficient, general approach for building IB-KEMs that are simultaneously plaintext-aware and IND-CCA -secure. Our construction is inspired by the Fujisaki-Okamoto (FO) transform, but demands weaker and more natural properties of its building blocks. This result comes from a new look at the notion of γ -uniformity that was inherent in the original FO transform. We show that for IB-KEMs (and PK-KEMs), this assumption can be replaced with a weaker computational notion, which is in fact implied by one-wayness. Finally, we give the first concrete IB-KEM scheme that is PA and IND-CCA -secure by applying our construction to a popular IB-KEM and optimizing it for better performance.