Macrophonics II

Macrophonics II presents new Australian work emerging from the leading edge of performance interface research. The program addresses the emerging dialogue between traditional media and emerging digital media, as well as dialogues across a broad range of musical traditions. Recent technological developments are causing a complete reevaluation of the relationships between media and genres in art, and Macrophonics II presents a cross-section of responses to this situation. Works in the program foreground an approach to performance that integrates sensors with novel performance control devices, and/or examine how machines can be made musical in performance. The program presents works by Australian artists Donna Hewitt, Julian Knowles and Wade Marynowsky, with choreography by Avril Huddy and dance performance by Lizzie and Zaimon Vilmanis. From sensor-based microphones and guitars, through performance a/v, to post-rock dronescapes, movement inspired works and experimental electronica, Macrophonics II provides a broad and engaging survey of new performance approaches in mediatised environments. Initial R&D for the work was supported by a range of institutions internationally, including the Australia Council for the Arts, Arts Queensland, STEIM (Holland) and the Nes Artist Residency (Iceland).

Salaries, recruitment, and retention for CRNA faculty - Part 1

The nature of differences in salaries between academic faculty and Certified Registered Nurse Anesthetists (CRNAs) working in clinical positions using recently collected data are explored. The differences in median salaries among program directors, assistant program directors, academic faculty, and clinical faculty are large. Furthermore, survey results imply that the most important barrier to recruiting teaching faculty is salary differentials. Part 1 of this 2-part column discusses salaries, recruitment, and retention of CRNA faculty; Part 2, to be published in the June 2008 issue, will focus on clinical faculty contributions to the education of CRNAs.

Property-performance control of multidimensional, hierarchical, single-crystalline ZnO nanoarchitectures

Diverse morphologies of multidimensional hierarchical single-crystalline ZnO nanoarchitectures including nanoflowers, nanobelts, and nanowires are obtained by use of a simple thermal evaporation and vapour-phase transport deposition technique by placing Au-coated silicon substrates in different positions inside a furnace at process temperatures as low as 550 °C. The nucleation and growth of ZnO nanostructures are governed by the vapour–solid mechanism, as opposed to the commonly reported vapour–liquid–solid mechanism, when gold is used in the process. The morphological, structural, compositional and optical properties of the synthesized ZnO nanostructures can be effectively tailored by means of the experimental parameters, and these properties are closely related to the local growth temperature and gas-phase supersaturation at the sample position. In particular, room-temperature photoluminescence measurements reveal an intense near-band-edge ultraviolet emission at about 386 nm for nanobelts and nanoflowers, which suggests that these nanostructures are of sufficient quality for applications in, for example, optoelectronic devices.

Enhancement of optical absorption in thin-film solar cells through the excitation of higher-order nanoparticle plasmon modes

Recent research in the rapidly emerging field of plasmonics has shown the potential to significantly enhance light trapping inside thin-film solar cells by using metallic nanoparticles. In this article it is demonstrated the plasmon enhancement of optical absorption in amorphous silicon solar cells by using silver nanoparticles. Based on the analysis of the higher-order surface plasmon modes, it is shown how spectral positions of the surface plasmons affect the plasmonic enhancement of thin-film solar cells. By using the predictive 3D modeling, we investigate the effect of the higher-order modes on that enhancement. Finally, we suggest how to maximize the light trapping and optical absorption in the thin-film cell by optimizing the nanoparticle array parameters, which in turn can be used to fine tune the corresponding surface plasmon modes.

Cut here : reshaping the ABC

Monday’s announcement that the ABC will make 80 positions redundant is just the latest move in an enforced process of change to the public service broadcaster. It has a long way yet to run. The announcement finally put the lie to Tony Abbott’s election eve pledge, live on national television, that there would be “no cuts to the ABC or SBS”. In concert with other recent announcements, it seems clear that public broadcasting – and in particular the ABC – is squarely in the government’s sights.

Solo3

Solo3 is and evening of solo works collaboratively created by Jenny Roche and choreographers John Jasperse (US), Jodi Melnick (US) and Liz Roche (Ireland). It was commissioned by the Dublin Dance Festival 2008 for the culmination of Jenny Roche's residency as an artist with the festival. The three works address the role of the dancer as co-creator within choreographic practice and further examine how the dancer can inhabit multiple embodiments across various choreographies leading to a plurality of selfhood in line with post-modern and poststructuralist notions of subjectivity (Deleuze and Guattari 1987). Furthermore, the oscillation of real and imagined subjectivities in performance (Emilyn Claid 2006) and the interplay of intercorporeal and intersubjective relations between choreographer and dancer (Sally Gardner 2007) are highlighted in these works.

Experience has no shadow

This research is situated in the field of practice-led research investigating embodied perspectives on the performance of dance making. In the stock of choreographic literature, the celebrated ‘creativity’ label is associated predominantly with the choreographer and is discussed in terms of product rather than process (Lussier-Ley and Durand-Bush 2009; Hennessey 2003). A reliance on the mystery of inspiration or choreographic genius (Penty 1998) for the production of ‘great’ dance works does not acknowledge the complex and timely process common in the creation of dance (Mace and Ward 2002) nor provide a true representation of the creative contributors (Farrer 2014). The failure to attribute creative impulses and skills to dancers is reminiscent of a time when they were thought of only as instruments in the creative process not active participants and collaborators (Jowitt 2001a; H’Doubler 1957). This project asked the question, to what end do dancers contribute to choreography and how is this contribution valued and recognised? Dancers are integral to the creative process. The research found that the scope of a dancers’ creative involvement in the development of a new work is dependent on: the individual choreographers approach to creating movement; the relationship between dancer and choreographer, and dancer and fellow company members; and the dancers collaborative skills and interpretive skills, versatility, and initiative. Recognition and attribution of dancers’ creative input is dependent on a choreographer’s viewpoint, generosity, and prior creative experiences. The work was created as a part of the Ausdance Queensland 2010 Bell Tower III Choreographic Residency program. Applicants were peer reviewed and vetted by a panel of local and national dance producers. The creative work was presented at the Judith Wright Centre for Live Arts. The project was funded by Ausdance Queensland and Arts Queensland. https://es-es.facebook.com/events/106661226023025/?hc_location=stream

A test rig for the condition-based maintenance application on the traction chain of very high speed trains

The preventive maintenance of traction equipment for Very High Speed Trains (VHST) nowadays is becoming very expensive owing to the high complexity and quality of these components that require high reliability. An efficient maintenance approach like the Condition-Based Maintenance (CBM) should be implemented to reduce the costs. For this purpose, an experimental full-scale test rig for the CBM of VHST traction equipment has been designed to investigate in detail failures in the main mechanical components of system, i.e. motor, bearings and gearbox. The paper describes the main characteristics of this unique test rig, able to reproduce accurately the train operating conditions, including the relative movements of the motor, the gearbox and the wheel axle. Gearbox, bearing seats and motor are equipped by accelerometers, thermocouples, torque meter and other sensors in different positions. The testing results give important information about the most suitable sensor position and type to be installed for each component and show the effectiveness of the techniques used for the signal analysis in order to identify faults of the gearbox and motor bearings.

Understanding and analyzing a large collection of archived swimming videos

In elite sports, nearly all performances are captured on video. Despite the massive amounts of video that has been captured in this domain over the last 10-15 years, most of it remains in an 'unstructured' or 'raw' form, meaning it can only be viewed or manually annotated/tagged with higher-level event labels which is time consuming and subjective. As such, depending on the detail or depth of annotation, the value of the collected repositories of archived data is minimal as it does not lend itself to large-scale analysis and retrieval. One such example is swimming, where each race of a swimmer is captured on a camcorder and in-addition to the split-times (i.e., the time it takes for each lap), stroke rate and stroke-lengths are manually annotated. In this paper, we propose a vision-based system which effectively 'digitizes' a large collection of archived swimming races by estimating the location of the swimmer in each frame, as well as detecting the stroke rate. As the videos are captured from moving hand-held cameras which are located at different positions and angles, we show our hierarchical-based approach to tracking the swimmer and their different parts is robust to these issues and allows us to accurately estimate the swimmer location and stroke rates.

Investigation of corona sources in high voltage power lines

This paper describes the results of experiments made in the vicinity of EHV overhead lines to investigate sources of clouds of charged particles using simultaneously-recording arrays of electric field meters to measure direct electric fields produced under ion clouds. E-field measurements, made at one metre above ground level, are correlated with wind speed and direction, and with measurements from ionisation counters and audible corona effects to identify possible positions of sources of corona on adjacent power lines. Measurements made in dry conditions on EHV lines in flat remote locations with no adjacent buildings or large vegetation indicate the presence of discrete ion sources associated with high stress points on some types of line hardware such as connectors and conductor spacers. Faulty line components such as insulators and line fittings are also found to be a possible source of ion clouds.

The BRAKE Driver Awareness Program & Senior Health Education

The BRAKE Driver Awareness Program provides evidence-based behaviour, risk, attitude and knowledge education for young drivers. BRAKE was founded during 2006 by Queensland Police Sergeant Rob Duncan and has been delivered to more than 35,000 senior secondary students since 2007. BRAKE is a participant directed program supported by resources provided at no cost. It includes eight parts able to be delivered in different configurations. BRAKE is endorsed by the Queensland Police and Queensland Ambulance Services. It is recognised by the Queensland Studies Authority as a Queensland Certificate of Education registered life skills course. This session is a must attend for secondary teachers, coordinators, staff in senior leadership positions and other stakeholders seeking a unique approach to adolescent road safety education. It will conclude with an opportunity to consider how BRAKE can be integrated into the senior secondary Health Education curriculum or pastoral care, social action and personal development programs.

CT Anatomy for Radiotherapy

Knowledge of CT anatomy is increasingly vital in daily radiotherapy practice, especially with more widespread use of cross-sectional image-guided radiotherapy (IGRT) techniques. Existing CT anatomy texts are predominantly written for the diagnostic practitioner and do not always address the radiotherapy issues while emphasising structures that are not common to radiotherapy practice. CT Anatomy for Radiotherapy is a new radiotherapy-specific text that is intended to prepare the reader for CT interpretation for both IGRT and treatment planning. It is suitable for undergraduate students, qualified therapy radiographers, dosimetrists and may be of interest to oncologists and registrars engaged in treatment planning. All essential structures relevant to radiotherapy are described and depicted on 3D images generated from radiotherapy planning systems. System-based labelled CT images taken in relevant imaging planes and patient positions build up understanding of relational anatomy and CT interpretation. Images are accompanied by comprehensive commentary to aid with interpretation. This simplified approach is used to empower the reader to rapidly gain image interpretation skills. The book pays special attention to lymph node identification as well as featuring a unique section on Head and Neck Deep Spaces to help understanding of common pathways of tumour spread. Fully labelled CT images using radiotherapy-specific views and positioning are complemented where relevant by MR and fusion images. A brief introduction to image interpretation using IGRT devices is also covered. The focus of the book is on radiotherapy and some images of common tumour pathologies are utilised to illustrate some relevant abnormal anatomy. Short self-test questions help to keep the reader engaged throughout.

Staging childhoods : experiments in authentic theatre making practice with children

This practice-led PhD project investigates the ways in which society positions children through a broad set of social, cultural and historical considerations and examines these within the frame of theatre making. The study proposes a model of practice that moves beyond participant empowerment toward a more dynamic understanding of the creative process that sees adults and children working together to create mainstream artistic product. It contends that this model creates conditions conducive to authentic theatre making practice with children as evidenced in the researcher’s original performance work Joy Fear and Poetry.

Phonon modes of MgB2 : Super-lattice structures and spectral response

Micrometre-sized MgB2 crystals of varying quality, synthesized at low temperature and autogeneous pressure, are compared using a combination of Raman and Infra-Red (IR) spectroscopy. These data, which include new peak positions in both spectroscopies for high quality MgB2, are interpreted using DFT calculations on phonon behaviour for symmetry-related structures. Raman and IR activity additional to that predicted by point group analyses of the P6/mmm symmetry are detected. These additional peaks, as well as the overall shapes of calculated phonon dispersion (PD) models are explained by assuming a double super-lattice, consistent with a lower symmetry structure for MgB2. A 2x super-lattice in the c-direction allows a simple correlation of the pair breaking energy and the superconducting gap by activation of corresponding acoustic frequencies. A consistent physical interpretation of these spectra is obtained when the position of a phonon anomaly defines a super-lattice modulation in the a-b plane.

Secondary sources

Secondary Sources, a Dublin Dance Festival 2010 commission, by choreographer Liz Roche that brings together renowned collaborators and performers from the US, Australia, New Zealand, UK, Spain and Ireland. Liz Roche creates a tapestry of movements that reflect on the performers' embodied connections between primary and secondary sources of inspiration, exploring the influences that we carry in our bodies that come from other people, places and events. The work began nearly two years ago in New York as a quartet made during a residency at Movement Research NY and has been developing ever since through an on-going process between Liz Roche and an exceptional group of dancers/collaborators who are joined in performance by musician/composers Justin Carroll and Edward RosenBerg with lighting by Nick McCall and costumes by Jeni Roddy."