Trauma and holocaust video testimony : the intersection of history, memory, and judgment in the interview process

This article analyzes video testimonies recorded at the Jewish Holocaust Museum and Research Centre in Melbourne,Australia, which address the highly complex and sensitive issue of “privileged” Jews. The so-called privileged Jews include prisoners in the Nazi-operated camps and ghettos who held positions that gave them access to material and other benefits, while compelling them to act in ways that have been judged detrimental to fellow inmates. Although the issue of “privileged” Jews has been largely neglected, it relates to a crucial facet of the Holocaust and has vast implications for its aftermath. The ethical dilemmas facing these victims may be closely linked to what Lawrence Langer has termed choiceless choices, which challenge conventional notions of “judgment” and “responsibility.” This problem is also the primary subject of Auschwitz survivor Primo Levi’s essay titled “The Grey Zone,” which is arguably the most influential essay ever written on the Holocaust. Levi argues that one should abstain from judging individuals who confronted such extreme circumstances, positioning prisoners with “privileged” positions at the threshold of representation and understanding. However, moral evaluations of “privileged” Jews have a strong impact on Holocaust testimonies, whether these were constructed during the war or recorded long after the survivors’ experiences. The examples of video testimonies explored in this article reveal that this is particularly the case when interviewees are former “privileged” Jews and interviewers are themselves Holocaust survivors. The article argues that when confronted with such an emotionally and morally fraught issue, judgment may itself be seen as a “limit of representation.”

Video streaming: Implementation and evaluation in an undergraduate nursing program

Video streaming technology enables video content, held on the web sites, to be streamed via the web. We report the implementation and evaluation of video streaming in an undergraduate nursing program in a metropolitan university in Australia. Students (n = 703) were emailed a survey with a 15% response rate. We found that 91% (n = 74) of respondents stated that video streaming assisted their learning. Forty-six percent(n = 50) of students had difficulty accessing video streaming (particularly at the beginning of the study period). Over a 97-day period there were 8440 “hits” to the site from 1039 different internet protocol (IP) addresses. There were 4475 video streaming sessions undertaken by users. Video streaming was used for reviewing previously attended lectures (52%, n = 56), examination preparation (34%, n = 37), viewing missed lectures (27%, n = 29) and class preparation (9%, n = 10). Our experience with the introduction of video streaming has met with general enthusiasm from both students and teaching staff. Video streaming has particular relevance for rural students.

Touching space : using motion capture and stereo projection to create a virtual haptics of dance

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.

The effects of playing violent video games on adolescents : should parents be quaking in their boots?

Debate regarding the psychological and behavioural effects of playing violent video games has recently led to claims that violent video games increase aggression effects in adolescents, and that this issue has now been settled. However, other researchers have found either no detrimental effects from game playing or even positive (cathartic) effects. In this research we demonstrate that these different conclusions are not mutually exclusive and can be explained by the method of assessment and analytic techniques utilised. We had adolescents play a violent video game (Quake II) and took measurements of anger both before, during and after game play. The results demonstrated that some people increase, some decrease and the majority show no change in anger ratings. Unlike past research, we also demonstrate that these changes are mediated by the player's feelings immediately prior to game play and a labile temperament - one predisposed to aggression - and that these variables predict people's reactions with an average 73% concordance rate.

The development of a generic framework for the implementation of a cheap, component-based virtual video-conferencing system

We address the problem of virtual-videoconferencing. The proposed solution is effected in terms of a generic framework based on an in-house Virtual Reality system. The framework is composed of a number of distinct components: model acquisition, head tracking, expression analysis, network transmission and avatar reconstruction. The framework promises to provide a unique, cheap, and fast system for avatar construction, transmission and animation. This approach affords a conversion from the traditional video stream approach to the management of an avatar remotely and consequently makes minimal demands on network resources.

Time for tea

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This dance performance simply named “3D” combines contemporary dance with stereoscopic and video imagery. It was performed live within the Melbourne Fringe Festival at the No Vacancy Gallery at Federation Square from September 30 to October 2, 2011. The dance character is a Victorian woman living in a drought-stricken land who dreams of having enough water for a cup of tea. The stereoscopic (3d) images are metaphors for her hopes and dreams. It was performed and animated by Megan Beckwith and the sound design was by the international sound designer Jacques Soddell.

Closer

Contemporary dance has only recently gained the capability of mapping imagery into 3D theatre environments that appear to move towards and away from the audiences. This capability radically expands the metaphoric content possible in dance work. This work was animated by Megan Beckwith, performed and choreographed by Stephanie Hutchison with the sound designed by Jacques Soddell. The performance combines contemporary dance with stereoscopic illusions and video imagery. The work is based on the Walter Benjamin’s Ninth Thesis on the Philosophy of History, 1938. Benjamin describes the angel of history being ‘caught in a storm’ from Paradise and being ‘propelled into the future to which his back is turned’. This performance comments on how we invariably move into the future by taking our past with us.

Understanding fish-habitat associations using video observations and sonar imaging

This thesis was motivated by the increasing role of species distribution models in managing marine fishes and their habitats. These models provided new information about fish-habitat associations. However, models are potentially influenced by fish behaviour towards underwater video systems.