Rote movie

"On the voice over de Bruyn places himself behind the wheel of a car, an appropriate metaphor for his expatriate driven reflections on his feelings of exile, distance and loneliness. Necessarily unintelligent memories highlight habitual subjectivity of "walking through a landscape alone", "gypsy", "victim". Images of roadsigns, cars, billboards, the passing landscape; elegantly simple rotoscope (by rote?) drawings, recopied and texturally manipulated filmic images; the inevitability of the repetition of leader. A tired, yearning, moving film." http://www.innersense.com.au/mif/debruyn_films.html

Research ethics, reconciliation, and strengthening the research relationship in Indigenous health domains : an Australian perspective

Australia has one of the best health care systems in the world. Despite this, the health of Indigenous Australians remains poor in comparison to non-Indigenous Australians and in comparison to other Indigenous peoples in other developed countries, such as Canada, the USA and New Zealand. Although the disparities in Indigenous health are the result of a complex array of interacting social and political processes, the historical failings of the nation's research endeavours to directly benefit the health status of Indigenous peoples are bring increasingly implicated in the status quo. Because of their shared memories of past bad experiences, Indigenous communities are profoundly distrustful of non-Indigenous health researchers. As a result of this distrust, opportunities to improve the performance, accountability and benefits of health research in Indigenous health domains are being lost—to the further detriment of the health of Indigenous peoples. In an attempt to redress this distrust and strengthen the research relationship in Indigenous health domains, various national research ethics guidelines and frameworks have been developed. It is evident, however, that if the research relationship in Indigenous health domains is to be improved, researchers need to do much more than merely uphold prescribed rules and guidelines. This article contends that if the research relationship in Indigenous health is to be strengthened, health researchers must also engage in the distinctive political processes of ‘recognition’ and ‘reconciliation’. In support of this contention, the processes of recognition and reconciliation are described, and their importance to improving the overall performance, accountability and benefits of Indigenous health research explained.

Psychological and cumulative cardiovascular effects of repeated angry ruminaton and visuospatial suppression

Brooding rumination is associated with depressed mood, increased negative affect, prolonged anger and inhibited cardiovascular (CV) recovery. Distraction from rumination on a stressful interpersonal encounter is associated with faster CV recovery and decreased negative affect. Studies have suggested that a concurrent visuospatial (VS) task inhibits the maintenance of imagery associated with the perseveration of intrusive negative memories. 120 healthy participants were recruited for the study. As an analogue of repeated angry rumination, the authors explored the effects of repeated visual recall of a provocative confederate and the subsequent impact of two visuospatial (VS) distraction tasks on negative affect, blood pressure (BP) and heart rate (HR). Repeated recall of the provocation generated repeatedly elevated HR with a cumulative trend that may have CV disease risk implications for chronic ruminators. VS distraction did not aid recovery compared with the Control task.

Toward a broader appreciation of human motion in education

Motion is a fundamental activity for the healthy functioning human organism. Its importance, however, is increasingly de-valued in Western cultures as they speed toward adopting technologies and virtual experiences as adjuncts to, and even replacements for7 traditional educational structures and processes that involve physical activity. Organised and reflective experience of human motion is becoming increasingly marginalised in teaching methodologies and learning programs in educational institutions at all levels around the globe. This inquiry sets out to gain a greater understanding of why people and human motion become disconnected, particularly during periods of formal education. A central question and two sub-questions form the basis of the inquiry. The central question asks why human motion is not valued and more utilised in education. In particular, why do learning areas that directly represent involvement with human motion, such as physical education, continually struggle in education programs. It directs the investigation to focus on the causes rather than the symptoms of the disuse and devaluation of human motion in Australian education. The two sub-questions split the praxis of the study. The first seeks to understand how the causes of devaluation work in the educational context lo affect the lack of acknowledgement; and the second considers ways to counter the disuse of human movement in education programs. To address these questions, the research focuses on rebutting the notion of a mind-body dualism. Rather, it seeks to better understand how humans learn and function as monists - integrated beings, acquiring self-knowledge in their 'world of being' in which bodily and emotional experiences, and reasoning are inextricably intertwined. I have approached this qualitative research as an ethnographic sociologist examining the issues from a critical high modernist perspective in order to demonstrate the pervading influence in Australian education of strong beliefs and values from the era of Enlightenment. Narrative analysis of 'memoir' in the form of self-defining memories was selected to gain a sensibility of the connectedness between human emotion, motion and reasoning in the lived experiences of students in three primary and three secondary schools across Years 2-12. An opportunity for human movement to be more valued and utilised in emerging educational frameworks that have life knowledge, dispositions and capabilities at their core is identified. The inquiry proposes a conceptualisation of human motion in education for new times characterised by the need for people to develop personal resources and strong positive identities in order to cope with a world of rapid change and uncertainty.

Factors affecting the engagement of experienced teachers in schools

With the changing age profile of teachers in Australian schools, considerable numbers of experienced teachers need to feature as educational leaders, before their workplace knowledge and expertise will be lost to schools with retirement. Stereotypes of veteran teachers depict individuals, wearied by decades of work experiences, entering professional decline when educational systems need these experienced practitioners to remain connected, communicative and motivated in their work. This thesis explores the careers and contemporary professional lives of experienced practitioners — predominantly classroom teachers — currently working in a school with a long standing commitment to student-centred education. The research identified the factors that influenced their career pathways and affected their engagement with their work. Critical incidents in the teachers’ careers and professional lives are discussed in relation to the theories of motivation and the nature of Professional Learning Communities. The study showed that necessary factors for engagement were: mutual alignment with a well-articulated and practised ethos; supportive leadership; experiencing professional influence; opportunities for learning; and variety in work. Disillusion resulted if school actions were contrary to the espoused ethos. Severely negative experiences of performance management were survived by withdrawing, and enduring management tenures but these remain very poignant memories. The teachers had few career regrets yet reflection revealed the arbitrary nature of their career progression. The research identified a need to recognise the global and societal factors influencing the nature of teachers’ work. It is argued that schools and systems need to have a greater alignment between these external forces and their internal goals whilst recapturing the moral purpose of education. Furthermore, it is asserted that educational systems need to provide better human resource management for the teaching workforce through emphasising life-balance and well-being. Additionally, professional appraisal and staff management would benefit from strong recognition and deployment of the workplace knowledge and expertise of experienced teachers. A serendipitous outcome of the research was the benefit participants gained from reflecting on their careers which proved extremely affirming, and contributed to enhanced professional identities and changed career plans.

Exploratory surgery of the female psyche

The thesis explores the visual narrative concerning a journey of empowerment for women. To enable the journey to advance the inquiry is directed into two areas. The first area is female gender, which is argued to be socially constructed and implicit in the marginalisation of women in western society. The second area is ‘feminine authority’, which is gained by developing an understanding and acceptance of the characteristics which have historically been considered as belonging to the feminine. Granting these characteristics agency would recognise their authority and assist in the elevation of the female to a position of equality in western society. Beginning from a feminist position, the research supported the belief that the female is marginalised in western society. It also confirmed the notion that empowerment and authority can be attained by women if they actively pursue the following; • Explore their own psychology beyond the existing socially constructed gender roles. • Develop an understanding of their feminine self by applying Jung's theories on individuation and archetypes. • Expose the underlying patriarchal influence in western epistemology and science by challenging existing deeply held cultural and scientific beliefs and by actively contributing as feminists to the areas of epistemology and science. Archetypal myths of the ‘feminine’ have developed from an androcentric position. They enforce and perpetuate gender imbalance which contributes to the disenfranchisement of women in western society, ‘Individuation’ is a process in which a person explores aspects of themselves to bring forth parts of their unconscious into their conscious mind in an attempt to gain a deeper understanding of themselves. As a consequence the consciousness develops closer links with archetypal memories which assists the exploration. The ‘true feminine’ is the feminine not restricted or defined by the dominant androcentric view. Knowledge of the feminine empowers women to address the marginalisation of the female in western society and assists in the process of gaining female authority. This enquiry also investigated the four stages of female psychological development with regard to patriarchal influences. Of particular importance is the second stage of psychological development where the female identifies with historically perceived inferior characteristics of the female. This is when she rejects her connections with the primacy of female power and her deep connections with nature which were inherited from archaic times. It is at this stage that she absorbs the myths associated with western patriarchal society which effectively disempower her. Western epistemology, with its emphasis on ‘objective’ investigation and empiricism contributes to the support for and promotion of ‘inferior’ female gender. This type of investigation is brought into question when areas of research into primates and human evolutionary theory is shown to develop from an androcentric view. Western knowledge has associations with power and justice and power is commonly associated with dominance. Regard for ‘truth’ and ‘absolute’ can be viewed as key elements in the support for knowledge and its associations with power. Knowledge has historically maintained suppression of individual experience which promotes a universalised account. This suppression of beliefs other than the dominant authority maintains the existing dominant social structure. Foucault's view of the genderised or inscribed body alerts us to areas where dominance, resistance and power play a part in maximising masculine power and control. Gender becomes an instrument of power within the existing patriarchal structure. Gender, knowledge and power are identified as areas obstructing female empowerment. Part 3 of this exegesis examines the imagery which embodies the visual narrative. Particularly, the harlequin image, its historical background and connections with ancient mythology including reference to Jungian psychology. The harlequin image is developed sequentially in the earlier black and white drawings on paper. These drawings contained a female figure which was often placed in juxtaposition with a Venus or goddess image, reference was also made to ‘eve’ and the ‘siren’. These elements provided the framework which enabled the harlequin image to emerge and evolve. The narrative developed with an understanding of the ‘feminine’ aspects of the psyche which resulted in the harlequin acquiring the elevated authority of a goddess. The Harlequin evolved from my need for symbolic representation of the female psyche. It represents contradiction and dualism. It is a composition of opposites, reflects masculine and feminine traits, the dark and light of the conscious and unconscious mind, it houses both comic and sinister elements, is a trickster and menace. The costume, colours and patterns are expressive elements conducive to fragmentation and layering within the composition of the paintings. Jung examined the harlequin in Picasso's paintings. He concluded that as Picasso drew on his inner experiences the harlequin became important as a symbol; it was a pictorial representation from the unconscious psyche. It travelled freely from the conscious to the unconscious and represented the masculine and feminine, chthonian and apollonian. The final painting in the series, a triptych, completes the narrative and stands alone as a salutatory work. It unites the series by combining existing compositional devices and technique while making reference to imagery from previous works, ‘The Three Graces Victorious’, expresses the authority of the feminine. It completes a victorious stage of a journey where the harlequin is empowered by archaic memories and knowledge of the psyche. The feminine is hailed, elevated and venerated. Other elements which assist in expressing the visual narrative are; colour, technique and influence. Colour is explored and its use as an emotive devise in expressionism. Paul Klee's writing on the use of colour and it's symbolic meaning and Julia Kristeva's investigation on colour from a psychoanalytic and semiotic view are also discussed. To indicate influences and connections within my oeuvre, reference is also made to the following: Jasper Johns' for his use of imagery in his ‘Four Seasons’ series with it's reference to a journey of maturation and Louise Bourgeois' work which deals with issues of gender, memories and past journeys. Although ‘The Three Graces Victorious’; the concluding painting for the investigation is celebratory and represents a finality to the thesis, it points to further areas that impede feminine development and need future examination. Reference is made to a continuation of the exploratory journey by plotting the Harlequin/Goddesses future directions. Although the Harlequin/Goddess is empowered with newly acquired authority, her future journey does not need to be bound by mathematics or limited by rationality. She does not require power to dominate or gender structures to subjugate, but requires limitless boundaries and contexts. The Harlequin/Goddess's future journey is not fixed.

Visual narratives in the children's picture story book : an investigation of the extent to which the formal structuring of a visual narrative retrieves a pastiche of past experiences and images which in turn shapes and redirects the story

Throughout this research, the notion that illustrators of children's books embark on two types of activity has been reinforced at every turn. On one hand the artist acknowledges the external world by organising images of actions and events in the contexts of place and time. This process involves bringing ideas into a physical form and demands the structuring of characters, settings, and story development. Planning and decisions are informed by imperatives that recognise the need for conventions of articulation and communication to a particular target audience. These then become a mayor priority of bookmaking and are constantly impacted on by publishers1 demands and ethical constraints. The other perspective sees the illustrator as expresser where the core of visual narratives for children celebrates the potency of imagination. Here dreams, fantasies, memories and the unconscious become the conduits to shaping sequential images. The artist is engaged not simply in visually telling a story, but rather telling facets of his or her own story. This exegesis traces the evolution of my own picture story book Eddie's Fantastic Fortnight published by Five Mile Press Publishers in tandem with the insights and reflections of five of Australia's most prominent illustrators. It examines whether the structure invested in a visual narrative liberates expressive response, ascribing to the premise that bookmaking plays an informing role to imagination. Equally it adopts the alternative position which asserts that the essence of children's books is indeed fantasy, memory and dreams. This proposition views imagination and inspiration as the primary catalyst around which illustrators build their narrative. In the often lengthy processes of bookmaking, these considerations constantly shift. I have attempted to explore and reveal these mobile and ever changing priorities, not only in my own work, but also through leading exponents in the field.

Feminist poetics : symbolism in an emblematic journey reflecting self and vision

My thesis tilled Feminist Poetics: Symbolism in an Emblematic Journey Reflecting Self and Vision, consists of thirty oil paintings on canvas, several preparatory sketches and drawings in different media on paper, and is supported and elucidated by an exegesis. The paintings on unframed canvases reveal mise en scčnes and emblems that present to the viewer a drama about links between identities, differences, relationships and vision. Images of my daughter, friends and myself fill single canvases, suites of paintings, diptyches and triptychs. The impetus behind my research derives from my recognition of the cultural means by which women's experience is excluded from a representational norm or ideal. I use time-honoured devices, such as, illusionist imagery, aspects of portraiture, complex fractured atmospheric space, paintings and drawings within paintings, mirrors and reflective surfaces, shadows and architectural devices. They structure my compositions in a way that envelops the viewer in my internal world of ideas. Some of these features function symbolically, as emblems. A small part of the imagery relies on verisimilitude, such as my hands and their shadow and my single observing eye enclosed by my glasses. What remains is a fantasy world, ‘seen’ by the image of my other eye, or ‘faction’, based on memories and texts explaining the significance of ancient Minoan symbols. In my paintings, I base the subjects of this fantasy on my memories of the Knossos Labyrinth and matristic symbols, such as the pillar, snake, blood, eye and horn. They suggest the presence of a ritual where initiates descended into the adyton (holy of holies) or sunken areas in the labyrinth. The paintings attempt a ‘rewriting’ of sacrality and gender by adopting the symbolism of death, transformation and resurrection in the adyton. The significance of my emblematic imagery is that it constructs a foundation narrative about vision and insight. I sought symbolic attributes shared by European oil painting and Minoan antiquity. Both traditions share symbolic attributes with male dying gods in Greek myths and Medusa plays a central part in this linkage. I argue that her attributes seem identical to both those of the dying gods and Minoan goddesses. In the Minoan context these symbols suggest metaphors for the female body and the mother and daughter blood line. When the symbols align with the beheaded Medusa in a patriarchal context, both her image and her attributes represent cautionary tales about female sexuality that have repercussions for aspects of vision. In Renaissance and Baroque oil painting Medusa's image served as a vehicle for an allegory that personified the triumph of reason over the senses. In the twentieth century, the vagina dentata suggests her image, a personified image of irrational emotion that some male Surrealists celebrated as a muse. She is implicated in the male gaze as a site of castration and her representation suggests a symbolic form pertaining to perspective. Medusa's image, its negative sexual and violent connotations, seemed like a keystone linking iconographic codes in European oil painting to Minoan antiquity. I fused aspects of matristic Minoan antiquity with elements of European oil paintings in the form of disguised attribute gestures, objects and architectural environments. I selected three paintings, Dürer's Setf-Portrait, 1500, Gentileschi's Self-Portrait as the Allegory of Painting, 1630 and Velazquez's Las Meniruis, 1656 as models because 1 detected echoes of Minoan symbolism in the attributes of their subjects and backgrounds. My revision of Medusa's image by connecting it to Minoan antiquity established a feminist means of representation in the largely male-dominated tradition of oil painting. These paintings also suggested painting techniques that were useful to me. Through my representations of my emblematic journey I questioned the narrow focus placed on phallic symbols when I explored how their meanings may have been formed within a matricentric culture. I retained the key symbols of the patriarchal foundation narratives about vision but removed images of violence and their link to desire and replaced it with a ritual form of symbolic death. I challenged the binary oppositional defined Self as opposed to Other by constructing a complex, fluid Self that interacts with others. A multi-directional gaze between subjects, viewers and artist replaces the male gaze. Different qualities of paint, coagulation and random flow form a blood symbolism. Many layers of paint retaining some aspects of the Gaze and Glance, fuse and separate intermittently to construct and define form. The sense of motion and fluidity constructs a form of multi-faceted selves. The supporting document, the exegesis is in two parts. In the first part, I discuss the Minoan sources of my iconography and the symbolic gender specific meanings suggested by particular symbols and their changed meanings in European oil painting, I explain how I integrate Minoan symbols into European oil paintings as a form of disguised symbolism. In the second part I explain how my alternative use of symbolism and paint alludes to a feminist poetic.

Platform for reliable computing on clusters using group communications

Shared clusters represent an excellent platform for the execution of parallel applications given their low price/performance ratio and the presence of cluster infrastructure in many organisations. The focus of recent research efforts are on parallelism management, transport and efficient access to resources, and making clusters easy to use. In this thesis, we examine reliable parallel computing on clusters. The aim of this research is to demonstrate the feasibility of developing an operating system facility providing transport fault tolerance using existing, enhanced and newly built operating system services for supporting parallel applications. In particular, we use existing process duplication and process migration services, and synthesise a group communications facility for use in a transparent checkpointing facility. This research is carried out using the methods of experimental computer science. To provide a foundation for the synthesis of the group communications and checkpointing facilities, we survey and review related work in both fields. For group communications, we examine the V Distributed System, the x-kernel and Psync, the ISIS Toolkit, and Horus. We identify a need for services that consider the placement of processes on computers in the cluster. For Checkpointing, we examine Manetho, KeyKOS, libckpt, and Diskless Checkpointing. We observe the use of remote computer memories for storing checkpoints, and the use of copy-on-write mechanisms to reduce the time to create a checkpoint of a process. We propose a group communications facility providing two sets of services: user-oriented services and system-oriented services. User-oriented services provide transparency and target application. System-oriented services supplement the user-oriented services for supporting other operating systems services and do not provide transparency. Additional flexibility is achieved by providing delivery and ordering semantics independently. An operating system facility providing transparent checkpointing is synthesised using coordinated checkpointing. To ensure a consistent set of checkpoints are generated by the facility, instead of blindly blocking the processes of a parallel application, only non-deterministic events are blocked. This allows the processes of the parallel application to continue execution during the checkpoint operation. Checkpoints are created by adapting process duplication mechanisms, and checkpoint data is transferred to remote computer memories and disk for storage using the mechanisms of process migration. The services of the group communications facility are used to coordinate the checkpoint operation, and to transport checkpoint data to remote computer memories and disk. Both the group communications facility and the checkpointing facility have been implemented in the GENESIS cluster operating system and provide proof-of-concept. GENESIS uses a microkernel and client-server based operating system architecture, and is demonstrated to provide an appropriate environment for the development of these facilities. We design a number of experiments to test the performance of both the group communications facility and checkpointing facility, and to provide proof-of-performance. We present our approach to testing, the challenges raised in testing the facilities, and how we overcome them. For group communications, we examine the performance of a number of delivery semantics. Good speed-ups are observed and system-oriented group communication services are shown to provide significant performance advantages over user-oriented semantics in the presence of packet loss. For checkpointing, we examine the scalability of the facility given different levels of resource usage and a variable number of computers. Low overheads are observed for checkpointing a parallel application. It is made clear by this research that the microkernel and client-server based cluster operating system provide an ideal environment for the development of a high performance group communications facility and a transparent checkpointing facility for generating a platform for reliable parallel computing on clusters.

Third-generation responses to holocaust video-testimony

This research investigated responses of grandchildren of Holocaust survivors ("third generation") to Holocaust video-testimony. The analysis revealed that video-testimony can transmit memories of survival experiences to viewers, enabling them to "work through" their positions as witnesses and make active decisions relating to remembrance.

Sites of dreaming: architecture and narrative

In this collection of work Daniel investigated relationships between architecture and the architectural in terms of memories, fictions and imagination. The work has drawn from childhood explorations of architecture and play, namely in the form of the Cubby Hut as well as exploring relationships between architecture in terms of culture and fiction with respect to architectural structures which are inspired by the classic form of the flying saucer or UFO.

"A lasting gift to his descendants” : family memory and the great war in Australia

This article examines the processes of remembering and transmitting experiences of the Great War within families of Australian veterans now passed on. It focuses on a recent boom in private publishing of ancestors’ personal letters and diaries and argues that these practices continue to reimagine and reshape family memories of the war. In so doing it exposes the range of family members implicated in family remembrance then and now, and so complicates any process by which a war almost beyond living memory is to become entirely understood by its public myths and representations.

Tales from the Riverbank: place-marketing and maritime heritages

Although place-marketing and image-enhancement are increasingly common elements of Western urban policy, when applied to specific locales, these abstract theories have to negotiate local conditions and contexts. This paper discusses the ways attempts to place-market the city of Hull, England, prompted debates surrounding questions of place, memory and heritage. Despite being Britain's leading fishing port in the 20th century, Hull's place-marketing strategy elided this past in favour of a sanitised vision of a modern, post-industrial city. These debates crystallised around a 1999 planning inquiry over the proposed redevelopment of the erstwhile fishing dock. While the proposals contained some reference to the dock's role as a site of place-memory, this was deemed insufficient by local protest groups and politicians who argued for a more appropriate memorial to Hull's fishing community. Eventually, the redevelopment proposals were accepted, but not before attendant debates exposed both the depth of local sentiments over place-memories and fishing heritage, and also the difficulties of negotiating inclusive and plural heritage landscapes.

Democracy building in post-Saddam Iraq : 'historical memory' and 'primitive democracy'

Iraq’s long and complex past has played a particularly poignant role in establishing and legitimating the various political movements that have ascended to power since the nation state was first created by the British in the early 1920s (Davis, 2005b). For example, the installed Hashemite monarchy that ruled Iraq until the 1958 revolution utilised their ancestral connection to the Prophet Muhammad to legitimate their claim of being the rightful legatees of the Arab lands, while later Saddam Hussein invoked the power of Iraq’s Mesopotamian past to build nationalism and unite the people against ancient enemies such as during the Iran-Iraq war of the 1980s.What is problematic about these examples of ‘historical memory’ in Iraq is that they have also been used to justify a series of autocratic and despotic regimes that have attempted to quash Iraq’s civil society and curtail any semblance of democratic reform. However, this paper argues that such ‘historical memories’ may well be useful in reinvigorating the Iraqi public sphere and enabling the transition from despotism to democracy. To do this, this paper focuses on the ancient Mesopotamian practise of ‘Primitive Democracy’ and argues that reinvigorating such histories may serve to legitimate and promote democratic governance within Iraq.

Collapse

Collapse was a visual performance installation presented at the Old Port of Melbourne in 2008. The audience travelled by boat across Port Phillip Bay to witness the performance begins at Sciencework’s Spotswood Jetty, where the audience travelled by ferry across the Port Phillip Bay to a remote location, where society has “collapsed”. The performance then becomes a walking tour around this new location, encountering and experiencing the world that Red Cabbage has created.

“At that point…the collapse of their morale, their will power and their patience was so abrupt that they felt they would never be able to climb back out of their hole…Hence, floundering halfway between the abyss and the peak, they drifted rather than lived, given up to aimless days and sterile memories, wandering shadows who could have only found strength by resigning themselves to taking root in the soil of their distress.”- Albert Camus The Plague

Floundering halfway between the abyss and the peak…exist those that have not yet fallen…in a state of recurring collapse. The girl in the yellow dress, the man in the grey suit, the old man in the brown pants, the woman in the blue shirt and the man in the red hat are suspected carriers of the white sickness. They have been removed from their homes to the edge of the city for standard assessment. Here they meet the others, processed…waiting…isolated. By boat…they travel across the bay to their final destination. Not another Hollywood style apocalyptic melodrama in which our heroes find grace, hope and redemption in the utter destruction of modern civilization…in the collapse of lived time the ruins of humanity are exposed as already existent…the limits of our ability to be graceful were discovered long ago…the trauma of the end of time a given…the plague is now.