Street reads - Creating mobile walking events

By 2012 mobile devices had become the main interface for people to access information about anything from their current GPS position to the latest book reviews. What was less accessible were tools and techniques for writers to leverage this new technology to construct and distribute located stories. This project began with a series of master classes for local Brisbane writers to demonstrate processes and techniques for imagining, constructing and distributing stories. Most significantly, this project equipped writers with how to identify and adopt various mobile services and applications to research, produce and deliver packaged multi-modal content for readers to access and experience stories in the very locations from which they were inspired. Four stories by four writers were selected to be developed and published as location-based events in four different neighbourhoods across Brisbane. These writers were mentored throughout the writing process and a model was developed for them to simply upload several multi-modal chapters for access on location by readers using QR codes. These activities culminated in a major 25 day event presented by Brisbane City Council and supported by Brisbane Writers Festival and Queensland Writers Centre. The 'Street Reads' event presented the four stories on location in Cannon Hill, Darra, Toowong and West End. The significance of the Street Reads project went beyond extending the capacity for writers to access mobile technologies as a new platform for distributing stories. This event also motivated readers to travel to neighbourhoods to experience them in ways that had not previously imagined possible. These located stories were fictionalisations of actual events and characters that have current and historic importance to these places. These histories are hidden from view and yet can provide locals and visitors with a new found appreciation for the past and set an example for how neighbourhoods can become active stages for the sharing of stories inspiring a deeper connection with each other and an agency for participating in the development of the identity of the local places they inhabit together. Due to the success of the project and by employing more advanced tools now available, Street reads has been further developed by Brisbane City Council and is now available as a the Story City App available for download at itunes.

Sing fox to me : an investigation into the "use" of Down Syndrome in both the Down Syndrome and Gothic novel

This project investigates the current borders around and within, what I have in this exegesis termed, "the Down Syndrome novel", using a close reading analysis of literary texts containing characters with Down syndrome and contextualised by theoretical works drawn from both disability and literary theory. This practice-led thesis introduces and discusses select fictional characters with Down syndrome from numerous genres, revealing them as highly contained, or "boundaried", spoken for, and generally used for narrative conflict rather than included as individuals with agency and a legitimate, autonomous voice and narrative point of view. In reframing the Australian landscape as "disabled" this exegesis illustrates that the Australian Gothic novel can shift, and sometimes even remove, the boundary around characters with intellectual disabilities, allowing a space where the stories of characters with Down syndrome can emerge.

Clinically-based automatic implant fitting for shape optimization of fracture fixation plates

Complex bone contour and anatomical variations between individual bones complicate the process of deriving an implant shape that fits majority of the population. This thesis proposes an automatic fitting method for anatomically-precontoured plates based on clinical requirements, and investigated if 100% anatomical fit for a group of bone is achievable through manual bending of one plate shape. It was found that, for the plate used, 100% fit is impossible to achieve through manual bending alone. Rather, newly-developed shapes are also required to obtain anatomical fit in areas with more complex bone contour.

Metal artifacts from titanium and steel screws in CT, 1.5T and 3T MR images of the tibial Pilon: A quantitative assessment in 3D

Radiographs are commonly used to assess articular reduction of the distal tibia (pilon) fractures postoperatively, but may reveal malreductions inaccurately. While Magnetic Resonance Imaging (MRI) and Computed Tomography (CT) are potential 3D alternatives they generate metal-related artifacts. This study aims to quantify the artifact size from orthopaedic screws using CT, 1.5T and 3T MRI data. Three screws were inserted into one intact human cadaver ankle specimen proximal to and along the distal articular surface, then CT, 1.5T and 3T MRI scanned. Four types of screws were investigated: titanium alloy (TA), stainless steel (SS) (Ø = 3.5 mm), cannulated TA (CTA) and cannulated SS (CSS)(Ø = 4.0 mm, Ø empty core = 2.6 mm). 3D artifact models were reconstructed using adaptive thresholding. The artifact size was measured by calculating the perpendicular distance from the central screw axis to the boundary of the artifact in four anatomical directions with respect to the distal tibia. The artifact sizes (in the order of TA, SS, CTA and CSS) from CT were 2.0 mm, 2.6 mm, 1.6 mm and 2.0 mm; from 1.5T MRI they were 3.7 mm, 10.9 mm, 2.9 mm, and 9 mm; and 3T MRI they were 4.4 mm, 15.3 mm, 3.8 mm, and 11.6 mm respectively. Therefore, CT can be used as long as the screws are at a safe distance of about 2 mm from the articular surface. MRI can be used if the screws are at least 3 mm away from the articular surface except SS and CSS. Artifacts from steel screws were too large thus obstructed the pilon from being visualised in MRI. Significant differences (P < 0.05) were found in the size of artifacts between all imaging modalities, screw types and material types, except 1.5T versus 3T MRI for the SS screws (P = 0.063). CTA screws near the joint surface can improve postoperative assessment in CT and MRI. MRI presents a favourable non-ionising alternative when using titanium hardware. Since these factors may influence the quality of postoperative assessment, potential improvements in operative techniques should be considered.

Assessing the bilateral geometrical differences of the tibia : are they the same?

Contralateral bones are often used in many medical applications but it is assumed that their bilateral differences are insignificant. Previous studies used a limited number of distance measurements in quantifying the corresponding differences; therefore, little is known about their bilateral 3D surface asymmetries. The aim of the study is to develop a comprehensive method to quantify geometrical asymmetries between the left and right tibia in order to provide first results on whether the contralateral tibia can be used as an equivalent reference. In this study, 3D bone models were reconstructed from CT scans of seven tibiae pairs, and 34 variables consisting of 2D and 3D measurements were measured from various anatomical regions. All 2D measurements, and lateral plateau and distal subchondral bone surface measurements showed insignificant differences (p > 0.05), but the rest of the surfaces showed significant differences (p < 0.05). Our results suggest that the contralateral tibia can be used as a reference especially in surgical applications such as articular reconstructions since the bilateral differences in the subchondral bone surfaces were less than 0.3 mm. The method can also be potentially transferable to other relevant studies that require the accurate quantification of bone bilateral asymmetries.

Mismatch negativity in recent-onset and chronic schizophrenia : a current source density analysis

Mismatch negativity (MMN) is a component of the event-related potential elicited by deviant auditory stimuli. It is presumed to index pre-attentive monitoring of changes in the auditory environment. MMN amplitude is smaller in groups of individuals with schizophrenia compared to healthy controls. We compared duration-deviant MMN in 16 recent-onset and 19 chronic schizophrenia patients versus age- and sex-matched controls. Reduced frontal MMN was found in both patient groups, involved reduced hemispheric asymmetry, and was correlated with Global Assessment of Functioning (GAF) and negative symptom ratings. A cortically-constrained LORETA analysis, incorporating anatomical data from each individual's MRI, was performed to generate a current source density model of the MMN response over time. This model suggested MMN generation within a temporal, parietal and frontal network, which was right hemisphere dominant only in controls. An exploratory analysis revealed reduced CSD in patients in superior and middle temporal cortex, inferior and superior parietal cortex, precuneus, anterior cingulate, and superior and middle frontal cortex. A region of interest (ROI) analysis was performed. For the early phase of the MMN, patients had reduced bilateral temporal and parietal response and no lateralisation in frontal ROIs. For late MMN, patients had reduced bilateral parietal response and no lateralisation in temporal ROIs. In patients, correlations revealed a link between GAF and the MMN response in parietal cortex. In controls, the frontal response onset was 17 ms later than the temporal and parietal response. In patients, onset latency of the MMN response was delayed in secondary, but not primary, auditory cortex. However amplitude reductions were observed in both primary and secondary auditory cortex. These latency delays may indicate relatively intact information processing upstream of the primary auditory cortex, but impaired primary auditory cortex or cortico-cortical or thalamo-cortical communication with higher auditory cortices as a core deficit in schizophrenia.

Letter to Lady Chatterley

A letter written to Lady Chatterley, a fictional character in a novel by D H Lawrence. The topic of the letter is the influence of fictional characters on a reader's sense of self.

I’m friends with Louie the Fly, not Mortein : conceptualising the new brand relationships on social media [Reprint]

Social media offers many opportunities for building brand relationships. One method of fostering relationships is to create a social media presence for the company spokes-character. Anecdotal evidence suggests that such a strategy can be very effective, though empirical research is needed. This paper reviews what is known and highlights a concern, based on analysis of the case of Louie the Fly and Mortein, that consumers may interact with characters as if they were separate to their parent brand. Hence positive associations with the character may not translate into positive brand outcomes. Following discussion, a model is proposed for testing.

Sweden of the Sagas

In this paper, I discuss the representation of Sweden and Swedes in the Íslendingasögur, with an emphasis on identifying patterns across the works, both in terms of narrative structure and content. The aim in doing so is to shed light on modes of representing non-Icelanders in the Íslendingasögur, as well as on medieval Icelandic conceptions of Sweden as a distinct region within Scandinavia. I also aim here to add to a longer-term project that examines the place of foreign visitors to Iceland in the saga corpus more generally. As the scope of this paper is limited to Swedish characters, I am cautious about drawing broad conclusions about their representation – observations given here will need to be framed by a wider study, and one that reads for the characterisation of Swedes in the context both of other genres of saga literature and representations of characters from other regions beside Sweden. However, it is clear that some similarities exist in saga episodes involving Swedish characters: in four of the Íslendingasögur, Swedes are given roles as intruders or outsiders who threaten the community of the saga and whose deaths bring about a change in the for- tunes of their killers.

Party tricks struggles for votes with a social media audience

With Ten’s new drama Party Tricks set for an October 6 premiere, coverage has focused on the social media campaign to promote the show. In advance of the screening, Ten has created in-character accounts for the lead characters, Kate Ballard (Asher Keddie) and David McLeod (Rodger Corser)...

Authentic in all caps

AUTHENTIC IN ALL CAPS is an award-winning web audio adventure for the iPad and Chrome browser. The app combines audio drama, audio tours, and online storytelling. You travel across the web with characters who face ridiculous obstacles to being themselves. It's about identity, mortality, and pizza toppings. It's an audio drama for people who live on the Internet.

Geminoid HI-4

Digital Writing Residency; a program to enable visitors to the Cube to interact with and feel emotionally connected to robotic characters.

The fantastic in the family sagas : implications for saga authorship

There is increasing acceptance that characterisation in the family sagas is complex enough to include the subtle incorporation of protagonists’ inner lives. Thus, despite saga authors’ apparent desire to pass on traditional stories, saga characterization brings with it the possibility of a connection between the medieval author and the early Icelandic community represented in the sagas, a break in the saga code of objective narration that adds further weight to recent arguments that saga authorship was conceived in broader terms than merely the preservation of oral tales. One such break in objectivity occurs in the range of responses to the fantastic, when characters are forced to interpret the supernatural or strange events in their lives. At such times, the author allows glimpses of the inner lives of characters, focussing our attention on the way in which characters perceived and dealt with extraordinary occurrences, but also highlighting and thematising the distinctive social context of the early Icelandic community.

The hunt

"Information Thru Play: In 2010, responding to the success of The Threshold, Juxt Interactive again asked No Mimes Media, to partner in creating a transmedia experience to entertain and inform Cisco's Global Sales Force. The Hunt put employees at the center of a thriller where characters sent and responded to their emails, left phone messages, communicated through Facebook and Twitter, even asked them to retrieve items from a dead drop and to send them photographs and information. And while helping fictional characters Isabel and Keith escape an ancient secret organization, the sales force also learned about new Cisco technologies coming to market. Cisco had new demands for the 2010 experience. A geographically and culturally dispersed sales force raises challenges when it comes to introducing dozens of new products and technologies each year. Cisco wanted The Hunt to have global reach, to educate, to build collaboration, and to be fun. This demanded new ways of storytelling and new ways of thinking. The Hunt was quick and intense, unfolding in real time in just two weeks. Many experienced players were poised to participate and expectations were high. Many of the mechanics of the previous year's experience were repeated, and the audience ripped through the opening, discovering video clips and websites in minutes. The surprise was discovering Facebook and Twitter accounts, where characters responded to player postings and comments in real time. The Hunt involved audience members from countries around the world, including China, India, Netherlands, Germany, Norway, Pakistan, Japan, the United Kingdom, and the United States. It highlighted new Cisco technologies like Pulse and Mediator, painlessly engaging the audience in what those technologies do and how they work. Players collaborated across silos, creating networks of cross-disciplinary experts. The Hunt pushed the boundaries of storytelling, with events unfolding on Twitter and Facebook, and in the real world where the audience had to use social engineering to find and secure a package with vital information. With thousands of players highly engaged around the world, The Hunt once again proved that transmedia experiences can effectively be used to not only meet the goals of a brand, but entertain their audience as well."

Bluebird AR

"What is Bluebird AR? Bluebird AR was the ABC's alternate reality drama set around the leak of Bluebird, a clandestine geoengineering initiative created by eco-billionaire Harrison Wyld. Proposing a fictional scenario set against a backdrop of real world possibilities, Bluebird AR took some of the conventions of the well-established alternate reality game (ARG) genre and pulled them into the relatively new area of online drama, to create a hybrid entertainment form best described as 'participatory drama'. With Bluebird AR's interactive narrative centred on the experimental science of geoengineering, the deliberate manipulation of the Earth's atmosphere to counteract global warming, the events and characters in the Bluebird story were entirely fictional but fused with reality online. Inhabiting a mixture of third party social media spaces and websites created by the ABC, the story incorporated real online articles, scientific journals, media and debate around geoengineering. In an Australian first, ABC Innovation launched Bluebird AR on 27 April 2010, with a 6 week live phase. Audience members were invited to play collectively to help 'unlock the drama' and push forward the emerging narrative, or passively watch the story unfold in real-time across the internet. Bluebird AR subverted ARG conventions with the high quality of its production and assets, and raised the stakes for online drama with its level of audience participation." © 2014 ABC "Introduction One of the most exciting creative challenges of producing Bluebird AR was formulating the broad array of visual styles and treatments required for the project's diverse range of content. Many assets also needed to translate well not only online but across other media, including television and print. With the project's producers keen to create a visually rich narrative with high production values from the outset, inspiration for the production design for various aspects of the Bluebird story began in the earliest pitching phase in September 2008. Particular visual treatments and styles for Bluebird's characters, their web spaces and real world possessions were formulated concurrently with the creation of their profiles. Ideas around how various clues and gameplay spaces might look and feel were also explored at this early stage. Bluebird AR's small but tight creative team produced 7 website designs and brands, motion graphics for title sequences and logo animations, rotoscope animation, 3D compositing and animation, 3D wireframes and schematics, countless Photoshop composites, and a vast array of character assets for the DC (including Kyle's Bluebird Labs security pass and resignation letter, Kruger's American and Russia passports and birth certificate, Harrison's divorce papers, and more)…" © 2014 ABC