Language is, language is not

‘Language is, Language is not’ is an installation comprising wall drawings, a fabric drawing prosthetic, performance and digital video. This work investigates ‘redrawing’ as a revisionist feminist strategy, taking as it’s starting point Mel Bochner’s work ‘Language is not Transparent’ (1970). 'Language is, Language is not' functions as both homage and critique, drawing on the legacy of conceptual art and questioning the engendering of language that it implies. This work was developed and presented for Bus Projects, Melbourne in 2012, and subsequent versions exhibited at Screen Space, Melbourne and Metro Arts Galleries, Brisbane.

Muscle flex

'Muscleflex' is an installation comprising large scale fabric works, wall drawings, performance and digital video. The large-scale fabric works act as bodily extensions for two performers and constrain movement during the drawing process. These drawing performances are documented and re-presented as digital video works. This work examines the limits of language and subjectivity and offers a feminist engagement with the history of abstract painting. 'Muscle flex' was developed and presented for KINGS Artist Run Gallery, Melbourne in 2012 and revised for the exhibition 'I build my dwelling', at Metro Arts Galleries, Brisbane in 2012.

15 Artists 2014

15 Artists 2014 was a group exhibition of 2D and 3D works held at the Redcliffe City Art Gallery between October 23 - December 6, 2014. My contribution to the group show was a collective series of 10 soft sculptures entitled Organs Without Bodies. These works were composed of latex, plaster, wool, thread, wax and rosin. I seek through my art practice to transform bodily affect into concrete knowledge. My primary motivation can be described as a relational and ethical attempt to find balance between the erotic and the aggressive. These objects are outcomes from an ongoing creative meditation of the simultaneity of dichotomies: inside and outside, cognition and emotion, past and present, connection and differentiation, the erotic and the aggressive. Each of these can be perceived separately with a penetrating focus of attention, yet all are contained within the 'space' of an expansive bodily-felt sense of awareness.

Superlinear

Superlinear was a group exhibition of 2D and 3D works curated by Jenna Baldock. This exhibition was held at Spiro Grace Art Rooms from June 11 - July 4, 2015. My contribution to the group show was a harmonograph (drawing machine) entitled The Forces of the Earth and two digitally edited drawings (enlarged and printed) that were originally produced on the harmonograph. The work inherently explores the movement and gesture of line independent from the human body, although not abstract from experience. My work discusses the experience of the body, more specifically my body; the pulsing of circulation; the rhythm of breathing; the twitching and trembling of muscles; the sound of the nervous system ringing in my ears. The pendulation of the line in motion corresponds to the body's extension into the world and the constant flow of energy; the weight of gravity, centripetal and centrifugal forces, and orbital oscillations. As the line dances acros the page the harmonograph parallels these peripheral sensations beyond the body.

I build my dwelling

'I build my dwelling' was an exhibition of works including ‘Muscle flex’, ‘Language is, Language is not’, ‘S.O.S’ and the ‘Studio Remix’, held at Metro Arts Galleries, Brisbane in 2012. This body of work pursues a feminist engagement with art history and philosophy, engaging with pictorial, literary and vernacular quotations in order to replay and reveal the complexities of gender politics, representation and language.

Let the lighting technology decide

Generating a cultural lighting icon on the Manhattan skyline is a big responsibility and there is no second chance to make it right. In addition, we had to balance a classic timeless lighting design for the building while responding to the lighting criteria of the Times Square district – in a time of energy awareness...

Liberty relighting, 20 years later

Recognized around the world as a powerful beacon for freedom, hope, and opportunity, the Statue of Liberty's light is not just metaphorical: her dramatic illumination is a perfect example of American ingenuity and engineering. Since the statue's installation in New York Harbor in 1886, lighting engineers and designers had struggled to illuminate the 150-foot copper-clad monument in a manner becoming an American icon. It took the thoughtful and creative approach of Howard Brandston-a legend in his own right-to solve this lighting challenge. In 1984, the designer was asked to give the statue a much-needed lighting makeover in preparation for its centennial. In order to avoid the shortcomings of previous attempts, he studied the monument from every angle and in all lighting conditions, discovering that it looked best in the light of dawn. Brandston determined that he would need 'one lamp to mimic the morning sun and one lamp to mimic the morning sky.' Learning that no existing lamps could simulate these conditions, Brandston partnered with General Electric to develop two new metal halide products. With only a short time for R&D, a team of engineers at GE's Nela Park laboratories assembled a 'top secret' testing room dedicated to the Statue of Liberty project. After nearly two years of work to perfect the new lamps, the 'dawn's early light' effect was finally achieved just days before the centennial celebrations were to take place in 1986. 'It was truly a labor of love,' he recalls.

Narrative, Memory and the Crisis of Mimesis: the Case of Adam Elsheimer and Giordano Bruno

The triangular space between memory, narrative and pictorial representation is the terrain on which this article is developed. Taking the art of memory developed by Giordano Bruno (1548 – 1600) and the art of painting subtly revolutionised by Adam Elsheimer (1578 – 1610) as test-cases, it is shown how both subvert the norms of mimesis and narration prevalent throughout the Renaissance, how disrupted memory creates “incoherent” narratives, and how perspective and the notion of “place” are questioned in a corollary way. Two paintings by Elsheimer are analysed and shown to include, in spite of their supposed “realism”, numerous incoherencies, aporias and strange elements – often overlooked. Thus, they do not conform to two of the basic rules governing both the classical art of memory and the humanist art of painting: well-defined places and the exhaustive translatability of words into images (and vice-versa). In the work of Bruno, both his philosophical claims and the literary devices he uses are analysed as hints for a similar (and contemporaneous) undermining of conventions about the transparency and immediacy of representation.

Esteettinen kokemus kulttuurisiltana : Soile Yli-Mäyryn taide kiinalaisen, japanilaisen ja suomalaisen yleisön kokemana

AESTHETIC EXPERIENCE AS A BRIDGE ACROSS CULTURES Soile Yli-Mäyry s art as experienced by Chinese, Japanese and Finnish audiences This study focuses on surveying and analysing experiences of Soile Yli-Mäyry s art in eleven different countries. Questionnaires were translated into nine different languages. In addition, interviews were conducted on the experiences of Chinese, Japanese and Finnish art audiences concerning a painting called Sun Wind . The study was mainly inspired by John Dewey s ideas of art as an interactive communication where the artist, the piece and those who experience it make up an interactive process. In this process experience is a meeting point with both individual and communal characteristics. The data was collected in conjunction with exhibitions in 1997−2005. The survey was carried out in eleven countries (Finland, United States, Brazil, China, Taiwan, Japan, India, Israel, Argentina, Germany and Switzerland). The survey data was made up of 2,563 returned questionnaires. The interviews in China, Japan and Finland were about the same painting Sun Wind , which was transported from Finland to Japan (Tokyo) and China. A total of 89 people were interviewed in Shanghai Art Museum, 30 people in Port-Ginza Gallery, Tokyo and 45 people in Soile Yli-Mäyry s Gallery in Finland. Three hypotheses that were turned into research questions directed the study: 1. Are there differences/ similarities between culturally different communities in the meanings attributed to experiences, e.g. according to emotional dimensions, or do experiences focus more on reflecting on one s own life or meanings attributed to the world around us? What kinds of experiential dimensions are there in different countries? Do similar, analogous experiences that transcend cultural barriers emerge in culturally different countries such as China, Japan and Finland? 2. Does the data display different types of experiencing subjects which are typical to a subject s own country or are they experiences that can be compared to those generated by an ideal landscape , where the art touches the subconscious and collective selfhood, being thus transnational and timeless? Closer analysis focuses on audience experiences in China, Japan and Finland (interviews, textual survey data). 3. Are the experiences and interpretations of experts similar/different to those of larger audiences? The survey data has been analysed with the help of cross-tabulation. After content analysis of the interviews and textual survey data, different ways of experiencing subjects were sketched by country (China, Japan, Finland). The types were both similar and dissimilar. The most important types were social/ecological (China), therapeutic/reserved (Japan) and narrative/projecting (Finland). There were differences in how experiences were emphasised: the Chinese public approached their experiences from the viewpoint of pragmatism and utility, where they could obtain new ideas for their own work or experiencing the exhibition gave courage to approach their own lives from a new perspective. In turn, the Japanese public experienced the art from a therapeutic angle and from a very reserved perspective, which Dylan Evans (2001, 13−17) has described as typical to Japanese culture. The experiences of the Finnish audience were strongly therapeutic and narrative. The people projected their emotions onto the piece and in a concrete manner forged them into a story. The partly similar results of this study in China, Japan and Finland demonstrate that the art displayed in the exhibitions contain images of the beginning or elements connected to the beginning of life, which touch the subconscious in the way an ideal landscape would. Experiencing the meaningfulness of one s own life through art is a common thread and a bridge across cultures that unites the experiences of the audiences of this study, be they Taoists, Confucians, Buddhists or Maoists in China, Shinto followers, Zen Buddhists in Japan or Evangelist-Lutherans in Finland. Keywords: experience, reception, bridge across cultures, types of experiencing subjects, experiential process, ideal landscape, elementality

Field-dependent changeover from current-to voltage-limiting characteristics by non-linear n-type BaTiO3 ceramics

Non-linear resistors having current-limiting capabilities at lower field strengths, and voltage-limiting characteristics (varistors) at higher field strengths, were prepared from sintered polycrystalline ceramics of (Ba0.6Sr0.4)(Ti0.97Zr0.03)O3+0.3 at % La, and reannealed after painting with low-melting mixtures of Bi2O3 + PbO +B2O3. These types of non-linear characteristics were found to depend upon the non-uniform diffusion of lead and the consequent distribution of Curie points (T c) in these perovskites, resulting in diffuse phase transitions. Tunnelling of electrons across the asymmetric barrier at tetragonak-cubic interfaces changes to tunnelling across the symmetric barrier as the cubic phase is fully stabilized through Joule heating at high field strengths. Therefore the current-limiting characteristics switch over to voltage-limiting behaviour because tunnelling to acceptor-type mid-bandgap states gives way to band-to-band tunnelling.

Divergencies of Perception : The Possibilities of Merleau-Pontian Phenomenology in Analyses of Contemporary Art

Maurice Merleau-Ponty (1908-1961) has been known as the philosopher of painting. His interest in the theory of perception intertwined with the questions concerning the artist s perception, the experience of an artwork and the possible interpretations of the artwork. For him, aesthetics was not a sub-field of philosophy, and art was not simply a subject matter for the aesthetic experience, but a form of thinking. This study proposes an opening for a dialogue between Merleau-Pontian phenomenology and contemporary art. The thesis examines his phenomenology through certain works of contemporary art and presents readings of these artworks through his phenomenology. The thesis both shows the potentiality of a method, but also engages in the critical task of finding the possible limitations of his approach. The first part lays out the methodological and conceptual points of departure of Merleau-Ponty s phenomenological approach to perception as well as the features that determined his discussion on encountering art. Merleau-Ponty referred to the experience of perceiving art using the notion of seeing with (voir selon). He stressed a correlative reciprocity described in Eye and Mind (1961) as the switching of the roles of the visible and the painter. The choice of artworks is motivated by certain restrictions in the phenomenological readings of visual arts. The examined works include paintings by Tiina Mielonen, a photographic work by Christian Mayer, a film by Douglas Gordon and Philippe Parreno, and an installation by Monika Sosnowska. These works resonate with, and challenge, his phenomenological approach. The chapters with case studies take up different themes that are central to Merleau-Ponty s phenomenology: space, movement, time, and touch. All of the themes are interlinked with the examined artworks. There are also topics that reappear in the thesis, such as the notion of écart and the question of encountering the other. As Merleau-Ponty argued, the sphere of art has a particular capability to address our being in the world. The thesis presents an interpretation that emphasises the notion of écart, which refers to an experience of divergence or dispossession. The sudden dissociation, surprise or rupture that is needed in order for a meeting between the spectator and the artwork, or between two persons, to be possible. Further, the thesis suggests that through artworks it is possible to take into consideration the écart, the divergence, that defines our subjectivity.

Ethnobotany of the Monpa ethnic group at Arunachal Pradesh, India

Background: The present paper documents the uses of plants in traditional herbal medicine for human and veterinary ailments, and those used for dietary supplements, religious purpose, local beverage, and plants used to poison fish and wild animals. Traditional botanical medicine is the primary mode of healthcare for most of the rural population in Arunachal Pradesh. Materials and methods: Field research was conducted between April 2006 and March 2009 with randomly selected 124 key informants using semi-structured questionnaire. The data obtained was analyzed through informant consensus factor (F(IC)) to determine the homogeneity of informant's knowledge on medicinal plants. Results: We documented 50 plants species belonging to 29 families used for treating 22 human and 4 veterinary ailments. Of the medicinal plants reported, the most common growth form was herbs (40%) followed by shrubs, trees, and climbers. Leaves were most frequently used plant parts. The consensus analysis revealed that the dermatological ailments have the highest F(IC) (0.56) and the gastro-intestinal diseases have F(IC) (0.43). F(IC) values indicated that there was high agreement in the use of plants in dermatological and gastro-intestinal ailments category among the users. Gymnocladus assamicus is a critically rare and endangered species used as disinfectant for cleaning wounds and parasites like leeches and lice on livestocks. Two plant species (Illicium griffithii and Rubia cordifolia) are commonly used for traditional dyeing of clothes and food items. Some of the edible plants recorded in this study were known for their treatment against high blood pressure (Clerodendron colebrookianum), diabetes mellitus (Momordica charantia), and intestinal parasitic worms like round and tape worms (Lindera neesiana, Solanum etiopicum, and Solanum indicum). The Monpas of Arunachal Pradesh have traditionally been using Daphne papyracea for preparing hand-made paper for painting and writing religious scripts in Buddhist monasteries. Three plant species (Derris scandens, Aesculus assamica, and Polygonum hydropiper) were frequently used to poison fish during the month of June-July every year and the underground tuber of Aconitum ferrox is widely used in arrow poisoning to kill ferocious animals like bear, wild pigs, gaur and deer. The most frequently cited plant species; Buddleja asiatica and Hedyotis scandens were used as common growth supplements during the preparation of fermentation starter cultures. Conclusion: The traditional pharmacopoeia of the Monpa ethnic group incorporates a myriad of diverse botanical flora. Traditional knowledge of the remedies is passed down through oral traditions without any written document. This traditional knowledge is however, currently threatened mainly due to acculturation and deforestation due to continuing traditional shifting cultivation. This study reveals that the rural populations in Arunachal Pradesh have a rich knowledge of forest-based natural resources and consumption of wild edible plants is still an integral part of their socio-cultural life. Findings of this documentation study can be used as an ethnopharmacological basis for selecting plants for future phytochemical and pharmaceutical studies.

Air Pollution Control

The air we breathe is being polluted by activities such as vehicles; burning coal, oil, and other fossil fuels; and manufacturing chemicals. Air pollution can even come from smaller, everyday activities such as cooking, space heating, and degreasing and painting operations. These activities add gases and particles to the air we breathe. When these gases and particles accumulate in the air in high enough concentrations, they can harm us and our environment. The module on Air Pollution deals with the various sources of air pollution and the associated environmental and health impacts. It also discusses the appropriate measures to control/prevent the same.

Comparison of performance of OCDMA networks with correlation and chiplevel receivers

In this paper optical code-division multiple-access (O-CDMA) packet network is considered, which offers inherent security in the access networks. Two types of random access protocols are proposed for packet transmission. In protocol 1, all distinct codes and in protocol 2, distinct codes as well as shifted versions of all these codes are used. O-CDMA network performance using optical orthogonal codes (OOCs) 1-D and two-dimensional (2-D) wavelength/time single-pulse-per-row (W/T SPR) codes are analyzed. The main advantage of using 2-D codes instead of one-dimensional (1-D) codes is to reduce the errors due to multiple access interference among different users. In this paper, correlation receiver and chip-level receiver are considered in the analysis. Using analytical model, we compute packet-success probability, throughput and compare for OOC and SPR codes in an O-CDMA network and the analysis shows improved performance with SPR codes as compared to OOC codes.

THE EFFECTS OF SURFACTANT ON SIMPLEX NOZZLE SPRAY BEHAVIOR AND ITS COMPARISON TO LIQUID FUELS

Pressure-swirl nozzles (simplex nozzles) are used in various field applications such as aero-engines, power generation, spray painting and agricultural irrigation. For this particular nozzle, research in the past decade has dealt with the development of numerical models for predicting droplet distribution profiles. Although these results have been valuable, the experimental results have been contradictory, therefore fundamental understanding of the influence of properties in nozzle is important. This paper experimentally investigates the effect of surfactants on breakup and coalescence. Since most of the fuels and biofuels have low surface tension compared to water, a comparative analysis between a surfactant solution and a liquid fuel is imperative. For this experimental study, a simplex nozzle characterized as flow number 0.4 will be utilized. The injection pressures will range from 0.3 - 4Mpa while altering the surface tension from 72 to 28mN/m. By applying Phase Doppler Particle Anemometry (PDPA) which is a non-intrusive laser diagnostic technique, the differences in spray characteristics due to spray surface tension can be highlighted. The average droplet diameter decreases for a low surface tension fluid in the axial direction in comparison to pure water. The average velocity of droplets is surprisingly lower in the same spray zone. Measurements made in the radial direction show no significant changes, but at the locations close to the nozzle, water droplets have larger diameter and velocity. The results indicate the breakup and coalescence regimes have been altered when surface tension is lowered. A decrease in surface tension alters the breakup length while increasing the spray angle. Moreover, higher injection pressure shortens the breakup length and decrease in overall diameter of the droplets. By performing this experimental study the fundamentals of spray dynamics, such as spray formation, liquid breakup length, and droplet breakup regimes can be observed as a function of surface tension and how a surrogate fuel compares with a real fuel for experimental purposes. This knowledge potentially will lead to designing a better atomizer or new biofuels.