The Sweetland Project. Remembering Gallipoli in the Shire of Nunawading

A chance discovery made on a tour of Anzac Cove provided an immediate link between Gallipoli and Melbourne’s Eastern Suburbs. In the lead up to the Centenary of Anzac, ‘The Sweetland Project’ (named after a Box Hill man, Stephen Sweetland) became a broader search for the connections between Gallipoli and the former Shire of Nunawading, revealing 27 men from the former shire who died during the Gallipoli campaign. This book traces their stories and the reaction to the Great War of the local community, and shows how personal and collective memories of their experiences still resonate today.

'Of course I didn't work … only when I had to': narratives of women's working lives and what really counted

There was a long-held belief, that, prior to the 1970s, women were no longer involved in paid labour once they were married or began to have children. Official statistics also supported this particular national narrative. This paper argues that this narrative did not accurately reflect the historical situation because the methods used to determine who worked and when did not fully capture all of women's paid labour at the time. This is reflected in a small study of older women and their recollections of paid employment. Some women initially claimed that they did no paid work after marriage, but with low key, in-depth and persistent questioning, it became clear that many women did work in an unofficial capacity (in the black economy) or alongside their husbands in their paid employment. This is a preliminary study that underlines the importance of life-course narratives in the social sciences to delve deeply into women's memories and thus their experiences.

TWEI 2.0 (Type will ease itself 2.0)

TWEI 2.0 (Type will ease itself 2.0) is a newly developed artefact of inquiry that engages the reproductions of memory, meaning and experience. The work offers a new typographic mark-making proposal salvaged from ordinary articles common to routines of the everyday – street and road signage, maps, and GPS coordinates. Our experience of these articles offer familiar patterns of recognition and sites for meaning making. We keep hold of and remember the traces of colour, marks and symbols as a means to retain our experiences of places and sites of meaning. In this work TWEI 2.0 positions a cartographic reproduction of digital histories, which have been repurposed from landscapes in Kuwait and Oman. The digital based work will be projected in a large format so to be physically realized on an architectural scale representative of large maps in the gallery environment. This scenario offers a vision that is as inescapable as the signage from which it comments on and offers a consideration of the gallery wall as both a boundary for experience and the production of a site of meaning. The work in this space physically presents an installation that seeks to be at both overwhelming and intimate. Here the artist pursues direct engagement with the audience as a practice of social meaning and partnership providing a direct correlation to our familiarities with common physical signage and sign posting of our streets, corners and roads. In achieving this TWEI 2.0 proposes to highlight the fragility of meaning and the brittleness of memories.

Cameras and body memory create new blends of performance with visual art practice

I propose that a learnt somatic experience of dance can translate into another discipline such as visual art. In my visual art practice I combine both photography, which is traditionally seen as a still medium, and performance in order to create a new form of embodiment. I have developed two series of art works of prints and video made in response to the Australian landscape. By analyzing my method of movement and photography I will describe how an embodied dance language can result in a material outcome – a series of drawings of light and movement, a body signature made possible through old and new technology. I have activated a performative state while capturing images discovering new ways of using technology reliant upon my knowledge of dance, performance and photography. Making a human size camera to make analogue prints I gained an intuitive knowledge of light – a skill that has become foundational in performance and photography. In response to space and light in the Australian landscape I then built a custom made camera that allows for the longest possible time to capture an image. I move while taking the image and use the camera as if an eye at the end of my arm. In this way I activate dance skills and embodied knowledge of space, timing and light, opening up a radical space for new thinking, making and performing.Furthermore this process engages memory and sentiment embodied through age. Many artists have responded to the unique qualities of the Australian landscape and by using a performative/photographic approach I have engaged with my own body memory. Being brought up in the landscape and training in ballet my body has acquired memories at a cellular level. My method has given memory a voice. In doing these works I have become conscious of how unconscious memories of the space and light in the landscape is a movement vocabulary activated in a way that ‘feels’ like dancing. As an ageing person this experience is profound and the resultant materialisation of the photographs and videos leave a material record of the event. The sentiments evoked through my process bridge the past with the present, the body with the mind, memory with body and space connecting disciplines in a new way.The materialisation of artworks itself continues cross-disciplinary processes using a technique that is a continuum of the performative. Through using technology I release memory of the landscape and pixel by pixel build imagery that relies on and is a part of the performative process. It is a photographic performance dance manifesting as pigment on paper exhibited a gallery context. The exhibition allows a space for the viewer to respond - re-membering the universal the act of moving. The works titled ‘body signatures’ and ‘Fly Rhythm’ become a communicative device in the gallery context.My paper through an analysis of process and methods used in making the two series will talk to several of the subjects listed and reveal a new way of connecting performance and visual art and old and new technologies.

In the heat of the moment: audience real time response to live music and dance performance

Coughing and Clapping: Investigating Audience Experience explores the processes and experiences of attending live music events from the initial decision to attend through to audience responses and memories of a performance after it has happened. The book brings together international researchers who consider the experience of being an audience member from a range of theoretical and empirical perspectives. Whether enjoying a drink at a jazz gig, tweeting at a pop concert or suppressing a cough at a classical recital, audience experience is affected by motivation, performance quality, social atmosphere and group and personal identity. Drawing on the implications of these experiences and attitudes, the authors consider the question of what makes an audience, and argue convincingly for the practical and academic value of that question.

Factors related to the accuracy of self-reported dietary intake of children aged 6 to 12 years elicited with interviews: a systematic review

BACKGROUND: Understanding the relationship between children's dietary consumption and health is important. As such, it is crucial to explore factors related to the accuracy of children's reports of what they consumed. OBJECTIVE: The objective was to evaluate factors related to the accuracy of self-reported dietary intake information elicited by interview methods from children aged 6 to 12 years. METHODS: A systematic review of English articles using PsycINFO, PsycARTICLES, PsycEXTRA, PsycBOOKS, CINAHL Complete, Global Health, and MEDLINE Complete was performed. Search terms included interview, diet, children, and recall; studies were limited to those published from 1970 onward. Additional studies were identified using the reference lists of published articles. Studies that assessed children's dietary intake using direct observation, doubly labeled water, or the double-portion method and compared it with their recall of that intake (unassisted by parents) using an interview were included. RESULTS: The 45 studies that met the inclusion criteria showed that specific interview techniques designed to enhance children's recall accuracy had little effect. Rather, the timing of the interview appeared most important: The shorter the retention interval between children's consumption and their recall, the more accurate their memories. Children's age, body mass index, social desirability, food preferences, and cognitive ability were also related to accuracy. CONCLUSIONS: Factors related to the accuracy of children's dietary reporting should be taken into consideration when asking about consumption. Further research is required to examine whether other interview techniques, such as those developed to enhance children's recall of repeated staged events, can improve children's dietary reporting accuracy.

Photochromic fabrics with improved optical performance

 Photochromism is a fascinating phenomenon which has attracted much commercial interest for applications including sunglasses, optical devices such as memories and switches, and security printing. Photochromic textile is an exciting new application due to its implications for fashion and UV protection. This book explores the phenomenon of photochromism, its application in textiles and ways of improving the performance and durability of photochromic fabrics.

Interview with Martha "Marty" Grigsby

In her December 10, 2012 interview with Robert Ryals, Martha Grigsby detailed her thoughts and memories of her time at Winthrop University. Grigsby shares the story of how she was able to attend Winthrop and the members of her community who assisted her in this process. Included are details of working in the dining hall on a scholarship, how relationships were formed amongst students, and how the students navigated Winthrop’s strict rules. Grigsby concludes her interview by stating how Winthrop helped her career as an educator and how she has stayed involved as an alumna. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Interview with Louise "Lou" Trucks

In her December 2014 interview with Michelle Dubert-Bellrichard, Louise “Lou” Trucks detailed her thoughts and memories of her time at Winthrop. Trucks spoke of the time period from 1960-1964 as a music and music education double major. Trucks shared the benefits of being a music major, her involvement in campus traditions and organizations, and the rigor of her studies. Trucks concludes her interview detailing her life after Winthrop in Bloomington, IN and Rochester, NY. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Interview with Hope Weatherly

In her May 22, 2013 interview with Martha Manning, Hope Weatherly detailed her thoughts and memories at Winthrop from 1970-1976. In particular, Weatherly discusses the evolution of her studies at Winthrop, starting as a music major then graduating with a degree in education. Weatherly recalls her opinions on University presidents, professors, and food. Weatherly concludes her interview by discussing her career as a social worker and the challenges she faced in her profession. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Interview with Virginia Koch

In her January 13, 2015 interview with Michelle Dubert-Bellrichard, Virginia Koch shared the memories of her Winthrop experience from 1970-1974. Koch explains why she attended Winthrop, her experiences with Rat Week, and why she struggled to find a job in her major. Included are the details of why she left South Carolina, and the numerous positions she held thereafter. Koch also shares her perspectives on major transitions at Winthrop and in the South. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Interview with Jeuel Esmacher Bannister

In her January 20, 2015 interview with Michelle Dubert-Bellrichard, Jeuel Esmacher Bannister details her time at Winthrop from 1940-1944. Shared are the memories of professors in the music department, her opinions on the expectations of students, and going to school during WWII. Esmacher Bannister recalls stories of the Army Air Corps Cadets on campus, and the courses offered by the U.S. government that led Esmacher Bannister to a career as a Japanese and Russian cryptographer. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Interview with Dennis Stamper

In his January 12, 2015 interview with Michelle Dubert-Bellrichard, Dennis Stamper shares his memories of being one of the first male, day students from 1969-1972. Stamper details his studies and professors from the Philosophy and Religion Department, as well as the Psychology Department. Stamper includes his perception of the atmosphere at Winthrop during a time of great change in the country, and how that experience coupled with his work in the Wesley Foundation and the influence he received from professors paved the way for he currently lives his life. Stamper concludes his interview detailing his studies and careers after Winthrop. This interview was conducted for inclusion into the Louise Pettus Archives and Special Collections Oral History Program.

Um século de tradição: a banda de música do Colégio Salesiano de Santa Rosa (1888-1988)

A música nos colégios salesianos sempre ocupou um lugar de destaque, pois na pedagogiade Dom Bosco é considerada importante fator educativo, devido a seu grande poder deinfluência no espírito dos jovens. Para Dom Bosco, uma escola sem música é um corposem alma , afirmação que explicita o valor pedagógico da música. Ainda segundo ele, aalegria é o elemento básico da educação, e a música expressa esse estado da alma. Estetrabalho visa valorizar a Banda de Música do Colégio Salesiano Santa Rosa, de Niterói,RJ, em sua trajetória de mais de 100 anos de atividade ininterrupta, e resgatar umamemória que tende a se perder. A banda sempre esteve à frente das festas cívicas,contagiando o público com marchas e hinos patrióticos, comandando desfiles escolares,impondo sua cadência e expressando através da música o sentimento de sua comunidade.Esta pesquisa surgiu da observação de que os trabalhos sobre bandas tinham como pontoprincipal a questão do ensino musical, mas não o valor pedagógico da música. Tambémnada havia sido escrito sobre a Banda de Música do Colégio Salesiano Santa Rosa. Assim,por meio da documentação histórica e da memória como suportes de reconstrução dahistória dessa banda secular, este trabalho lança um novo olhar sobre o tema.

Fios e fibras: vivendo a privatização das telecomunicações do Rio de Janeiro

Esta dissertação analisa um evento da história recente do país - o processo deprivatização do sistema TELEBRÁS - através do resgate da memória de alguns dosseus atores, os empregados das operadoras de telefonia. Para tanto, privilegiou-se oestudo de caso de uma empresa privatizada em julho de 1998 a Telecomunicaçõesdo Rio de Janeiro S.A. (TELERJ).O setor de telecomunicações é de grande relevância para o desenvolvimentoeconômico e social na era contemporânea e o presente trabalho acompanha a históriada empresa desde a sua formação em 1923, transformação em empresa estatal e suaprivatização. A partir do processo de preparação para venda, que foi operado desde aquebra do monopólio das telecomunicações em 1995, e, de forma mais radical, desdesua privatização, analisou-se o processo de