Distracted

Distracted is a luminous, interactive, computational media installation of sound, light and translucent sculptural materials. The work is inspired by scientific ice core samples taken in Antarctica. The sculpture is capable of displaying data taken from these ice core samples, and responding to the proximity of an audience. Rather than simply using the interface as a didactic display device, we have chosen a more poetic approach of generating visual effects from the data that are evocative of the ice, fluids and the notion of change. The data has also been used in the composition of an evolving soundscape. As well as data from ice core samples, such as the Vostok ice core, we have incorporated data from the Keeling Curve that shows the annual rise and fall of atmospheric carbon dioxide, following the pattern of the Northern Hemisphere winter. These effects combine with changes caused directly by audience members as they come within close proximity to the work.

Raman spectroscopic study of the antimonate mineral brandholzite Mg[Sb(OH)12].6H2O

Raman spectra of brandholzite Mg[Sb(OH)6].6H2O were studied, complemented with infrared spectra, and related to the structure of the mineral. An intense Raman sharp band at 618 cm-1 is attributed to the SbO symmetric stretching mode. The low intensity band at 730 cm-1 is ascribed to the SbO antisymmetric stretching vibration. Low intensity Raman bands were found at 503, 526 and 578 cm-1. Corresponding infrared bands were observed at 527, 600, 637, 693, 741 and 788 cm-1. Four Raman bands observed at 1043, 1092, 1160 and 1189 cm-1 and eight infrared bands at 963, 1027, 1055, 1075, 1108, 1128, 1156 and 1196 cm-1 are assigned to �� SbOH deformation modes. A complex pattern resulting from the overlapping band of the water and hydroxyl units is observed. Raman bands are observed at 3240, 3383, 3466, 3483 and 3552 cm-1, infrared bands at 3248, 3434 and 3565 cm-1. The first two Raman bands and the first infrared band are assigned to water stretching vibrations. The two higher wavenumber Raman bands observed at 3466 and 3552 cm-1 and two infrared bands at 3434 and 3565 cm-1 are assigned to the stretching vibrations of the hydroxyl units. Observed Raman and infrared bands are connected with O-H���O hydrogen bonds and their lengths 2.72, 2.79, 2.86, 2.88 and 3.0 �� (Raman) and 2.73, 2.83 and 3.07 �� (infrared).

Millwork

An exhibition of drawing and sculpture that extends the artist's process of self-portraiture, applying the historical form of the portrait roundel to the crown of the head as an exclusive subject matter.

Functional outcome of transfemoral amputees fitted with an osseointegrated fixation : temporal gait characteristics

The purpose of this study was to characterise the functional outcome of 12 transfemoral amputees fitted with osseointegrated fixation using temporal gait characteristics. The objectives were (A) to present the cadence, duration of gait cycle, support and swing phases with an emphasis on the stride-to-stride and participant-to-participant variability, and (B) to compare these temporal variables with normative data extracted from the literature focusing on transfemoral amputees fitted with a socket and able-bodied participants. The temporal variables were extracted from the load applied on the residuum during straight level walking, which was collected at 200 Hz by a transducer. A total of 613 strides were assessed. The cadence (46��4 strides/min), the duration of the gait cycle (1.29��0.11 s), support (0.73��0.07 s, 57��3% of CG) and swing (0.56��0.07 s, 43��3% of GC) phases of the participants were 2% quicker, 3%, 6% shorter and 1% longer than transfemoral amputees using a socket as well as 11% slower, 9%, 6% and 13% longer than able-bodied, respectively. All combined, the results indicated that the fitting of an osseointegrated fixation has enabled this group of amputees to restore their locomotion with a highly functional level. Further longitudinal and cross-sectional studies would be required to confirm these outcomes. Nonetheless, the data presented can be used as benchmark for future comparisons. It can also be used as input in generic algorithms using templates of patterns of loading to recognise activities of daily living and to detect falls.

A spectroscopic investigation of pigment and ceramic samples from Cop��n, Honduras

A combination of micro-Raman spectroscopy, micro-infrared spectroscopy and SEM���EDX was employed to characterize decorative pigments on Classic Maya ceramics from Cop��n, Honduras. Variation in red paint mixtures was correlated with changing ceramic types and improvements in process and firing techniques. We have confirmed the use of specular hematite on Coner ceramics by the difference in intensities of Raman bands. Different compositions of brown paint were correlated with imported and local wares. The carbon-iron composition of the ceramic type, Surlo Brown, was confirmed. By combining micro-Raman analysis with micro-ATR infrared and SEM���EDX, we have achieved a more comprehensive characterization of the paint mixtures. These spectroscopic techniques can be used non-destructively on raw samples as a rapid confirmation of ceramic type.

Divining the martyr : a multimedia installation presentation on contemporary makeover surgery

Divining the Martyr is a project developed in order to achieve the Master of Arts (Research) degree. This is composed of 70% creative work displayed in an exhibition and 30% written work contained in this exegesis. The project was developed through practice-led research in order to answer the question ���In what ways can creative practice synthesize and illuminate issues of martyrdom in contemporary makeover culture?��� The question is answered using a postmodern framework about martyrdom as it is manifested in contemporary society. The themes analyzed throughout this exegesis relate to concepts about sainthood and makeover culture combined with actual examples of tragic cases of cosmetic procedures. The outcomes of this project fused three elements: Mexican cultural history, Mexican (Catholic) religious traditions, and cosmetic makeover surgery. The final outcomes were a series of installations integrating contemporary and traditional interdisciplinary media, such as sound, light, x-ray technology, sculpture, video and aspects of performance. These creative works complement each other in their presentation and concept, promoting an original contribution to the theme of contemporary martyrdom in makeover culture.

Structural health monitoring of bridges using acoustic emission technology

Bridges are an important part of society's infrastructure and reliable methods are necessary to monitor them and ensure their safety and efficiency. Bridges deteriorate with age and early detection of damage helps in prolonging the lives and prevent catastrophic failures. Most bridges still in used today were built decades ago and are now subjected to changes in load patterns, which can cause localized distress and if not corrected can result in bridge failure. In the past, monitoring of structures was usually done by means of visual inspection and tapping of the structures using a small hammer. Recent advancements of sensors and information technologies have resulted in new ways of monitoring the performance of structures. This paper briefly describes the current technologies used in bridge structures condition monitoring with its prime focus in the application of acoustic emission (AE) technology in the monitoring of bridge structures and its challenges.

Filled pauses

An installation of sculptural works that continues the artist's exploration of self-portraiture. Comprising a series of triadic structures (bust, socle and plaster residue) the works propose a formal and conceptual equivalence between the portrait bust and traces of its technical and historical origins. Arranged haphazardly in the space, the resultant works speak of the exhaustion of portraiture as a genre while simultaneously attesting to an autogenic notion of practice in which portraiture acts as a vital catalyst.

Raman spectroscopic study of the antimony containing mineral partzite Cu2Sb2(O,OH)7

Raman spectroscopy of the mineral partzite Cu2Sb2(O,OH)7 complimented with infrared spectroscopy were studied and related to the structure of the mineral. The Raman spectrum shows some considerable complexity with a number of overlapping bands observed at 479, 520, 594, 607 and 620 cm-1 with additional low intensity bands found at 675, 730, 777 and 837 cm-1. Raman bands of partzite in the spectral region 590 to 675 cm-1 are attributable the ��1 symmetric stretching modes. The Raman bands at 479 and 520 cm-1 are assigned to the ��3 antisymmetric stretching modes. Raman bands at 1396 and 1455 cm-1 are attributed to SbOH deformation modes. A complex pattern resulting from the overlapping band of the water and OH units is found. Raman bands are observed at 3266, 3376, 3407, 3563, 3586 and 3622 cm-1. The first three bands are assigned to water stretching vibrations. The three higher wavenumber bands are assigned to the stretching vibrations of the OH units. It is proposed that based upon observation of the Raman spectra that water is involved in the structure of partzite. Thus the formula Cu2Sb2(O,OH)7 may be better written as Cu2Sb2(O,OH)7 ���xH2O

Examination of social demographic status, disease status, health behaviours and quality of life in older Australians using the theory of planned behaviour model

The increase of life expectancy worldwide during the last three decades has increased age-related disability leading to the risk of loss of quality of life. How to improve quality of life including physical health and mental health for older people and optimize their life potential has become an important health issue. This study used the Theory of Planned Behaviour Model to examine factors influencing health behaviours, and the relationship with quality of life. A cross-sectional mailed survey of 1300 Australians over 50 years was conducted at the beginning of 2009, with 730 completed questionnaires returned (response rate 63%). Preliminary analysis reveals that physiological changes of old age, especially increasing waist circumference and co morbidity was closely related to health status, especially worse physical health summary score. Physical activity was the least adherent behaviour among the respondents compared to eating healthy food and taking medication regularly as prescribed. Increasing number of older people living alone with co morbidity of disease may be the barriers that influence their attitude and self control toward physical activity. A multidisciplinary and integrated approach including hospital and non hospital care is required to provide appropriate services and facilities toward older people.

Protrusion I

Protrusion I is a self-portrait bust, rendered with a high degree of naturalism. The work depicts a male subject with a bulbous white form projecting from it nasal and oral orifices. The work forms part of the artist���s ongoing self-portraiture project, in which the tensions between objectivity and subjectivity that pervade the self-portrait as a genre are cross referenced with the notions of materiality and interiority integral to the language of sculpture. The iconography of the work parodies the connection between amorphous form and artistic subjectivity in the history of sculpture. The dough-like forms that emerge from the figure thus refer to a sense of ���inner life��� while also operating as more analytical projections of the cavities of the bust ��� areas of the where the mimetic program are necessarily suspended. The result is a figure that appears to be in a state of resigned suffocation. The work was selected for the 2005 National Sculpture Prize and Exhibition at the National Gallery of Australia in Canberra. The work was later included in the group show Crash (and other earthy pleasures) at the Lawrence Wilson Art Gallery at the University of Western Australia in Perth.

Biologically inspired visual landmark processing for simultaneous localization and mapping

This paper illustrates a method for finding useful visual landmarks for performing simultaneous localization and mapping (SLAM). The method is based loosely on biological principles, using layers of filtering and pooling to create learned templates that correspond to different views of the environment. Rather than using a set of landmarks and reporting range and bearing to the landmark, this system maps views to poses. The challenge is to produce a system that produces the same view for small changes in robot pose, but provides different views for larger changes in pose. The method has been developed to interface with the RatSLAM system, a biologically inspired method of SLAM. The paper describes the method of learning and recalling visual landmarks in detail, and shows the performance of the visual system in real robot tests.

The Sun gives without ever receiving

A small scale sculpture that contributes towards my ongoing explorations into how our collective ability to sustain (the future) is as much a cultural problematic as it is an economic or technological one. The curatorial brief of the project was a technical one - in that each curated artist was to design a piece in CAD suitable for 3D resin printing - The object should be entirely generated through 3D visualisation and modelling tools and should be machined and shipped within the dimensions of 6cm x 6cm x 6cm. My design for this brief was influenced by recent research I had conducted in Mildura in the Sunraysia irrigated region of NW Victoria. Each name set within the work is an Australian soldier/settler ��� who, on returning from the ���Great War��� was duly awarded a ���block��� in Australia���s new inland irrigated settlements - with the explicit task of clearing it to plant and reap. Through their concerted and well-intentioned efforts, these workers began to profoundly re-shape Australia���s marginal country - inadvertently presaging the bleak future faced today by many of Australia���s inland lands and river systems. Furthermore, through that time's predominant colonial conception of ���terra nullius��� (this land is unoccupied and therefore free to be claimed) they each played a small but formative part in building the profound cultural divide between land and peoples that still haunts Australia today. THE EXHIBITION: Inside Out is a compelling international touring exhibition featuring forty-six miniature sculptures produced in resin using 3D printing technologies. Developments in virtual computer visualisation and integrated digital technologies are giving contemporary makers new insight and opportunities to create objects and forms which were previously impossible to produce or difficult to envisage. The exhibition is the result of collaboration between the Art Technology Coalition, the University of Technology Sydney and RMIT University in Australia along with De Montfort University, Manchester Metropolitan University and Dartington College of Arts at University College Falmouth in the United Kingdom.

Cherbourg time : young black and deadly art 2003-2007

Art is most often at the margins of community life, seen as a distraction or entertainment only; an individual���s whim. It is generally seen as without a useful role to play in that community. This is a perception of grown-ups; children seem readily to accept an engagement with art making. Our research has shown that when an individual is drawn into a crafted art project where they have an actual involvement with the direction and production of the art work, then they become deeply engaged on multiple levels. This is true of all age groups. Artists skilled in community collaboration are able to produce art of value that transcends the usual judgements of worth. It gives people a licence to unfetter their imagination and then cooperatively be drawn back to a reachable visual solution. If you engage with children in a community, you engage the extended family at some point. The primary methodology was to produce a series of educationally valid projects at the Cherbourg State School that had a resonance into that community, then revisit and refine them where necessary and develop a new series that extended all of the positive aspects of them. This was done over a period of five years. The art made during this time is excellent. The children know it, as do their families, staff at the school, members of the local community and the others who have viewed it in exhibitions in far places like Brisbane and Melbourne. This art and the way it has been made has been acknowledged as useful by the children, teachers and the community, in educational and social terms. The school is a better place to be. This has been acknowledged by the children, teachers and the community The art making of the last five years has become an integral part of the way the school now operates and the influence of that has begun to seep into other parts of the community. Art needs to be taken from the margins and put to work at the centre.