Piano Crafts Department

Students are shown working on pianos in various states of construction in the Piano Crafts Department at the New York Trade School. Black and white photograph.

Piano Tuning Classroom

A Wissner piano is shown in a piano tuning classroom at the New York Trade School. Wissner pianos were manufactured in Brooklyn from 1878 until the company went out of business at the start of World War II. Black and white photograph.

Students working in Piano Crafts Department

Three students are shown working in the Piano Crafts Department at the New York Trade School. The two students in the foreground appear to be working on the construction of a piano. Black and white photograph.

Piano Performance at a New York Trade School Commencement

Six piano players spread across the front of the stage at the New York Trade School perform at a commencement ceremony. The graduates can be seen sitting in the first few rows of the auditorium with guests filling up the rest of the space. On the dais several administrators from the New York Trade School are shown. Black and white photograph.

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.

Zoophycos composite ichnofabrics and tiers from the Permian neritic facies in South China and south-eastern Australia

Zoophycos composite ichnofabrics (ZCI) comprising two or more suites of the same form of Zoophycos are widespread and densely distributed in Early and Middle Permian (Cisuralian–Guadalupian) neritic limestones (Qixia and Maokou Formations) of palaeotropical origin in the Laibin area, Guangxi, South China. Similar ZCI also occur in neritic greywackes of glaciomarine origin from the Middle Permian (Guadalupian) Westley Park Sandstone Member (Broughton Formation) in the southern Sydney Basin, southeastern Australia. Zoophycos from both regions consists of planar spreite with major and minor lamellae and a cylindrical tunnel interpreted as a marginal tube and ⁄ or axial shaft. The cylindrical tunnel is herein considered to be an essential component of Zoophycos, and thus can be used to define and characterize the morphological variability of Zoophycos. It is suggested that the variation of spreite and major and minor lamellae originated from the different morphologies and migration manners of the cylindrical tunnel. The shallowest, shallow, middle and deepest Zoophycos tiers have been distinguished in ZCI on the basis of cross-cutting relationships, the soft-sediment deformation and the contrast in colour between Zoophycos and its host rock. The multiple tiers may represent the substrate consistency spectrum from a softground through a stiffground to a firmground.The different Zoophycos tiers may have been constructed by tracemakers of either different or the same taxonomic affinities in response to the gradual accretion and lithification of sediment layers on the seafloor. The tracemakers appeared to be very sensitive to neither climate nor lithology. The width of the planar spreiten of Zoophycos decreases slightly with the depth of tiering in ZCI

Integrating time-series hydroacoustics and video observations for detecting changes in benthic habitats

The ability to quantify change in marine benthic habitats must be considered a key goal of marine habitat mapping activities. Changes in distribution of distinct suites of benthic biological species may occur as a result of natural or human induced processes and these processes may operate at a range of temporal and spatial scales. It is important to understand natural small scale inter-annual patterns of change in order to separate these signals from potential patterns of longer term change. Work to describe these processes of change from an acoustic remote sensing stand point has thus far been limited due to the relatively recent availability of full coverage swath acoustic datasets and cost pressures associated with multiple surveys of the same area. This paper describes the use of landscape transition analysis as a means to differentiate seemingly random patterns of habitat change from systematic signals of habitat transition at a shallow (10–50 m depth) 18 km2 study area on the temperate Australian continental shelf between the years 2006 and 2007. Supervised classifications for each year were accomplished using independently collected high resolution (3 m cell-size) multibeam echosounder (MBES) and video-derived reference data. Of the 4 representative biotic classes considered, signals of directional systematic changes were observed to occur between a shallow kelp dominated class, a deep sessile invertebrate dominated class and a mixed class of kelp and sessile invertebrates. These signals of change are interpreted as inter-annual variation in the density and depth related extent of canopy forming kelp species at the site, a phenomenon reported in smaller scale temporal studies of the same species. The methods applied in this study provide a detailed analysis of the various components of the traditional change detection cross tabulation matrix allowing identification of the strongest signals of systematic habitat transitions across broad geographical regions. Identifying clear patterns of habitat change is an important first step in linking these patterns to the processes that drive them.

If I played piano for you

A simple composition that focusses on space and texture featuring piano, synth and vocals. a good piece for documentaries featuring space, galaxies, remote locations.

(Electronic music) homesick (elegant and energetic)

This is a bright composition featuring a sweet vibraphone arpeggio accompanied by, piano, bass, synth strings (including an early 1970s modelled synth), percussion and FX.

Agitate (edgy electronic guitar, piano, drums, synth sadness)

Agitate is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension. Good for cinema type projects.

Agitate piano short

Agitate Piano Short is an instrumental piece featuring some experimental sounds (a crystal wine glass being tapped and a plastic wrapper being ripped and processed) and more traditional sounds piano/guitar and synths (several pads and a drum beat) put together to create an atmosphere of tension. Good for cinema type projects.

All things bright and beautiful

The famous hymn played on a piano.

Cinema of Australia and New Zealand

From The Story of the Kelly Gang in 1906 to the Lord of the Rings trilogy, Australia and New Zealand have made a unique impact on international cinema. This book celebrates the commercially successful narrative feature films produced by these film cultures as well as key documentaries, shorts and independent films. This coverage also invokes issues involving national identity, race, history and the ability of two small film cultures to survive the economic and cultural threat from Hollywood. Chapters on well-known films, and directors, such as The Year of Living Dangerously (Peter Weir, 1982), The Piano (Jane Campion, 1993), Fellowship of the Ring (Peter Jackson, 2001) and Rabbit Proof Fence (Philip Noyce, 2002) are included with less celebrated, but equally important, films and filmmakers such as Jedda (Charles Chauvel, 1955), They're a Weird Mob (Michael Powell, 1966), Vigil (Vincent Ward, 1984) and The Goddess of 1967 (Clara Law, 2000)

Building a Piano

Four students in the Piano Crafts Department at the New York Trade School are shown working on building a piano. Notice the aprons worn by the students are embroidered with the department name. Black and white photograph.