Distribution and abundance of human-specific Bacteroides and relation to traditional indicators in an urban tropical catchment

The study goals were to determine the relationship between faecal indicator bacteria (FIB), the HF183 marker and land use, and the phylogenetic diversity of HF183 marker sequences in a tropical urban watershed

A dish-rack full of crockery : social significance and the Sydney Opera House

The sculptural roof forms of the Sydney Opera House regularly attract visual analogies in the public mind. Although they are mostly referred to as a??sailsa?? or a??shellsa?? they have also been described through humorous metaphors like a??a dishrack full of crockerya??. This particular visual pun, is a reference to a linocut by Eric Thake, produced in 1972, the year before the official opening of the Sydney Opera House. This analogy and its continued popularity to date evidences the social and cultural life of this building. Much of the scholarly on the Sydney Opera House investigates the architecture and the circumstances of its realisation, whilst its reception and social significance, has received little systematic attention. Through Thakea??s linocut, the paper discusses the current limitations in evaluating social significance in an Australian heritage context and proposes an alternative perspective to this problem through two scholars who bring a??subjective experiencea?? to bear on the production of meaning. For Gillian Rose, visual artefacts become significant through their embodied experience, whilst Ann Game argues for the inclusion of such usually-excluded subjects like desire, memory, time and the body in the construction of meaning. By bringing these theories to bear on a specific example - Eric Thakea??s visual metaphor for the Sydney Opera House - the paper investigates a new approach to social significance.

Tourist snapshot : the mediating gaze of the Sydney Opera House

There has already been much scholarly work produced about the Sydney Opera House, discussing the production of its architecture, historical and political context, and its symbolic meaning to Sydney. However little scholarly attention has been paid to the way this building is represented through tourist practices of photography. The essay attempts to bring an architectural perspective to the study of this tourist practice, which is usually addressed from the disciplines of cultural geography, sociology and anthropology. The essay considers the above questions by the analysis of some 300 images sourced from the photo sharing website Flickr (www.flickr.com). It draws on John Urry's notion of the 'tourist gaze' which describes how places are structured and regulated by the visual. The essay then uses Jonas Larsen's work, which position tourist photography as a performance of social relations to argue that the activity of photographing the Sydney Opera House is more than a ritual of consumption, and can be seen as an embodied performance located at the intersection of space, experience and image.

Souveniring the Sydney Opera House

The Sydney Opera House attracts over four million visitors each year to experience its architecture, events and cultural narratives. This experience consciously engages tourists in a constructed spatial encounter, in which the tourist has the opportunity to experience the architecture of this canonical modernist building. This experience often culminates with the purchase of a souvenir, a seemingly innocuous act, but one that is highly revealing of the interrelation between the tourist's experience, the architecture and the souvenir. There has already been much scholarly work on the Sydney Opera House, discussing its architecture, the historical and political context of its commission and its symbolic meaning within the City of Sydney. Less attention however has been paid to the relationship between architecture, experience and memory, as embodied by the souvenir. The tea towels, snow domes, table lights and key rings which depict the Sydney Opera House are, as Celeste Olalquiaga states "static and idealized blueprint... of an experience." This raises debate over what exactly is souvenired; is it the building? The experience? Cultural cachet? What can be revealed about the architecture of the Sydney Opera House, through its souvenirs? Architecture, like souvenirs is party to questions of representation, abstraction and scale. By drawing upon the work of Stewart and Olalquiaga, on the experience of souvenirs, the essay takes an architectural position from which to discuss the way models as objects of architecture and souvenir miniatures are the material representations which commemorate and facilitate a dynamic and ephemeral experience of this building. In this way revealing souvenirs as more than markers of travel, but as Stewart asserts, containers of the cultural narratives, desires and myths, which surround such an iconic architectural destination

Inspirited landscapes: the anthology project

 

Putting “traditional values” into practice : the rise and contestation of anti-homopropaganda laws in Russia

This article explores how “traditional values” are being used by the Russian government to refute the claim that “LGBT rights are human rights” and justify the introduction of anti-homopropaganda laws, and how members of the Russian LGBT community have sought to contest it. Centrally, it traces the development of a discourse that refutes the essentialization of sexual identity and, in doing so, seeks to challenge the focus on individual identity-based rights of contemporary human rights norms. This discursive shift has meant that opponents of the legislation have had to develop contestation strategies that collectively seek to present an alternative interpretation of “traditional values.” The article concludes by considering the implications of the Russian case for human rights norms and for the notion of universal human rights more widely, arguing that it represents a serious challenge to the viability of identity-based LGBT rights claims as a basis on which to advance observance of fundamental human rights due to their homonormativity.

Do spatial effects drive house prices away from the long-run equilibrium?

Long-run equilibrium of house prices has been investigated by researchers in multiple countries. The identification of this equilibrium not only provides references against contemporary house price levels, but also contributes to creation of stable-development policies and healthy investment strategies. However, there is little research investigating the factors that drive house prices away from the long-run equilibrium.
Based on a framework of the conventional stationarity test process, this research develops a panel regression model and a spatial regression model to investigate the roles of spatial heterogeneity and correlations on house prices preceding the long-run equilibrium, respectively. Housing data generated from the capital cities in Australia are used to illustrate the models. Spatial effects can have a strong influence in the long-run performance of house prices, while the short-run performance of house prices is not influenced by the spatial effects.

A spatial decomposition approach for investigating house price convergences

 Convergence of house prices indicates how prices are reaching an aggregate equilibrium in a long-run perspective. Identifying the convergence is important for cross-region housing development and investment. Few studies have identified house price convergences at different levels, with spatial effects on house prices predominantly ignored. The research presented here developed a spatial panel regression approach to investigate the convergences of house prices in Australian capital cities. Three hypotheses were tested to identify the level of house price convergence. The results demonstrate that a steady state in a system of regional house prices and spatial effects contribute to the convergence continuing.

The house that eye live in

Migrating by sea from Holland as an eight-year-old, Dirk de Bruyn went on to be a doyen of Australian experimental cinema. But as this intimate film reveals, his work is suffused with the trauma of migration, and the struggle to recognise himself as a ‘new Australian'. In conversation with documentarian Steven McIntyre, Dirk guides us through more than 40 years of his filmmaking: the early years exploring technique and technology, a subsequent phase of unflinching self-examination brought on by upheaval and overseas travel, and more recent projects where he attempts a fusion of personal, cultural, and historical identity. What emerges is an inspiring, rugged, and at times poignant portrait of an artist committed to self-expression and self-discovery through the medium of film. The House That Eye Live In features spectacular footage of Dirk's renowned expanded-cinema performances, and newly transferred excerpts from his extensive filmography, some of which are seen here for the first time.