Bianca and Felix Gerstmann boarding a Royal Air Mail airplane; Singapore Portraits Couples

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Bianca and Felix Gerstmann boarding a Royal Air Mail airplane; Singapore Portraits Couples

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Royal Air Mail plane in Singapore Transportation

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Royal Air Mail plane in Singapore Transportation

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A role to play: Investigating concepts of masculinity in Australia through theatre

Health professionals, academics, social commentators and the media are increasingly sending the same message – Australian men are in crisis. This message has been supported by documented rises in alcoholism, violence, depression, suicide and crime amongst men in Australia. A major cause of this crisis, it can be argued, is an over-reliance on the out-dated and limited model of hegemonic masculinity that all men are encouraged to imitate in their own behaviour. This paper, as part of a larger study, explores representations of masculinity in selected works of contemporary Australian theatre in order to investigate the concept of hegemonic masculinity and any influence it may have on the perceived ‘crisis of masculinity’. Theatre is but one of the artistic modes that can be used to investigate masculinity and issues associated with identity. The Australia Council for the Arts recognises theatre, along with literature, dance, film, television, inter-arts, music and visual arts, as critical to the understanding and expression of Australian culture and identity. Theatre has been chosen in this instance because of the opportunities available to this study for direct access to specific theatre performances and creators and, also, because of the researcher’s experience, as a theatre director, with the dramatic arts. Through interviews with writers, directors and actors, combined with the analysis of scripts, academic writings, reviews, articles, programmes, play rehearsals and workshops, this research utilises theatre as a medium to explore masculinity in Australia.

(Re)presenting Masculinity: A theatre director's critical observations of, and theatrical experimentation with, (re)presentations of masculinity in selected works of contemporary Australian theatre

Health professionals, academics, social commentators and the media are increasingly sending the same message – Australian men are in crisis. This message has been supported by documented rises in alcoholism, violence, depression, suicide and crime amongst men in Australia. A major cause of this crisis, it can be argued, is an over-reliance on the out-dated and limited model of hegemonic masculinity that all men are encouraged to imitate in their own behaviour. This paper, as part of a larger study, explores representations of masculinity in selected works of contemporary Australian theatre in order to investigate the concept of hegemonic masculinity and any influence it may have on the perceived ‘crisis of masculinity’. Theatre is but one of the artistic modes that can be used to investigate masculinity and issues associated with identity. The Australia Council for the Arts recognises theatre, along with literature, dance, film, television, inter-arts, music and visual arts, as critical to the understanding and expression of Australian culture and identity. Theatre has been chosen in this instance because of the opportunities available to this study for direct access to specific theatre performances and creators and, also, because of the researcher’s experience, as a theatre director, with the dramatic arts. Through interviews with writers, directors and actors, combined with the analysis of scripts, academic writings, reviews, articles, programmes, play rehearsals and workshops, this research utilises theatre as a medium to explore masculinity in Australia.

Educational action research in Singapore: To prove or improve?

The rise of educational action research amongst schools in Singapore can be attributed to the government’s belief that educational research and reform can improve school performance and help Singapore keep pace with the impact of globalization. However, against a backdrop of neo-liberal educational reform where efficiency, accountability and demonstrable outcomes are valued, the underlying intent of the action research projects would seem to be inconsistent with the emancipatory intent normally associated with action research. A systematic review was conducted of 71 action research projects submitted to a local educational conference in 2006. Of concern to us is how action research has been narrowly interpreted and recruited simply as an evaluative tool with the emancipatory potential largely ignored. The paper is theoretically framed by governmentality and performativity to explore the embedded power relations that may “fabricate” the action research projects. The findings and discussions suggest a need for the government, schools and teacher-researchers to reflexively question the current expectation of action research and to be clear about its broader purpose

Theatre, networked performance, and notions of ‘democratised’ spectatorship

The potential to cultivate new relationships with spectators has long been cited as a primary motivator for those using digital technologies to construct networked or telematics performances or para-performance encounters in which performers and spectators come together in virtual – or at least virtually augmented – spaces and places. Today, with Web 2.0 technologies such as social media platforms becoming increasingly ubiquitous, and increasingly easy to use, more and more theatre makers are developing digitally mediated relationships with spectators. Sometimes for the purpose of an aesthetic encounter, sometimes for critical encounter, or sometimes as part of an audience politicisation, development or engagement agenda. Sometimes because this is genuinely an interest, and sometimes because spectators or funding bodies expect at least some engagement via Facebook, Twitter or Instagram. In this paper, I examine peculiarities and paradoxes emerging in some of these efforts to engage spectators via networked performance or para-performance encounters. I use examples ranging from theatre, to performance art, to political activism – from ‘cyberformaces’ on Helen Varley Jamieson’s Upstage Avatar Performance Platform, to Wafaa Bilal’s Domestic Tension installation where spectators around the world could use a webcam in a chat room to target him with paintballs while he was in residence in a living room set up in a gallery for a week, as a comment on use of drone technology in war, to Liz Crow’s Bedding Out where she invited people to physically and virtually join her in her bedroom to discuss the impact of an anti-disabled austerity politics emerging in her country, to Dislife’s use of holograms of disabled people popping up in disabled parking spaces when able bodied drivers attempted to pull into them, amongst others. I note the frequency with which these performance practices deploy discourses of democratisation, participation, power and agency to argue that these technologies assist in positioning spectators as co-creators actively engaged in the evolution of a performance (and, in politicised pieces that point to racism, sexism, or ableism, pushing spectators to reflect on their agency in that dramatic or daily-cum-dramatic performance of prejudice). I investigate how a range of issues – from the scenographic challenges in deploying networked technologies for both participant and bystander audiences others have already noted, to the siloisation of aesthetic, critical and audience activation activities on networked technologies, to conventionalised dramaturgies of response informed by power, politics and impression management that play out in online as much as offline performances, to the high personal, social and professional stakes involved in participating in a form where spectators responses are almost always documented, recorded and re-represented to secondary and tertiary sets of spectators via the circulation into new networks social media platforms so readily facilitate – complicate discourses of democratic co-creativity associated with networked performance and para-performance activities.

Building TRACE (translations censored) theatre corpus: some methodological questions on text selection

Editores:Micaela Muñoz-Calvo; Carmen Buesa-Gómez

Singapore's biomedical science sector development strategy: is it sustainable?

This paper outlines the strategic efforts undertaken by Singapore to establish its national capability in the biomedical science sector, reviews the commercial base as a result of these efforts and compares Singapore's approach to the UK and the US development models, discusses the challenges that Singapore faces and raises some questions on the long term sustainability of the sector.

Using Discrete Event Simulation (DES) to manage theatre operations in healthcare: An audit-based case study

This paper discusses the application of Discrete Event Simulation (DES) in modelling the complex relationship between patient types, case-mix and operating theatre allocation in a large National Health Service (NHS) Trust in London. The simulation model that was constructed described the main features of nine theatres, focusing on operational processes and patient throughput times. The model was used to test three scenarios of case-mix and to demonstrate the potential of using simulation modelling as a cost effective method for understanding the issues of healthcare operations management and the role of simulation techniques in problem solving. The results indicated that removing all day cases will reduce patient throughput by 23.3% and the utilization of the orthopaedic theatre in particular by 6.5%. This represents a case example of how DES can be used by healthcare managers to inform decision making. © 2008 IEEE.

Building damage assessment for deep excavations in Singapore and the influence of building stiffness

One of the biggest issues for underground construction in a densely built-up urban environment is the potentially adverse impact on buildings adjacent to deep excavations. In Singapore, a building damage assessment is usually carried out using a three-staged approach to assess the risk of damage caused by major underground construction projects. However, the tensile strains used for assessing the risk of building damage are often derived using deflection ratios and horizontal strains under 'greenfield' conditions. This ignores the effects of building stiffness and in many cases may be conservative. This paper presents some findings from a study on the response of buildings to deep excavations. Firstly, the paper discusses the settlement response of an actual building - the Singapore Art Museum - adjacent to a deep excavation. By comparing the monitored building settlement with the adjacent ground settlement markers, the influence of building stiffness in modifying the response to excavation-induced settlements is observed. Using the finite element method, a numerical study on the building response to movements induced by deep excavations found a consistent relationship between the building modification factor and a newly defined relative bending stiffness of the building. This relationship can be used as a design guidance to estimate the deflection ratio in a building from the greenfield condition. By comparing the case study results with the design guidance developed from finite element analysis, this paper presents some important characteristics of the influence of building stiffness on building damages for deep excavations.

World Library Summit and visits to libraries in Singapore: a report

Tedd, L.A. (2002). World Library Summit and visits to libraries in Singapore: a report. Program:electronic library and information systems, 36(4), 253-260.