Space within the surface : the patterned surfaces of Florence Broadhurst and Jim Thompson

The Woods Bagot 2007 refurbishment of the Qantas and British Airways Bangkok Business lounge in the Survarnabhumi Airport features wall finishes designed by wallpaper designer, Florence Broadhurst (1899-1977) and Thai Silk trader, Jim Thompson (1906-1967). This distinctive selection, which is proclaimed on the airport’s website, of patterned wall surfaces side by side draws attention to their striking similarities and their defining differences . Thompson and Broadhurst would appear to be worlds apart, but here in the airport their work brings them together. Thompson, the son of a wealthy cotton family in America, worked as an architect before joining the army. He moved to Bangkok to start The Thai Silk Company in 1948. Broadhurst was born on a farm in Mt. Perry, Queensland. She began her career as a performance artist, as part of an Australian troupe in Shanghai, moving onto pursue a career in fashion design, catering to the middle and upper classes in London. Upon her return to Australia, Broadhurst started a print design company in 1959. Both Broadhurst and Thompson pursued multiple careers, lived many lives, and died under mysterious circumstances. Broadhurst was murdered in 1977 at her Sydney print warehouse, which remains an unsolved crime. Thompson disappeared in Malaysia in 1967 and his body has never been found. This chapter investigates the parallels between Thompson and Broadhurst and what lead them to design such popular patterns for wall surfaces towards the end of their careers. While neither designer was a household name, their work is familiar to most, seen in the costume and set design of films, on the walls of restaurants and cafes and even in family homes. The reason for the popularity of their patterns has not previously been analysed. However, this chapter suggests that the patterns are intriguing because they contain something of their designers’ identities. It suggests that the coloured surface provides a way of camouflaging and hiding its subjects’ histories, such that Broadhurst and Thompson, consciously or unconsciously, used the patterned surface as a plane in which their past lives could be buried. The revealing nature of the stark white wall, compared with the forgiveness provided by the pattern in which to hide, is elaborated by painter and advocate for polychromatic architecture, Fernand Léger in his essay, “The Wall, The Architect, The Painter (1965).” Léger writes that, “the modern architect has gone too far in his magnificent attempts to cleanse through emptiness,” and that the resultant white walls of modernity create ‘an impalpability of air, of slick, brilliant new surfaces where nothing can be hidden any longer …even shadows don’t dare to enter’. To counter the exposure produced by the white wall, Thompson and Broadhurst designed patterned surfaces that could harbour their personal histories. Broadhurst and Thompson’s works share a number of commonalities in their design production, even though their work in print design commenced a decade apart. Both designers opted to work more with traditional methods of pattern making. Broadhurst used hand-operated screens, and Thompson outsourced work to local weavers and refrained from operating out of a factory. Despite humble beginnings, Broadhurst and Thompson enjoyed international success with their wall patterns being featured in a number of renowned international hotels in Bahrain, Singapore, Sydney, and London in the 1970s and 1980s. Their patterns were also transferred to fabric for soft furnishings and clothing. Thompson’s patterns were used for costumes in films including the King and I and Ben Hur. Broadhurst’s patterns were also widely used by fashion designers and artists, such as Akira Isogowa‘s costume design for Salome, a 1998 production by the Sydney Dance Company. Most recently her print designs have been used by skin illustrator Emma Hack, in a series of works painting female bodies into Broadhurst’s patterns. Hack’s works camouflage the models’ bodies into the patterned surface, assimilating subject and surface, hinting at there being something living within the patterned wall. More than four decades after Broadhurst’s murder and five decades since Thompson’s disappearance, their print designs persist as more than just a legacy. They are applied as surface finishes with the same fervour as when the designs were first released. This chapter argues that the reason for the ongoing celebration of their work is that there is the impalpable presence of the creator in the patterns. It suggests that the patterns blur the boundary between subject and surface.

Tragedy and assimilation: Occupying the patterned surface

This chapter draws on biographical data about two notable pattern designers of wall surfaces in the interior. Both had personal histories of multiple careers and geographical locations and both their lives ended in mysterious circumstances. One of the pattern designers, Jim Thompson, disappeared in the Malaysian highlands in 1967 and was never found. The other, Florence Broadhurst, was brutally murdered in 1977; her case remains unsolved. This chapter theorizes that the patterned surface attracted Broadhurst and Thompson as a space to occupy and record their divergent pasts, and questions what it is to lose oneself in the surface of the interior, to find freedom (or slavery) in the abdication of control. This notion is further evidenced in creative works, including the Australian film Candy and the work by skin illustrator Emma Hack. What is it to work with the self as a two-dimensional representation in the outside world? Occupying the surface suggests a reflexive relationship with identity, that makes-over and re-shapes truths, lies and re-constructions. The chapter reminds us that the surface is never in stasis.

Science fiction

Few science fiction films have been made in Australia by Australians for Australian audiences, with most of the handful of locally-produced films made since the mid-1990s. Yet there has always been a solid Australian audience for non-Australian science fiction films and a strong international niche audience for the genre. While Australia has provided below-the-line crews and heads of departments (cinematographers, production designers, and so on) for many non-Australian science fiction films produced domestically, few Australian film directors have specialised in the genre. This is somewhat surprising considering that Alex Proyas achieved a degree of international success for his gothic science fiction film Dark City (1998), and George Miller achieved international fame following the worldwide success of Mad Max II (1981). Although the science fiction element of Mad Max II is tenuous – and even more so in the case of the original Mad Max (George Miller, 1979) – Miller is credited with creating a new (sub)genre which incorporates science fiction elements and has been widely imitated internationally: the dystopian, post-apocalyptic movie. Nevertheless, Australia has only produced a small number of science fiction movies. In addition to the above films, key titles include: Mad Max Beyond Thunderdome (George Miller, 1985), Shirley Thompson versus the Aliens (Jim Sharman, 1972), The Time Guardian (Brian Hannant, 1987), The Chain Reaction (Ian Barry, 1980) and, more recently, Knowing (Alex Proyas, 2009), Daybreakers (Michael and Peter Spierig, 2009), and Iron Sky (Timo Vuorensola, 2012).

Functional MRI BOLD response to Tower of London performance of first-episode schizophrenia patients using cortical pattern matching

Due to its three-dimensional folding pattern, the human neocortex; poses a challenge for accurate co-registration of grouped functional; brain imaging data. The present study addressed this problem by; employing three-dimensional continuum-mechanical image-warping; techniques to derive average anatomical representations for coregistration; of functional magnetic resonance brain imaging data; obtained from 10 male first-episode schizophrenia patients and 10 age-matched; male healthy volunteers while they performed a version of the; Tower of London task. This novel technique produced an equivalent; representation of blood oxygenation level dependent (BOLD) response; across hemispheres, cortical regions, and groups, respectively, when; compared to intensity average co-registration, using a deformable; Brodmann area atlas as anatomical reference. Somewhat closer; association of Brodmann area boundaries with primary visual and; auditory areas was evident using the gyral pattern average model.; Statistically-thresholded BOLD cluster data confirmed predominantly; bilateral prefrontal and parietal, right frontal and dorsolateral; prefrontal, and left occipital activation in healthy subjects, while; patients’ hemispheric dominance pattern was diminished or reversed,; particularly decreasing cortical BOLD response with increasing task; difficulty in the right superior temporal gyrus. Reduced regional gray; matter thickness correlated with reduced left-hemispheric prefrontal/; frontal and bilateral parietal BOLD activation in patients. This is the; first study demonstrating that reduction of regional gray matter in; first-episode schizophrenia patients is associated with impaired brain; function when performing the Tower of London task, and supports; previous findings of impaired executive attention and working memory; in schizophrenia.

Relocating the American Dream : The America of the 1960s as Portrayed by the New Journalists Norman Mailer, Hunter S. Thompson, and Tom Wolfe

The concept of the American Dream was subject to a strong re-evaluation process in the 1960s, as counterculture became a prominent force in American society. A massive generation of young people, moved by the Vietnam War, the hippie movement, and psychedelic experimentation, created substantial social turbulence in their efforts to break out of conventional patterns and to create a new kind of society. This thesis outlines and analyses the concept of the American Dream in popular imagination through three works of new journalism. My primary data consists of Tom Wolfe’s The Electric Kool-Aid Acid Test (1967), Hunter S. Thompson’s Fear and Loathing in Las Vegas: A Savage Journey to the Heart of the American Dream (1971), and Norman Mailer’s Armies of the Night: History as a Novel, the Novel as History (1968). In defining the American Dream, I discuss the history of the concept as well as its manifestations in popular culture. Because of its elusive and amorphous nature, the concept of the American Dream can only be examined in cultural texts that portray the values, sentiments, and customs of a certain era. I have divided the analytical section of my thesis into three parts. In the first part I examine how the authors discuss the American society of their time in relation to ideology, capitalism, and the media. In the second part I focus on the Vietnam War and the controversy it creates in relation to the notions of freedom and patriotism. In the third part I discuss how the authors portray the countercultural visions of a better America that challenged the traditional interpretations of the American Dream. I also discuss the dark side of the new dream: the problems and disillusions that came with the effort to change the world. This thesis is an effort to trace the relocation of the American Dream in the context of the 1960s counterculture and new journalism. It hopes to provide a valuable addition to the cultural history of the sixties and to the effort of conceptualizing the American Dream.

Focal plane analysis of the Knox-Thompson algorithm in speckle interferometry

For the specific case of binary stars, this paper presents signal-to-noise ratio (SNR) calculations for the detection of the parity (the side of the brighter component) of the binary using the double correlation method. This double correlation method is a focal plane version of the well-known Knox-Thompson method used in speckle interferometry. It is shown that SNR for parity detection using double correlation depends linearly on binary separation. This new result was entirely missed by previous analytical calculations dealing with a point source. It is concluded that, for magnitudes relevant to the present day speckle interferometry and for binary separations close to the diffraction limit, speckle masking has better SNR for parity detection.

Optimal control of information epidemics modeled as Maki Thompson rumors

We model the spread of information in a homogeneously mixed population using the Maki Thompson rumor model. We formulate an optimal control problem, from the perspective of single campaigner, to maximize the spread of information when the campaign budget is fixed. Control signals, such as advertising in the mass media, attempt to convert ignorants and stiflers into spreaders. We show the existence of a solution to the optimal control problem when the campaigning incurs non-linear costs under the isoperimetric budget constraint. The solution employs Pontryagin's Minimum Principle and a modified version of forward backward sweep technique for numerical computation to accommodate the isoperimetric budget constraint. The techniques developed in this paper are general and can be applied to similar optimal control problems in other areas. We have allowed the spreading rate of the information epidemic to vary over the campaign duration to model practical situations when the interest level of the population in the subject of the campaign changes with time. The shape of the optimal control signal is studied for different model parameters and spreading rate profiles. We have also studied the variation of the optimal campaigning costs with respect to various model parameters. Results indicate that, for some model parameters, significant improvements can be achieved by the optimal strategy compared to the static control strategy. The static strategy respects the same budget constraint as the optimal strategy and has a constant value throughout the campaign horizon. This work finds application in election and social awareness campaigns, product advertising, movie promotion and crowdfunding campaigns. (C) 2014 Elsevier B.V. All rights reserved.

William Francis Thompson (1888–1965): a Preeminent Fishery Biologist of the Early and Mid Twentieth Century

William Francis Thompson (1888–1965) was a preeminent fishery scientist of the early to mid twentieth century. Educated at Stanford University in California (B.A. 1911, Ph.D. 1930), Thompson conducted pioneering research on the Pacific halibut, Hippoglossus stenolepis, from 1914 to 1917 for the British Columbia Provincial Fisheries Department. He then directed marine fisheries research for the State of California from 1917 to 1924, was Director of Investigations for the International Fisheries Commission from 1924 to 1939, and Director of the International Pacific Salmon Fisheries Commission from 1937 to 1942. He was also Director of the School of Fisheries, University of Washing-ton, Seattle, from 1930 to 1947. Thompson was the founding director in 1947 of the Fisheries Research Institute at the University of Washington and served in that capacity until his retirement in 1958. He was a dominant figure in fisheries research of the Pacific Northwest and influenced a succession of fishery scientists with his yield-based analysis of fishery stocks, as opposed to studying the fishes’environment. Will Thompson was also a major figure in education, and many of his former students attained leadership positions in fisheries research and administration.

William Francis Thompson (1888–1965) and His Pioneering Studies of the Pacific Halibut, Hippoglossus stenolepis

William Francis Thompson (1888–1965), as a temporary employee of the British Columbia Provincial Fisheries Department, was assigned in 1914 to under-take full-time studies of the Pacific halibut, Hippoglossus stenolepis. The fishery was showing signs of depletion, so Thompson undertook the inquiry into this resource, the first intensive study on the Pacific halibut. Three years later, Thompson, working alone, had provided a basic foundation of knowledge for the subsequent management of this resource. He published seven land-mark papers on this species, and this work marked the first phase of a career in fisheries science that was to last nearly 50 years.

William Francis Thompson (1888–1965) and the Dawn of Marine Fisheries Research in Californ

William Francis Thompson (1888–1965), an early fishery biologist, joined the California Fish and Game Commission in 1917 with a mandate to investigate the marine fisheries of the state. He initiated studies on the albacore tuna, Thunnus alalunga, and the Pacific sardine, Sardinops sagax, as well as studies on other economically important marine organisms. Thompson built up a staff of fishery scientists, many of whom later attained considerable renown in their field, and he helped develop, and then direct, the commission’s first marine fisheries laboratory. During his tenure in California, he developed a personal philosophy of research that he outlined in several publications. Thompson based his approach on the yield-based analysis of the fisheries as opposed to large-scale environmental studies. He left the state agency in 1925 to direct the newly formed International Fisheries Commission (now the International Pacific Halibut Commission). William Thompson became a major figure in fisheries research in the United States, and particularly in the Pacific Northwest and Alaska, during the first half of the 20th cent

William Francis Thompson (1888–1965) and His Pioneering Studies of the Pacific Halibut, Hippoglossus stenolepis

William Francis Thompson (1888–1965), as a temporary employee of the British Columbia Provincial Fisheries Department, was assigned in 1914 to under-take full-time studies of the Pacific halibut, Hippoglossus stenolepis. The fishery was showing signs of depletion, so Thompson undertook the inquiry into this resource, the first intensive study on the Pacific halibut. Three years later, Thompson, working alone, had provided a basic foundation of knowledge for the subsequent management of this resource. He published seven land-mark papers on this species, and this work marked the first phase of a career in fisheries science that was to last nearly 50 years.