Big art small viewer : a collaborative community project

Campus Kindergarten is a community-based centre for early childhood education and care located on campus at the University of Queensland (UQ) in Brisbane, Australia. Being located within this diverse community has presented many opportunities for Campus Kindergarten. It is creating and embracing possibilities that has formed the basis for ongoing projects for children and teachers involving research and investigation. In 2002 Campus Kindergarten embarked on a collaborative project with the Art Museum bringing together these two departments within the university community.

Viewer-Centered Object Recognition in Monkeys

How does the brain recognize three-dimensional objects? We trained monkeys to recognize computer rendered objects presented from an arbitrarily chosen training view, and subsequently tested their ability to generalize recognition for other views. Our results provide additional evidence in favor of with a recognition model that accomplishes view-invariant performance by storing a limited number of object views or templates together with the capacity to interpolate between the templates (Poggio and Edelman, 1990).

The interpretation of music videos : an interactive relationship between medium and viewer

There is a great deal of evidence to support the examination of an interactive relationship between the medium and the viewer in the interpretation of mainstream media. The exact nature of this relationship, however, is not well understood. The current study was carried out to assess the variables that may help explain why certain people interpret media, such as music videos, differently than others. Jensen's concept of reception analysis describes the relationship between the medium and the audience, and thus remains a strong focus within this study. Differences in the interpretation of music videos were investigated as a function of Absorption, gender role, screen size, age and viewing experience. Multiple regression analyses uncovered independent predictions of sexuality and violence scores by absorption and experience, as well as an interaction between absorption and screen size in the sexuality rating of the music videos.

Dielmo 3D Viewer based on NASA World Wind

Partiendo de la versión Java del software libre NASA World Wind, DIELMO ha desarrollado el software Dielmo 3D Viewer que permite la creación de escenarios virutales en 3D que se convierten en clientes IDE y que permiten un mejor conocimiento del territorio, tratando la tercera dimensión con el máximo rigor

La visualizzazione di open data geografici: Web shapefile viewer.

La descrizione di un'applicazione sviluppata per la visualizzazione di shapefile in google map e openstreetmap

Viewer's guide to From Marx to Mao.

Mode of access: Internet.

Organizational and direct support maintenance manual for viewer, drivers, night vision, AN/VVS-2(V)1 (NSN 5855-00-629-5278).

"March 1977."

Operator's manual : viewer, infared AN/PAS-7, (NSN 5885-00-179-3169).

Shipping list no.: 90-736-P.

Organizational maintenance manual : viewer, stereoscopic roll film, photographic interpretation AR-90A, (NSN 6675-00-944-7146).

"April 1966."

IRS connections : a companion to the video magazine IRS connections : viewer's guide.

Caption title.

Village green

For a communal garden in Copenhagen, Stig L. Andersson uses grasses of varying texture and height, creating a new view or spatial experience from every angle. The idea of vegetation texture being an important constituent of planting design is pervasive. Gardening books tell aspiring designers that "colour, texture and form" are the central aspects of planting arrangements. While these elements contribute to this language, they have tended to limit the language of planting to a singular, two dimensional paradigm, where planting is designed in static elevation. This has developed from a perennial-border approach demonstrated by the early 20th century garden designer Gertrude Jekyll, where the viewer is parallel to the bed, and the planting is layered to address this view. If one were to characterise the difference between a garden design and a landscape architectural approach, the latter would seem self-conscious in its use of space, movement and vision.

Cate Consandine

The interpretation of evidence dominates contemporary television crime shows. Inanimate objects and disparate facts are made to speak; technology and expert opinion wring out their stories. In examining these dead pieces of evidence, the investigators search for patterns, discovering living perpetrators and fugitives. Psychology comes in where the evidence is interpreted; the investigators try to think through perpetrators' minds and presumably perverse rationales. Objects are examined. Banal things become precious, put into bags, marked, date- and time-stamped, and stepped around carefully. After a crime, the objects involved are different. After a crime show, our gaze is different; everything is potentially incriminating, perverse. Bags without people don't make sense. Under this gaze, objects acquire a psychology. When we look at a crime scene, the evidence violates us. The work of Melbourne artist Cate Consandine is about objects and how they occupy the space that they occupy. In her practice as a sculptor and throughout her studies at the Victorian College of the Arts, the Sydney College of the Arts, and now Monash, her work has cultivated violent ambiguity. Consandine's work extends across a range of different media, particularly vidoe, objects and spaces. Like a crime show, it activates a particular type of inquisition from the viewer.

A shameful spectacle

The linguistics of violence in film and on television is a hotly debated topic, especially whenever outrageously violent crimes are committed in the community. The debate tends to proceed thus: was the perpetrator addicted to watching violent films and videos, and if so, did the language of mediated violence translate into the language of everyday action, blurring the boundaries between fantasy and reality? The cause—effect relationship between fantasies enacted on screen and horrific real-life crimes has never been proven scientifically, despite endless governmental inquiries and many attempts by academics to discover a causation formula. I will not be looking so much at the vexed question of the relationship between stylized violence on celluloid and real violence in a community. Rather, I wish to explore the nature of a particular form of mediated, gendered violence through an analysis of the language of several key films made in the past decade focusing on the violent crime of rape: Hollywood films The Accused (1988), Casualties of War (1989), Thelma and Louise (1991), Strange Days (1996), and the Australian films Shame (1988) and The Boys (1998). In this way, I wish to show how rape is depicted linguistically in film, and how such films may actually give solutions to this abhorrent kind of violence rather than thrill the viewer vicariously, or, in a worst case scenario, stimulate people to further violence.