Vodnick one

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Vodnick two

A sculptural goblet inspired by the water sprite found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition one

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition three

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene three in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Apparition two

A sculptural goblet inspired by the White Lady found in Czech Fairytales. The work is hand-blown, with added cast elements. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Balancing act

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Everything I need under one roof

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Feline pet

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene two in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Sunday stroll

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene one in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Bird flock

The work consists of a set of six, utilitarian wine glasses. Each glass features the engraving of a bird silhouette; the six engravings represent a flock of birds and also six key-poses in the animated flight-cycle of one bird. Beside the array of wine glasses sits a screen on which is displayed a looped animation of this same bird in flight. In a way, the six wine glasses represent the six animation cels of the displayed animation. Additionally, each engraved glass serves as a sight-trigger for a smart-phone or other mobile device. If one has the Aurasma app on their device and holds it up to ‘look at’ any one of the engravings, the animation of the flying bird will also be displayed on their device’s screen.

Moving house

A sculptural goblet inspired by childhood experiences and how they equate to contemporary fairytales. The work is hand-blown and engraved. This piece represents scene three in the narrative. It is a work that condenses the animated moving image into a sculptural form.

Groundwater Visualisation System (GVS): a software framework for developing low-end, scalable and robust software for 3D visualisation and animation of groundwater conceptual models

Effective management of groundwater requires stakeholders to have a realistic conceptual understanding of the groundwater systems and hydrological processes.However, groundwater data can be complex, confusing and often difficult for people to comprehend..A powerful way to communicate understanding of groundwater processes, complex subsurface geology and their relationships is through the use of visualisation techniques to create 3D conceptual groundwater models. In addition, the ability to animate, interrogate and interact with 3D models can encourage a higher level of understanding than static images alone. While there are increasing numbers of software tools available for developing and visualising groundwater conceptual models, these packages are often very expensive and are not readily accessible to majority people due to complexity. .The Groundwater Visualisation System (GVS) is a software framework that can be used to develop groundwater visualisation tools aimed specifically at non-technical computer users and those who are not groundwater domain experts. A primary aim of GVS is to provide management support for agencies, and enhancecommunity understanding.

Between Two Worlds : Harry Reade, the Sydney waterfront and Cuban animation

Harry Reade (1927-1998) was an Australian waterside worker-artist who became involved with animation production through the Waterside Workers’ Federation Film Unit, in Sydney. During the early years of the Cuban Revolution, Reade contributed to Cuba’s social and cultural reform process by influencing the development of the educational sector of Cuban animation. This article examines the forces that shaped Reade and the ways in which he contributed to the use of animation as an agent of social change.

Understanding the Aquifier : 3D Visualisation and Groundwater Time-Series Animation in Lockyer Valley

The Lockyer Valley, southeast Queensland, hosts intensive irrigated agriculture using groundwater from over 5000 alluvial bores. A current project is considering introduction of PRW (purified recycled water) to augment groundwater supplies. To assess this, a valley-wide MODFLOW simulation model is being developed plus a new unsaturated zone flow model. To underpin these models and provide a realistic understanding of the aquifer framework a 3D visualisation model has been developed using Groundwater Visualisation System (GVS) software produced at QUT.

"Re-imagining animation : the changing face of the moving image by Paul Wells and Johnny Hardstaff" (Book Review)

Advances in digital technology have caused a radical shift in moving image culture. This has occurred in both modes of production and sites of exhibition, resulting in a blurring of boundaries that previously defined a range of creative disciplines. Re-Imagining Animation: The Changing Face of the Moving Image, by Paul Wells and Johnny Hardstaff, argues that as a result of these blurred disciplinary boundaries, the term “animation” has become a “catch all” for describing any form of manipulated moving image practice. Understanding animation predicates the need to (re)define the medium within contemporary moving image culture. Via a series of case studies, the book engages with a range of moving image works, interrogating “how the many and varied approaches to making film, graphics, visual artefacts, multimedia and other intimations of motion pictures can now be delineated and understood” (p. 7). The structure and clarity of content make this book ideally suited to any serious study of contemporary animation which accepts animation as a truly interdisciplinary medium.