Experiencing Science in Action: The Use of Exhibition Techniques in Guided Tours to a Scientific Laboratory

The current paper presents a study conducted at CERN, Switzerland, to investigate visitors' and tour guides' use and appreciation of existing panels at visit itinerary points. The results were used to develop a set of recommendations for constructing optimal panels to assist the guides' explanation.

Transforming morning to afternoon using linear regression techniques

Visual localization in outdoor environments is often hampered by the natural variation in appearance caused by such things as weather phenomena, diurnal fluctuations in lighting, and seasonal changes. Such changes are global across an environment and, in the case of global light changes and seasonal variation, the change in appearance occurs in a regular, cyclic manner. Visual localization could be greatly improved if it were possible to predict the appearance of a particular location at a particular time, based on the appearance of the location in the past and knowledge of the nature of appearance change over time. In this paper, we investigate whether global appearance changes in an environment can be learned sufficiently to improve visual localization performance. We use time of day as a test case, and generate transformations between morning and afternoon using sample images from a training set. We demonstrate the learned transformation can be generalized from training data and show the resulting visual localization on a test set is improved relative to raw image comparison. The improvement in localization remains when the area is revisited several weeks later.

The Mid-Century Showroom: Knoll, Herman Miller and the Retail Exhibition of Modern American Design

Although occasionally illustrated and referenced in contemporary histories of modern furniture and design, there is surprisingly little critical discussion or consideration of the role of the showroom in the promotion and dissemination of modern design during the mid-twentieth century. In these years, when the American lifestyle was popularly articulated and forcefully propagandized, the furniture showroom served as a principle site of professional and public indoctrination. Appropriating display techniques from modern exhibition design to showcase the American lifestyle as an abstracted, spatially integrated art form, the showroom provided an unencumbered landscape ideally suited to camera’s lens and the public’s imagination. Leading modern American furniture manufacturers, such as Herman Miller and Knoll Associates collaborated with major cultural institutions as well as department stores and retailers to maximize exposure and consumer demand for their products. Through such integrated marketing and merchandising strategies, showrooms also contributed to the broader social project to educate American consumers about modern design and the advantages of modern living. Related to the many model home programs and “good design” exhibitions of the 1950s, the furniture showroom occupies a unique place within the history and discourse of the postwar era. The peculiarities of the furniture showroom and its position as a point of intersection between the trade and the consumer, the commercial and the cultural, and the aesthetic and the ideological form the focus of this study.

Photography towards painting : the techniques of large contact negatives

Investigates the relationship between painting and photography, with a special focus on techniques using large contact negatives and digital applications. The thesis is comprised of a written exegesis that contextualises and informs upon an exhibition of photographic and digital inkjet montages. It discusses the theoretical and structural issues underpinning the conceptual basis of the research and elaborates upon the applications and processes involved in producing each exhibited image.

Nude and naked : refiguring voyeuristic structures through feminist photographic techniques

Using theoretical, aesthetic and formal means specific to photographic processes, the relational exegesis and exhibition "Visual pleasures" attempts to disrupt visual structures and notions that have traditionally been used to objectify and idealize the body and, at the same time, open the field of vision to alternative and lived feminine pleasures.

Analysing ordered nanostructures in epoxy thermosets using small angle X-ray scattering techniques

Small angle X-ray scattering (SAXS) is essential for the morphological investigation of nanostructured systems as it is a bulk sampling technique and provides information about the overall distribution of the components in the system. In our study we have used SAXS to identify various ordered and disordered morphologies in block copolymer modified epoxy thermosets. We have used a reactive block copolymer and hydrogen bonding block copolymer to modify epoxy resin (ER) to see the effect of various blocks on the morphological changes.

Pre-visualization techniques with live lensing system enhances workflow for interactive performance creation.

Vincs & Divers, with dancer Steph Hutchinson, present a new system for real-time previsualization in Motion Builder that enables choreographers and artists making interactive 3D work to make on-the-fly lensing decisions. Using motion capture to drive a ‘character’ created from a cloth simulation in real time, the presentation highlights the advantage of live lensing for interactive work-flow in creating 3D dance visualizations. This work forms part of Vincs’ ARC Discovery project ‘Building innovative capacity in Australian dance through new visualization technologies’ (DP120101695).

Modelling wake effects using two CFD techniques

Comparativa de dos técnica de simulación de rotor: BEM (Blade Element Momentum) y MRF (Moving Reference Frame) para el perfil S809 de NREL

The Search for the Operatic: Bridging the Gap Between the Spectatorial and Performer Positions Through Sketch-making and Embodiment Techniques

The exhibition was of sketches and a photograph from my PhD practice research. The practice-research was comprised of observing opera singers in rehearsal and sketching them as they moved. As well as records of body position, and to some degree dynamic flow, the exhibited sketches were regarded as kinaesthetic responses in and of themselves – responses to the environment of the rehearsal, in particular responding to the sounds of the orchestra. These sketches were, in part, generated through an embodiment of the music, which was occurring in the same moment as the singer was engaged in embodying the music. These sketches were then used as tools that therefore contained kinaesthetic information which could be unlocked through a process of Butoh derived embodiment techniques alongside reference to the sketched image. This ultimately allowed me to move from a spectatorial position to a performance maker position, bringing a sense of the operatic into the non-singing body, whether that was my own or the bodies of other performers. In this way, and combined with rigorous observation of the corporeal restrictions of singing operatically, choreographies were created that employed operatic ways of moving in non-singing bodies and the operatic was extracted from opera and employed in movement based practice. The aspect of the practice-research exhibited is the correspondence between sketched documentation of the singers in rehearsal and photographic documentation of the dancer (researcher) in performance.