2024-03-28T20:12:32Z
http://ro.uow.edu.au/do/oai/
oai:ro.uow.edu.au:creartspapers-1000
2013-02-11T04:04:31Z
publication:assh
publication:creartspapers
publication:library
publication:journal_articles
publication:morgan
publication:asd
publication:document_types
Metropolis in black and white - the art of Percy Benison
Organ, Michael K.
Journal Article
2005-12-01T08:00:00Z
Metropolis
Fritz Lang
silent film
Australia
<p>This article was originally published as Organ, M. K., Metropolis in black and white - the art of Percy Benison, Metro Magazine, December 2005, 146/147, 170-174.</p>
<p>In April 1928 the Australian release of Fritz Lang's Metropolis was marked by a media campaign which included the black and white drawings of Sydney-based artist Percy Benison. The paper comments on selected works and presents a brief outline of the artist's life.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/1
oai:ro.uow.edu.au:creartspapers-1001
2015-11-24T21:39:39Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Simmel, Ninotchka and the Revolving Door
Cockburn, Jon
Conference Paper
2005-10-21T07:00:00Z
Bridge and door
revolving door
flânerie
flâneuse
mechanical-flâneuse
scientific management
efficiency movement
Taylorism
conspiracies of mischief
chaotic détournement
<p>This paper was originally published as Cockburn, J, Simmel, Ninotchka and the Revolving Door, in Proceedings of Cosmopolitanism and Place: The Design of Resistance Conference, Centre for Social Theory and Design, University of Technology Sydney, 21-22 October, 2005. Updated 2015.</p>
<p>In this paper, Jon Cockburn examines the device of the revolving door employed by Ernst Lubitsch in the opening scene to the film "Ninotchka" (1939), in which the operation of this architectural mechanism metaphorically prefigures several key themes in the film. Specifically, these themes are first, the complementary necessity of coupling efficiency with desire and second, that firmly held principles should be balanced with mutual pleasure. In the late 1930s, in articulating these contrasting attributes the film described the balancing act that confronted self-sufficient modern women, who faced expectations that they be industrially efficient yet noticeably sensual. However, while recognising each of these themes as key to the film’s development, to maintain brevity Cockburn's paper focuses discussion on the opening scene, via concepts drawn from Georg Simmel’s essay "Bridge and Door" (1909). The paper then turns attention to the entry of the main character, Ninotchka (played by Greta Garbo), linking prior argument to her initial establishment in the film. It is noted that the character of Ninotchka paradoxically exhibits the efficiency attributes of scientific management (F.W. Taylor) and flânerie (Victor Fournel, Charles Baudelaire, Walter Benjamin). Concluding and as a postscript, the paper examines the operation of the broken wall, traversed by the dachshund Dackie, his stray friends and Monsieur Hulot in Jacques Tati’s film "Mon Oncle" (1958). Tati’s device of the broken wall operates comparably to that of Lubitsch’s revolving door, yet draws into consideration a different disposition toward conspicuous modernity by contrast to chaotic urban community.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/3
oai:ro.uow.edu.au:creartspapers-1002
2013-03-26T21:36:02Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Clothing the Soviet Mechanical-Flâneuse
Cockburn, Jon
Journal Article
2005-05-01T07:00:00Z
Scientific management
efficiency movement
Taylorism
flânerie
flâneuse
fashion design
Soviet clothing
Stepanova
Coco Chanel
<p>This article was originally published as Cockburn, J, Clothing the Soviet Mechanical-Flâneuse, The Space Between, 2005, 1(1). .</p>
<p>Jon Cockburn looks at fashion trends on both sides of the Atlantic to examine images of and ideals for the modern woman. At the center of his analysis is a history of the Soviet “mechanical-flâneuse,” a distinctive twentieth-century variation upon the nineteenth-century European metropolitan “flâneuse” (or intelligent idler), that emerged through Soviet interpretations of the American efficiency movement. Cockburn traces the efforts of three avant-garde designers who tried to realize the mechanical-flâneuse in the Soviet Union, but shows that as Stalin rose to power, production of the mechanical-flâneuse was restricted to an increasingly theoretical realm. Politics eventually trumped the efficient art of the mechanical-flâneuse in Soviet Russia, but Cockburn concludes that she emerged triumphant elsewhere, clothed in Coco Chanel’s little black dress.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/2
oai:ro.uow.edu.au:creartspapers-1004
2014-04-09T05:52:35Z
publication:assh
publication:creartspapers
publication:book_chapters
publication:document_types
Metris: A Game Environment for Music Performance
Havryliv, Mark
Narushima, Terumi
Book Chapter
10.1007/11751069_9
2006-05-20T07:00:00Z
<p>This book chapter was originally published as: Havryliv, M & Narushima, T, Metris: A Game Environment for Music Performance, in Computer Music Modeling and Retrieval, Lecture Notes in Computer Science 3902/2006, Springer-Verlag, 2006, 101-109.</p>
<p>Metris is a version of the Tetris game that uses a player’s musical response to control game performance. The game is driven by two factors: traditional game design and the player’s individual sense of music and sound. Metris uses tuning principles to determine relationships between pitch and the timbre of the sounds produced. These relationships are represented as bells synchronised with significant events in the game. Key elements of the game design control a musical environment based on just intonation tuning. This presents a scenario where the game design is enhanced by a user’s sense of sound and music. Conventional art music is subverted by responses to simple design elements in a popular game.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/4
oai:ro.uow.edu.au:creartspapers-1005
2006-11-02T23:25:13Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Career Potential for New Science Journalists
Coyle, Troy
Journal Article
2003-12-01T08:00:00Z
science journalism
science reportage
Australian journalism
This article was originally published as: Coyle, T, Career Potential for New Science Journalists, AsiaPacific MediaEducator, December 2003, 14, 92-105. The original journal is available <a href="http://www.uow.edu.au/crearts/sjcw/APME/APME.html">here</a>.
Despite public support for science reportage, science stories are rare in Australian media. The reasons for this are not clear but the net impact is that there are few opportunities for aspiring science journalists in a market that is dominated by a few high-profile individuals. Thus, budding science journalists would probably be best served by trying to create new opportunities and widening the market for science journalism, rather than competing for the few existing niche positions. This study investigates the potential career paths for new science journalists as well as the challenges facing science journalism in Australia.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/5
oai:ro.uow.edu.au:creartspapers-1006
2014-01-20T04:10:14Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Ordnance, five hats and Constantinople: Benjamin, Gustafsson and Lubitsch
Cockburn, Jon
Conference Paper
2006-08-17T07:00:00Z
George Simmel
Frederick Winslow Taylor
Walter Benjamin
Ernst Lubitsch
Greta Garbo
Greta Louisa Gustafsson
Siegfried Kracauer
Ninotchka
flânerie
flâneur
flâneuse
mechanical-flâneuse
present-presentness
Scientific management
Efficiency movement
Taylorism
Taylorist ratio
Fordism
Americanism
Motion pictures
One Way Street
Moscow Diary
Work of Art in the Age of Mechanical Reproduction
Advertising
Social Life of Things
<p>This paper was originally published as Cockburn, J, Ordnance, five hats and Constantinople: Benjamin, Gustafsson and Lubitsch, in Proceedings of the Walter Benjamin and the Architecture of Modernity Conference, Centre for Social Theory and Design, University of Technology Sydney, 17-19 August 2006. This is an extended version of the paper as presented.</p>
<p>This paper concentrates on identifying intellectual, cinematic and commercial representations of the efficiency movement as embodied in the emergent mechanical-flâneuse (the term is an obvious combination of the adjective ‘mechanical’, as a Taylorist/Fordist signifier, with the noun ‘flâneuse’, which is a gender inversion of the masculine flâneur: the metropolitan wanderer profiled in Benjamin’s re-examination of Baudelaire and 19th century Paris). To articulate these representations of the ‘new’ woman, under the influence of Americanism in post-1918 Europe, this paper focuses on two passages in Benjamin’s One Way Street. Benjamin’s passages are then read in juxtaposition to advertisements, the first for hats in the 1921 Paul U. Bergström Department Store Emporium (PUB) Spring Catalogue, Stockholm, Sweden, featuring a young Greta Gustafsson (Greta Garbo), and the second a 1923 advertisement for Lancia automobiles, in addition to early films directed by Ernst Lubitsch, such as The Oyster Princess (1919). The paper then sets out the trace of Taylorism in images of women from the inter-war period (1918-1939), before concluding on the proximity of these representations to the writings of Benjamin and the career and films of Lubitsch.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/6
oai:ro.uow.edu.au:creartspapers-1007
2013-08-20T01:37:24Z
publication:dblackall
publication:assh
publication:creartspapers
publication:audiovisual_items
publication:document_types
Can it Hurt Less? [Video]
Blackall, David
Audiovisual
1992-01-01T08:00:00Z
<p>David Blackall (writer, producer, director), Can it Hurt Less? [documentary film], 26 minutes, Australian Film Commission, Law Foundation of New South Wales, University of Wollongong and SBS Television, 1992. Copyright <a href="mailto:dblackal@uow.edu.au">Dr. David Blackall</a>, 1992.</p>
<p>Can It Hurt Less? is a 26 minute long documentary film about juvenile justice alternatives to the court system in New South Wales, Australia, through family conferencing. This process can deal with minor offences instead of the other process via the courts which can often lead to criminal records. The film presents case studies and interviews with police and criminologists who are also involved in the family conferencing process. It contains lively sections of animation designed to illustrate difficult legal concepts with the view of making these accessible to younger people - the focus of the film. Further information about the film is available at the Australian Film Commission web site <a href="http://www.afc.gov.au/filmsandawards/filmdbsearch.aspx?view=title&title=CANITH&area=title">here</a>. A biography of the director Dr. David Blackall is available <a href="https://misprd.uow.edu.au/ris_public/WebObjects/RISPublic.woa/wa/Staff/selectPerson?id=9689&group=55">here</a>.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/7
oai:ro.uow.edu.au:creartspapers-1011
2013-02-11T04:12:27Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
A re-examination of graphic design pedagogy, and its application at the University of Wollongong: Towards a PhD study in design education
Ellmers, Grant
Conference Paper
2005-09-28T07:00:00Z
design pedagogy
design education
reflection
studio-based learning
project-based learning
problem-based learning
<p>This paper was originally published as: Ellmers, G, A re-examination of graphic design pedagogy, and its application at the University of Wollongong: Towards a PhD study in design education, ACUADS 2005 Conference: artists, designers and creative communities, School of Contemporary Arts, Edith Cowan University, Perth, Western Australia, 28-30 September 2005. Copyright 2005 Australian Council of University Art & Design Schools.</p>
<p>The pedagogical approach in the Graphic Design discipline at the University of Wollongong, as in other design institutions (Kvan 2001), is informed at a fundamental level by the studio-based learning framework. The ever-present challenges in the higher education sector, such as increasing student to teacher ratios and resourcing issues, lead educators to constantly evaluate their pedagogical approach. With the current advances in computer-aided design, and the emergence of alternative learning frameworks, it is timely to re-evaluate the role and effectiveness of studio-based learning in graphic design education. Problem-based learning and Schön's reflective practitioner framework have parallels with studio-based learning, however on closer examination they identify opportunities to enhance the studio approach. One such instance is the formalisation of student reflection, post project submission. This paper will outline a proposed PhD study in graphic design pedagogy and will include a discussion of the theory and practices that have informed its development.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/10
oai:ro.uow.edu.au:creartspapers-1009
2013-06-26T00:05:47Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Reflection and graphic design pedagogy: developing a reflective framework to enhance learning in a graphic design tertiary environment
Ellmers, Grant
Conference Paper
2006-09-27T07:00:00Z
design pedagogy
design education
reflection
studio-based learning
project-based learning
problem-based learning
<p>This paper was originally published as: Ellmers, G, Reflection and graphic design pedagogy: developing a reflective framework to enhance learning in a graphic design tertiary environment, 2006 ACUADS Conference: Thinking the Future: Art, Design and Creativity, Faculty of Art & Design, Monash University & School of Art, Victorian College of the Arts, Melbourne, 27-29 September 2006, 1-10. Copyright 2006 The Australian Council of University Art and Design Schools.</p>
<p>The pedagogical approach employed in the graphic design program at the University of Wollongong is based primarily on a blend of project-based and studio-based learning. Emerging from experience and observations of teaching in this environment, the researcher has identified potential for enhanced learning through a formalised reflective framework. This may address concerns that current teaching frameworks over emphasise the design project, leaving the student at risk of not learning from the design process itself. This paper will describe the ongoing development and implementation of a formalised reflective framework into the University of Wollongong undergraduate graphic design program. Informed by staff and student feedback, and the researchers observations, this paper will evaluate the outcomes to date and suggest future directions.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/8
oai:ro.uow.edu.au:creartspapers-1010
2013-06-04T03:04:52Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Introducing reflective strategies informed by problem-based learning to enhance cognitive participation and knowledge transference in graphic design education
Ellmers, Grant
Foley, M.
Conference Paper
2007-07-09T07:00:00Z
design pedagogy
design education
reflection
studio-based learning
project-based learning
problem-based learning
<p>This paper was originally published as: Ellmers, G & Foley, M, Introducing reflective strategies informed by problem-based learning to enhance cognitive participation and knowledge transference in graphic design education, ConnectED 2007: International Conference on Design Education, University of NSW, Sydney, Australia, 9-12 July 2007.</p>
<p>This paper will outline and review a curriculum approach under development in the Graphic Design undergraduate program at the University of Wollongong. The curriculum approach in the past has drawn on a blending of studio-based and project-based learning, common approaches in many graphic design tertiary programs (Davies & Reid 2000). Our concern with these approaches is the emphasis on project outcomes, marginalising the design process and the important learning opportunities it presents. A potential solution the authors have explored is a greater formalised engagement with reflection (Boud, Keogh & Walker 1985; Schön 1987) informed by problem-based learning (Koschmann, Myers, Feltovich & Barrows 1994). A reflective learning framework has been introduced that encourages the student to stand back from the outcomes of the design project itself, facilitating enhanced engagement with design concepts and processes. The authors describe an approach that is designed to encourage greater cognitive participation and establish a platform for enhanced knowledge transference for the graphic design student.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/9
oai:ro.uow.edu.au:creartspapers-1014
2013-11-19T04:17:22Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: A Blueprint for Performance Using Wireless Devices
Schiemer, Greg
Havryliv, Mark
Conference Paper
2005-09-05T07:00:00Z
<p>This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket Gamelan: A Blueprint for Performance Using Wireless Devices, in free sound ICMC 2005 - Proceedings of the International Computer Music Conference, Barcelona, Spain, 5 - 9 September 2005, 600-603.</p>
<p>Mobile phone handsets have introduced new possibilities for musical interaction between multiple performers, as we reported in previous papers. Wireless communication between handsets now extends these possibilities even further. This paper describes development and implementation of a new performance scenario that involves remote instrument control using a Bluetooth connection. The paper proposes a low-level functional control protocol designed primarily around the current state of the mobile phone handset. The protocol makes provision for extended musical functionalities developed around tuning systems that are not adequately served by existing musical performance interfaces based on twelve equal divisions of the octave. Development is also driven by enhancements in handset technology as new hands-free devices are developed. The way is also left open to include Bluetooth wireless communications protocols in a wide variety of musical applications that take advantage of the mobility offered by personal networks and enable new kinds of musical interactivity.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/12
oai:ro.uow.edu.au:creartspapers-1013
2013-05-13T22:33:06Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Oculog: Playing with Eye Movements
Kim, Juno
Schiemer, Greg
Narushima, Terumi
Conference Paper
2007-06-07T07:00:00Z
eye movement recording
video
MIDI
algorithmic composition
pure data
mocrotonal tuning
<p>This conference paper was originally published as Kim, J, Schiemer, G and Narushima, T, Oculog: Playing with Eye Movements, in Crawford, L (ed), Proceedings of the 2007 Conference on New Interfaces for Musical Expression NIME2007, 7-9 June 2007, New York, 50-55. Conference information available <a href="http://nime.org/2007">here</a>.</p>
<p>In this paper, we describe the musical development of a new system for performing electronic music where a video-based eye movement recording system, known as Oculog, is used to control sound. Its development is discussed against a background that includes a brief history of biologically based interfaces for performing music, together with a survey of various recording systems currently in use for monitoring eye movement in clinical applications. Oculog is discussed with specific reference to its implementation as a performance interface for electronic music. A new work features algorithms driven by eye movement response and allows the user to interact with audio synthesis and introduces new possibilities for microtonal performance. Discussion reflects an earlier technological paradigm and concludes by reviewing possibilities for future development.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/11
oai:ro.uow.edu.au:creartspapers-1016
2013-02-11T03:58:32Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Haptic carillon: sensing and control in musical instruments
Havryliv, Mark
Schiemer, Greg
Naghdy, Fazel
Conference Paper
2006-01-01T08:00:00Z
<p>This conference paper was originally published as Havryliv, M, Schiemer, G and Naghdy, F, Haptic carillon: sensing and control in musical instruments, in Proceedings of the Australasian Computer Music Conference: Medi(t)ations computers / music / multimedia, Australasian Computer Music Association, 2006, 70-76.</p>
<p>This paper discusses the proposed design of a hapticrendered practice carillon clavier. This instrument will produce a haptic feedback coupled with a responsive bell synthesis algorithm in order to replicate the authentic playing ‘feel’ and sound of a conventional mechanical carillon. An original classification scheme for haptic devices is presented with two principle goals: 1. to forge a conceptual understanding of the nature of a haptically-enabled version of a traditional instrument, and 2. to identify which existing haptic projects contribute towards a technical roadmap for the haptic carillon. Devices surveyed include both musical instruments and other applications that clarify the scope of haptic principles. A distinction is drawn between devices which utilise haptic force-feedback and devices which strongly engage a user’s tactile sense. It is argued that in the latter case, an opportunity for the composer/instrument builder is lost when the relationship between an instrument’s audio response is not linked to a complementary haptic response, as is the case in traditional instruments.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/14
oai:ro.uow.edu.au:creartspapers-1017
2013-02-11T03:57:25Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
The microtonal legacy of the Pocket Gamelan
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2006-01-01T08:00:00Z
<p>This conference paper was originally published as Schiemer, G and Havryliv, M, The microtonal legacy of the Pocket Gamelan, in Wilkie, S & Haines, C (eds), Proceedings of the Australasian Computer Music Conference: Medi(t)ations Computers/Music /Multimedia, Australasian Computer Music Association, 2006, 125-131.</p>
<p>This paper examines the origins and motivation for the Pocket Gamelan, a performance interface for mobile phones where musical interaction between players is facilitated via bluetooth. The performance scenario for mobile phones has its origins in two works composed more than 25 years earlier. Mandala 1, composed in 1980 and Mandala 2, in 1981, were the first in a series of works in which an ensemble of players swing mobile sound sources while Mandala 3 and Mandala 4 were composed to be performed using bluetooth-enabled mobile phones. The Mandala series all have a common feature related to microtonal tuning. While the later works Mandala 3 and Mandala 4 have specific just intonation tuning characteristics that represent a particular system, the earlier works Mandala 1 and Mandala 2 are based on two different arbitrary approaches to tuning. Mandala 1 is based on the interaction between pitches in found objects and microtonally tuned sound sources while Mandala 2 is based on just intervals selected gratuitously by each player. The original sound source consisted of a twin-T oscillator, battery-powered amplifier and loudspeaker. These were mounted in plastic kitchenware which is attached to a cord and physically swung to produce audio chorusing. Like the Pocket Gamelan, the original instruments were designed for performance by large ensembles of non-expert players. The paper summarises common features of works created for both Tupperware Gamelan and Pocket Gamelan through a window onto what is perhaps an unprecedented period of change that has taken place in musical instrument technology over a quarter f a century.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/15
oai:ro.uow.edu.au:creartspapers-1018
2008-02-29T00:27:15Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: an extensible set of microtonal instruments
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2005-01-01T08:00:00Z
This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket Gamelan: An Extensible set of microtonal instruments, in Opie, T & Brown, A (eds), ACMC05 Generate and Test : Proceedings of the Australasian Computer Music Conference, Australasian Computer Music Association, 12 - 14 July 2005, 128-131.
This paper describes the prototype for a set of mobile instruments
in which java phone technology has been adapted for
performing microtonal music. The prototype was developed
using widely available mobile phone handsets instead of
building new hardware. The paper discusses aspects of j2me
development together with limitations of the mobile platform
used for the project. Development issues such as real-time
audio, microtonal MIDI implementation and control using
Bluetooth communication are discussed. The paper also describes
tools developed so existing algorithmic composition
and tuning software can be used to compose music for mobile
devices. It concludes with discussion of various performance
scenarios for mobile electronic instruments to realise
music composed in tuning systems outside twelve-note divisions
of the octave.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/16
oai:ro.uow.edu.au:creartspapers-1019
2013-02-11T03:55:05Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Orbophone: a new interface for radiationg sound and image
Lock, D., dnl463@uow.edu.au
Schiemer, Greg
Ong, L.
Conference Paper
2006-01-01T08:00:00Z
<p>This conference paper was originally published as Lock, D, Schiemer, G and Ong, L, Orbophone: a new interface for radiating sound and image, in Proceedings of the 12th International Conference on Auditory Display (ICAD06), University of London, 2006, 1-4..</p>
<p>The Orbophone is a new interface that radiates rather than projects sound and image. It provides a cohesive platform for audio and visual presentation in situations where both media are transmitted from the same location and localization in both media is perceptually correlated. This paper discusses the advantages of radiation over conventional sound and image projection for certain kinds of interactive public multimedia exhibits and describes the artistic motivation for its development against a historical backdrop of sound systems used in public spaces. An account of an exhibit using the Orbophone is given together with description and critique of the prototype, discussing aspects of its design and construction. The paper concludes with an outline of the Orbophone version 2.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/17
oai:ro.uow.edu.au:creartspapers-1020
2013-02-12T00:48:13Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: a Pure Data interface for Mobile phones
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2005-01-01T08:00:00Z
<p>This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket Gamelan: a Pure Data interface for Mobile phones, in Proceedings of NIME 05 New Interfaces for Musical Expression, Media & Graphics Interdisciplinary Centre, Vancouver, 156-159.</p>
<p>This paper describes software tools used to create java applications for performing music using mobile phones. The tools provide a means for composers working in the Pure Data composition environment to design and audition performances using ensembles of mobile phones. These tools were developed as part of a larger project motivated by the desire to allow large groups of non-expert players to perform music based on just intonation using ubiquitous technology. The paper discusses the process that replicates a Pure Data patch so that it will operate within the hardware and software constraints of the Java 2 Micro Edition. It also describes development of objects that will enable mobile phone performances to be simulated accurately in PD and to audition microtonal tuning implemented using MIDI in the j2me environment. These tools eliminate the need for composers to compose for mobile phones by writing java code. In a single desktop application, they offer the composer the flexibility to write music for multiple phones.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/18
oai:ro.uow.edu.au:creartspapers-1021
2013-02-11T03:49:08Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2006-01-01T08:00:00Z
<p>This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket gamelan: tuneable trajectories for flying sources in Mandala 3 and Mandala 4, in Proceedings of the 6th International Conference on New Interfaces for Musical Expression (NIME06), IRCAM - Centre Pompidous in collaboration with MINT/OMF - Sorbonne University, Paris, France, 2006, 37-42.</p>
<p>This paper describes two new live performance scenarios for performing music using bluetooth-enabled mobile phones. Interaction between mobile phones via wireless link is a key feature of the performance interface for each scenario. Both scenarios are discussed in the context of two publicly performed works for an ensemble of players in which mobile phone handsets are used both as sound sources and as hand-held controllers. In both works mobile phones are mounted in a specially devised pouch attached to a cord and physically swung to produce audio chorusing. During performance some players swing phones while others operate phones as hand-held controllers. Wireless connectivity enables interaction between flying and hand-held phones. Each work features different bluetooth implementations. In one a dedicated mobile phone acts as a server that interconnects multiple clients, while in the other point to point communication takes place between clients on an ad hoc basis. The paper summarises bluetooth tools designed for live performance realisation and concludes with a comparative evaluation of both scenarios for future implementation of performance by large ensembles of nonexpert players performing microtonal music using ubiquitous technology.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/19
oai:ro.uow.edu.au:creartspapers-1022
2008-02-29T04:06:34Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: interactive mobile music performance
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2007-01-01T08:00:00Z
This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket Gamelan: interactive mobile music performance, in Cheok, AD, Chong, PH, Sheah, W & Ping, S (eds), Proceedings of Mobility Conference 2007: The 4th International Conference on Mobile Technology, Applications and Systems: IS-CHI 2007, Research Publishing, Singapore, 2007, 716-719.
In this paper, we discuss how mmobile phones have been used as devices for actively making music, how mobility can enhance the quality of sound, and how communication between moving sound sources can be integrated into the framework of a new genre of interactive performance involving groups of musicians. We identify some of the design limitations that stand in the way of developing new musical applications for mobile phones discussed against a background of performance works developed so far using this technology and point the way to future developments.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/20
oai:ro.uow.edu.au:creartspapers-1023
2008-02-29T04:34:49Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: playing Mandala 6: a demonstration
Schiemer, Greg
Conference Paper
2007-01-01T08:00:00Z
This conference paper was originally presented as Schiemer, G, Pocket Gamelan: playing Mandala 6: a demonstration, in Proceedings of the 9th International Conference on Human Computer Interaction with Mobile Devices and Services: MOBILEHCI 07, ACM, New York, 231-232.
In this demonstration, I will present the Pocket Gamelan, a new genre of interactive performance by groups of musicians playing microtonal music using mobile phones. The demonstration will show how phones are swung to create chorusing and how operations on handheld phones affect the tuning of flying phones.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/21
oai:ro.uow.edu.au:creartspapers-1025
2013-02-10T22:21:03Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Synthesising Touch: Haptic-rendered Practice Carillon
Havryliv, Mark
Naghdy, Fazel
Schiemer, Greg
Conference Paper
2007-01-01T08:00:00Z
<p>This conference paper was originally published as Havryliv, M, Naghdy, F and Schiemer, G, Synthesising touch: haptic-rendered practice carillon, in Riddell, A & Thorogood, A (eds), Proceedings of the Australasian Computer Music Conference 2007: TRANS Boundaries / Permeability / Reification, Australian National University, Canberra, 2007, 66-73.</p>
<p>This paper describes the design and construction of a prototype haptic carillon baton, and mathematical modelling of the carillon mechanism. Other research which haptically renders the grand piano mechanism inspires analysis of the kinematic constraints of the carillon mechanism. Analysis is used to construct a physical model using Simulink. This is then implemented numerically in a Java application. A microcontroller is programmed to interface the prototype’s motor and force sensor with a desktop Java application, allowing realtime simulation of the computational model in conjunction with the prototype. A strategy for containing all physical model computations on an AVR Microcontroller is outlined; this is designed to allow stand-alone operation of the carillon, removing the need for any other external computing hardware.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/23
oai:ro.uow.edu.au:creartspapers-1024
2013-02-10T22:22:13Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: tuning microtonal applications in Pd using Scala
Schiemer, Greg
de Coul, M. O.
Conference Paper
2007-01-01T08:00:00Z
<p>This conference paper was originally published as Schiemer, G and de Coul, MO, Pocket Gamelan: tuning mircrotonal pplications in Pd using Scala, in Riddell, A & Thorogood, A (eds), Proceedings of the Australasian Computer Music Conference 2007: TRANS Boundaries / Permeability / Reification, Australian National University, Canberra, 2007, 81-86.</p>
<p>Microtonal tuning has been a characteristic common to many musical traditions yet despite a growing awareness of these traditions among many musicians today, a single system of tuning based on the twelve-note equal division of the octave continues to dominate development of multimedia applications. This paper describes a new software tool developed to export and document microtonal scales for use in computer music and multimedia composition. The tool was developed as a command script written by the first author using an editor, librarian, and analysis tool for musical tunings known as Scala, written by the second author. The tool called scaleplayer. cmd allows tuning to be exported from Scala to Pure Data, an environment for algorithmic composition where novel purpose-built performance interfaces can be prototyped easily. The tool allows composers to interact with thousands of historical and novel scales and to develop a user interface based on a new understanding of the tuning characteristics being explored. Pure Data has already been used to create performance interfaces for the Pocket Gamelan, a project that has allowed new microtonal tunings to be implemented and performed using Blue-tooth enabled mobile phone technology.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/22
oai:ro.uow.edu.au:creartspapers-1026
2008-03-02T23:13:54Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Pocket Gamelan: swinging phones and ad hoc standards
Schiemer, Greg
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2007-05-06T07:00:00Z
This conference paper was originally published as Schiemer, G and Havryliv, M, Pocket Gamelan: swinging phones and ad hoc standards, Proccedings of the 4th International Mobile Music Workshop, Amsterdam, 6-8 May 2007. Proceedings available <a href="http://www.mobilemusicworkshop.org">here</a>.
In this paper, we discuss how mobile phones have been used as
devices for active music making, how mobility affects sound and
how communication between phones has been integrated into the
fabric of a new genre of interactive performance by groups of
musicians. We identify some of the issues that stood in the way of
developing two new musical applications for mobile phones,
discuss aspects of performance works developed so far using this
technology and point the way to future development.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/24
oai:ro.uow.edu.au:creartspapers-1027
2013-02-10T22:36:54Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
From Battle Metris to Symbiotic Symphony: A New Model For Musical Games
Havryliv, Mark
Vergara-Richards, E.
Conference Paper
2006-12-04T08:00:00Z
Music composition and games
games and audio
game controllers
audio control
graphical/musical interface
<p>This conference papaer was originally published as Havryliv, M and Vergara-Richards, E, From Battle Metris to Symbiotic Symphony: A New Model For Musical Games, in Proceedings of the 2006 international conference on Game research and development, ACM International Conference Proceeding Series, 223, 2006, 260 - 268.</p>
<p>Music and games have a rich history of interplay. Instrumental composers engage with the idea of game play as a way to serialise musical material, facilitate performer’s real-time decision making and organise a particular theatricality in performance. On the other hand, electronic game developers typically use music as a motivational device in a game, and in more sophisticated games conceive the creation of sound and music as an artefact of game play.</p>
<p>Whilst both these types of works can exhibit a tremendous degree of complexity in the relationship between game play and music, this paper argues that the question – what does it mean to play a game and music at the same time? – is rarely addressed. Using Salen and Zimmerman’s framework of game design theory, an analysis of instrumental works which are in some way based on game play is presented along with an analysis of electronic game environments designed to create music. This analysis reveals that these works are almost always based on a relationship of music and game play dependant on a superficial conception of either aspect: composers and game designers have not found a common language for navigating the simultaneous design of a game and its musical content.</p>
<p>We propose that a conflict between a player’s sense of musicality and the natural competitiveness engendered by game play is an effective common language. A composer can design games in which a player’s sense of musicality forms part of the game rules; games in which each game rule has an opposing musical rule, moderating a player’s competitive instinct with their sense of musicality. The author’s Battle Metris is discussed as a work in which a player’s sense of game play shapes a musical experience.</p>
<p>Inverting this sonification of game play, we present an audiocontrolled game under development in which a performer must moderate their sense of musicality in order to succeed in the game. Music performance is ‘gamefied’, that is, rather than turning game actions into musical events, musical performance is translated to game actions. Retaining the dichotomy between a player’s sense of musicality and their desire to do well in the game, a unique set of conflicts provide the basis for a novel type of music improvisation.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/25
oai:ro.uow.edu.au:creartspapers-1029
2013-02-10T22:51:51Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Minefields and Miniskirts: the perils and pleasures of adapting oral history for the stage
McHugh, S. A.
Journal Article
2006-07-01T07:00:00Z
Women and the Vietnam war
oral history
theatre verite
<p>This article was originally published as McHugh, SA, Minefields and Miniskirts: the perils and pleasures of adapting oral history for the stage, Oral History Association of Australia Journal, 28, 2006, 22-29.</p>
<p>A case study of the adaptation of the author's non-fiction book, Minefields and Miniskirts, for the stage. The book, about Australian women's role in the Vietnam war, is based on oral history interviews with over 30 women. Their actual words make up 90% of the script for the dramatised version, also called Minefields and Miniskirts, but their interviews have been blended to make 5 composite fictionalised characters. The show, created by director Terence O'Connell based on McHugh's book, toured Australia to acclaim in 2004/5, playing to over 50,000 people. The author attended the Sydney opening night with 8 of the 'real' women. This article analyses what was gained and lost in the process of dramatisation.</p>
Arts and Humanities
Asian History
Feminist, Gender, and Sexuality Studies
History of Gender
Military History
Social and Behavioral Sciences
Social History
Theatre and Performance Studies
Women's History
https://ro.uow.edu.au/creartspapers/26
oai:ro.uow.edu.au:creartspapers-1030
2013-02-07T02:26:03Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Marrying Out - Catholic-Protestant Unions in Australia, 1920s-70s
McHugh, S. A
Conference Paper
2008-08-15T07:00:00Z
religious bigotry
sectarianism
Catholic
Protestant
mixed marriage
family conflict
<p>This paper was originally delivered as McHugh, SA, Marrying Out - Catholic-Protestant Unions in Australia, 1920s-70s, Negotiating the Sacred V: Governing the Family, Arts Faculty, Monash University, Victoria, 14-15 August 2008.</p>
<p>For over 150 years, until post-war migration diluted the mix, Australia was polarised between the majority Anglo Protestant Establishment and a minority Irish Catholic underclass. Religious differences reflected social and political tensions derived from colonial days. Religious and family protocols strongly discouraged inter-faith marriages - yet until the late 1960s, a quarter of Australian Catholics continued to 'marry out'. ( Mol 1970). Such mixed marriages often caused deep family divisions, from social exclusion to disinheritance. Children brought up in such marriages often suffered a confused identity, not fully accepted by either 'side'. Such sectarian attitudes no longer apply to Catholics and protestants in Australia, but comparisons can be drawn with post 9/11 attitudes towards Muslims - the new 'other'. This paper contains excerpts from 42 oral histories of those with personal experience of 'mixed marriage', gathered for a doctoral thesis. It is presented here as a podcast - audio only.</p>
Arts and Humanities
History of Religion
Other Religion
Race, Ethnicity and Post-Colonial Studies
Social and Behavioral Sciences
Social History
https://ro.uow.edu.au/creartspapers/28
oai:ro.uow.edu.au:creartspapers-1031
2013-05-31T02:46:17Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
P[a]ra[pra]xis: Poetry in Motion
Dubrau, Josh
Havryliv, Mark, mh675@uow.edu.au
Conference Paper
2008-01-01T08:00:00Z
Poetry
language sonification
psychoanalysis
linguistics
Freud
realtime poetry.
<p>This conference paper was originally published as Dubrau, J and Havryliv, M, P[a]ra[pra]xis: Poetry in Motion, Proceedings of New Interfaces for Musical Expression (NIME) '08, Genova, Italy, 5-7 June 2008. Original conference information is available <a href="http://nime2008.casapaganini.org/index.html">here</a></p>
<p>P[a]ra[pra]xis is an open two-part software suite and Java library (JAR) that facilitates the realtime creation and simultaneous sonification of poetry/prose. It is particularly designed to implement word substitutions based on the psychoanalytical principles of free association and metonymic slippage. The first part, P[a]ra[pra]xis Collection Editor, allows a user to create and maintain a dictionary of words and their grammatical properties (i.e. verb, singular noun, pronoun etc.) and the corresponding properties of user-defined substitutions for those words. The second part, Realtime P[a]ra[pra]xis, executes these substitutions as the user/performer types, and broadcasts OSC messages containing the properties of the original and substituted words, along with discrete notifications of keyboard events. A case study (based on a live networked performance) is presented which highlights one particular usage of this program in the form of an Instant Messenger (IM) style chat with interpolated ‘Freudian slips’ to create a dialogue which changes between the point of transmission and the point of reception, and spontaneously generates music reflecting physical and emotional changes in the dialogue.</p>
Art Practice
Arts and Humanities
Composition
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/29
oai:ro.uow.edu.au:creartspapers-1032
2013-02-08T01:03:01Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Radio writes back: Challenging media stereotypes of race and identity
Angel, S. J.
Journal Article
2008-01-01T08:00:00Z
<p>This article was originally published as Angel, S, Radio writes back: Challenging media stereotypes of race and identity, Pacific Journalism Review, 14(2), 2008, 122-138.</p>
<p>Post-colonial theory has become an important but not uncontested lens through which a range of literary works have been analysed and the engine for the production of a range of creative works. This article looks at two concepts from post-colonial theory: ‘the colonisation of the mind’, and Salman Rushdie’s notion of ‘writing back to the centre’ and how they might be applied to an analysis of journalistic texts. The article explores the usefulness of post-colonial theory as both a heuristic device and a framework for the production of journalism in the context of the recent media coverage of the federal government’s intervention in the Northern Territory Aboriginal communities. Specifically it analyses a recent ABC radio documentary, Carmel Young and Tony Collins’ The Writers Train, as an example of an innovative journalistic ‘writing back’. This contemporary, oral history style documentary interweaves stories, spoken word performances and workshops from Indigenous poets, playwrights, musicians, recorded on the ‘writers train’, a trip on the Ghan through outback Australia from Darwin to Adelaide.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/30
oai:ro.uow.edu.au:creartspapers-1033
2018-01-04T00:54:58Z
publication:assh
publication:creartspapers
publication:reports
publication:document_types
Effects of ICTs on Media Transformation, Education and Training in Vietnam, Laos and Cambodia
Loo, Eric
Hang, D. T. T.
Report
2007-01-01T08:00:00Z
<p>This report was originally published as Loo, E & Hang, DTT, Effects of ICTs on Media Transformation, Education and Training in Vietnam, Laos and Cambodia, Asian Media Information & Communication Centre, Singapore, 2007.</p>
<p>Journalists in the affluent industrialised world have since the mid-80s adopted information and communication technology (hereafter referred to as the internet) as part of their daily work. The internet has also enabled geographically isolated journalists to build an extensive network of contacts and access diverse information sources. Journalists, and citizens alike, are increasingly publishing their work for access by a global audience. This has effectively forced a redefinition of what constitutes professional practice in journalism. We hear varied claims of how the internet have transformed mainstream journalism practices and empowered citizens to tell their own stories via alternative online news sites. However, the extent that the internet has or has not changed the way journalists in developing economies, for instance in the Indochina region, carry out their work is not as widely known. Instead, what we read is mainly news of political restrictions, nay repression, on journalists by authoritarian governments in the developing countries. Indeed, much research has been done on how journalists from the rich developed economies have adopted the internet in their work, and how the technology has transformed the way news is produced and disseminated to a global market at relatively low costs. Little, however, is known about how similar technologies have influenced or transformed media practices, media operations and media cultures in socialist bloc countries such as Vietnam, Cambodia and Laos. This project aims to bridge this knowledge. The three countries were selected for our study because they share similar political history and economic experience. Over the past decade, the governments of Vietnam, Laos and Cambodia have cautiously embraced the Internet. The potential strengths of the internet to foster sustainable economic and social development in the Indochina region via the media are apparent, but remain untested. The technology thus far is mainly used by the state to distribute public relations information to attract direct foreign investments and tourism. This has effectively reinforced the impression that the internet is mainly used in the Indochina region as a Party organ, just as the media are traditionally used as a state apparatus.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/31
oai:ro.uow.edu.au:creartspapers-1034
2012-10-23T22:49:03Z
publication:assh
publication:creartspapers
publication:book_chapters
publication:document_types
The Internet: Simulacrum of Democracy?
Loo, Eric
Book Chapter
2007-01-01T08:00:00Z
<p>This book chapter was originally published as Loo, E, The Internet: Simulacrum of Democracy?, in Banerjee, I (ed), The Internet and Governance in Asia: A Critical Reader, Asian Media Information and Communication Centre (AMIC), Singapore, 2007, pp.21-38.</p>
<p>This chapter argues that depending on what criteria is used to evaluate the Internet’s democratizing potential, one can easily arrive at disparate assessments of the medium’s impact on society. If the Internet is assumed to be a tool that inherently enhances freedom of communication and social mobilization, then the medium will likely be evaluated positively. Essentially, technology per se does not foster nor hamper participatory democratic culture. Instead, users of the technology determine if the civic and democratizing potential of interactive communication technology can be realized. Therefore, the Internet is only a tool that enables users to disseminate their ideas and opinions, ideally ‘without fear or favour’, and to freely seek and receive information from global sources. The ‘democratising’ influence of the Internet is only as effective as allowed for by the country’s communication, political, legal and institutional structures, the public discursive culture and the people’s readiness to actively engage in the political process by using the Internet as the medium for this engagement.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/32
oai:ro.uow.edu.au:ltc-1010
2009-03-20T00:39:35Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:bal
publication:ltc
publication:document_types
Iconistory
Bunt, B.
2008-01-01T08:00:00Z
Journal Article
Iconistory is software for representing complex historical events in highly
simplified terms. More specifically, it enables the user to represent
events as 32 x 32 pixel icons with short accompanying text descriptions.
At one level it is intended as a piece of deadpan parody, adopting the
guise of anonymous desktop software in order to push the current
state of media to an absurd extreme. But also, in a less ironic fashion,
it is concerned with discerning layers of hidden significance within
the obvious and schematic.
1
https://ro.uow.edu.au/ltc/vol12/iss1/11
oai:ro.uow.edu.au:creartspapers-1035
2013-08-27T01:40:37Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Oblique reflections: software art and the 3D game engine
Bunt, Brogan
Conference Paper
2006-01-01T08:00:00Z
<p>Bunt, B. S. (2006). Oblique reflections: software art and the 3D game engine. Proceedings CyberGames 2006: International Conference on Games Research and Development (Joint International Conference on CyberGames and Interactive Entertainment CGIE2006). Western Australia: Department of Industry and Resources of Western Australia.</p>
<p>------------------------------------------------------------------------------------------------</p>
<p><strong>RESEARCH IMPACT STATEMENT</strong></p>
<p><strong>Research Background</strong><br /> Current international developments in painting have identified the need to establish complex forms for representing identity in terms of facial expression. While this research recognises the significance of facial expression, it has overlooked the unstable nature of identity itself. <br /> <strong>Research Contribution</strong><br /> The paintings Multiple Perspectives by Y address the question of the unstable nature of identity as expressed in painterly terms through a study in unstable facial phenomenon using the philosophical concept of ‘becoming’. In doing so it arrives at a new benchmark for the discipline in understanding visual identity, namely that identity is not bound to stable facial phenomena but, like other forms of meaning, is constantly undergoing change. <br /> <strong>Research Significance</strong><br /> The significance of this research is that it overcomes barriers for visually understanding the complex nature of identity and its expressive painterly possibilities. Its value is attested to by the following indicators: selection of the painting for inclusion in the international exhibition Documenta, Kassel, Germany; its inclusion as a case study in the renowned Courtauld Institute, University of London, Issues in Contemporary Art graduate seminar series; its being the subject of a chapter in the book Identity Reframed published by Thames and Hudson and authored by the renowned art historian Z; its forming part of a competitively funded ARC project.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/33
oai:ro.uow.edu.au:creartspapers-1036
2013-02-07T02:19:43Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Haptic Carillon – Analysis & Design of the Carillon Mechanism
Havryliv, Mark
Naghdy, Fazel
Schiemer, Greg
Hurd, T.
Conference Paper
2009-01-01T08:00:00Z
<p>This conference paper was originally published as Havryliv, M, Naghdy, F, Schiemer, G and Hurd, T, Haptic Carillon – Analysis & Design of the Carillon Mechanism, in Proceedings of the 9th International New Interfaces for Music Conference NIME 2009, Pittsburgh, 4-6 June 2009.</p>
<p>The carillon is one of the few instruments that elicit sophisticated haptic interaction from amateur and professional players alike. Like the piano keyboard, the velocity of a player’s impact on each carillon key, or baton, affects the quality of the resultant tone; unlike the piano, each carillon baton returns a different forcefeedback. Force-feedback varies widely from one baton to the next across the entire range of the instrument and with further idiosyncratic variation from one instrument to another. This makes the carillon an ideal candidate for haptic simulation. The application of synthesized forcefeedback based on an analysis of forces operating in a typical carillon mechanism offers a blueprint for the design of an electronic practice clavier and with it the solution to a problem that has vexed carillonists for centuries, namely the inability to rehearse repertoire in private. This paper will focus on design and implementation of a haptic carillon clavier derived from an analysis of the Australian National Carillon in Canberra.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/34
oai:ro.uow.edu.au:creartspapers-1037
2013-02-07T02:13:43Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Spatial Grains: Imbuing Granular Particles With Spatial-Domain Information
Deleflie, E.
Schiemer, Greg
Conference Paper
2009-01-01T08:00:00Z
<p>This conference paper was originally published as Deleflie, E and Schiemer, G, Spatial Grains: Imbuing Granular Particles With Spatial-Domain Information, in Proceedings of ACMC09, Improvise, The Australasian Computer Music Conference, Queensland University of Technology, 2-4 July 2009. </p>
<p>Granular synthesis techniques have been appropriated for 3D sound spatialisation in a number of ways, such as the spatial encoding of individual grains. This paper proposes a new technique that aims to use the spatial information already encoded in ambisonic signals, the principle hypothesis being that this encoding is actually retained at the granular level. This opens up exciting new possibilities for spatial sound. The paper outlines some of these possibilities but focuses primarily on the synthesis of non-point sources of sound which forms the basis for a second hypothesis, involving functions that relocate spatially encoded grains in time.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/35
oai:ro.uow.edu.au:creartspapers-1038
2013-02-07T02:10:01Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Enabling Musical Applications On A Linux Phone
Schiemer, Greg
Chen, E.
Conference Paper
2009-01-01T08:00:00Z
<p>This conference paper was originally published as Schiemer, G and Chen, E, Enabling Musical Applications On A Linux Phone, in Proceedings of ACMC09, Improvise, The Australasian Computer Music Conference, Queensland University of Technology, 2-4 July 2009. </p>
<p>Over the past decade the mobile phone has evolved to become a hardware platform for musical interaction and is increasingly being taken seriously by composers and instrument designers alike. Its gradual evolution has seen improvements in hardware architecture that require al-ternative methods of programming. Dedicated I/O in-struction sets for dealing with the idiosyncracies of vari-ous embedded peripheral devices are gradually being overtaken by I/O control using generic software that behaves more like operating systems developed for mainframe computers over three decades ago. This paper looks at the Neo FreeRunner, an open source mobile phone programmed using Linux. Its attraction as a plat-form for musical instrument development is that many musical applications created using open source cross platform software that once ran only on desktop com-puters can be now run in an embedded environment. The paper documents procedures we used in order to run musical applications effectively in the Neo FreeRunner. Musical motivations for using this platform can also be found in musical instrument development with j2me phones that provided a foundation for the creative work of the first author over the past 4 years.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/36
oai:ro.uow.edu.au:creartspapers-1039
2014-04-10T04:50:59Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
"Ditto" - Images in Print
Adil, Mehmet
Bunt, Brogan
Cullen, Gregor
Golda, Agnieszka
Hook, Richard
Jones, Gary
Kreckler, Derek
Krishnabhakdi-Vasilakis, F.
Law, J.
Redgate, Jacky
Van Den Berg, Julius
Wood Conroy, Diana
Stirling, Joanna
Creative Work
2009-01-01T08:00:00Z
<p>This exhibition catalogue was originally published as "Ditto" - Images in Print, Faculty of Creative Arts, University of Wollongong, 2009, 32p. Exhibition held at the Long Gallery, University of Wollongong, 22 July - 14 August 2009. For further information see <a href="http://media.uow.edu.au/news/UOW062832.html">here</a>.</p>
<p>Link to "Ditto" image gallery - <a href="http://ro.uow.edu.au/ditto/">here</a></p>
<p>" Ditto " is an initiative of the School of Art and design's Centre for the Printed Image (CPI) which was formed to coordinate research activities in photographic, digital and autographic print processes. The exhibition exhibited demonstrated some of the relationships of printed image to individual research interests as well as the multiplicity of techniques and print media now available.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/37
oai:ro.uow.edu.au:creartspapers-1040
2013-02-07T01:58:21Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Horny Sticks and Whispering Lines - Ian Gentle's Sculptures
Fairley, G.
Journal Article
2009-01-01T08:00:00Z
<p>This article was originally published as Fairley, G, Horny Sticks and Whispering Lines [Ian Gentle's Sculptures], World Sculpture News, 15(2), Spring 2009, 32-35. Copyright World Sculpture News 2009.</p>
<p>Ian Gentle’s sculptures have been described as drawings “growing off the wall.” Constructed from sticks collected from the bush, Gentle’s ability to distil form into a potent balance of wit, poetry, and abstraction is one that flutters at the edges of Eastern calligraphy and Australian bush mythology.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/38
oai:ro.uow.edu.au:creartspapers-1041
2013-06-17T04:38:43Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Alan Peascod - influences and dialogue
Lawson, Amanda
Judd, C.
Creative Work
2008-01-01T08:00:00Z
<p>This exhibition catalogue was originally published as Lawson, A and Judd, C, Alan Peascod - influences and dialogue, Wollongong City Gallery, 2008, 8p. Catalogue of an exhibition held at Wollongong City Gallery 4 December 2008 - 22 March 2009 and the National Art School Gallery, National Art School, Darlinghurst, Sydney, 8 July - 15 August 2009.</p>
<p>Art Monthly review of exhibition <a href="http://www.exacteditions.com/exact/browse/543/738/4972/3/37/0/peascod">here</a>.</p>
<p>Alan Peascod was an influential teacher, mentor and friend to many in the ceramics community of Australia, especially in the places where he lived and worked, the Illawarra, Canberra and later Gulgong. Timed to coincide with the thirtieth anniversary of the Wollongong City Gallery - an apt moment for reflection on the culture of the region - this exhibition is an investigation of traditions and techniques, creative interaction and influence over three decades, centering on Peascod’s practice. Interestingly, the research we undertook for this exhibition revealed a wealth of ceramics held in private collections throughout the Illawarra and beyond - a source of cultural richness in the region that has been largely overlooked.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/39
oai:ro.uow.edu.au:creartspapers-1042
2013-02-07T01:19:59Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Not in front of the altar - Mixed marriages and sectarian tensions between Catholics and Protestants in pre-multicultural Australia
McHugh, S. A.
Journal Article
2009-01-01T08:00:00Z
<p>This article was originally published as McHugh, S, Not in front of the altar - Mixed marriages and sectarian tensions between Catholics and Protestants in pre-multicultural Australia, History Australia, 6(2), August 2009, 42.1-42.22. Original article <a href="http://journals.publishing.monash.edu/ojs/index.php/ha/article/view/142/158">here</a>.</p>
<p>Birth, death and marriage traditionally evoke our most powerful expressions of intimacy and sentiment. Yet for numerous Australian families up to the 1970s, those occasions triggered the opposite sentiments: estrangement, conflict and hostility, which sometimes endured beyond the grave. The cause: ‘mixed marriage’ between Catholics and Protestants in a pre-multicultural Australia, where religion was still code for a social and political identity that reflected English–Irish tensions derived from colonial days. This article is based on 48 oral histories recorded by Siobhan McHugh for a forthcoming doctoral thesis at the University of Wollongong. The marriages, which range from 1924 to 1983, are recalled by spouses, children and clergy.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/40
oai:ro.uow.edu.au:creartspapers-1043
2014-04-09T05:52:41Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
The carillon and its haptic signature : modeling the changing force-feedback constraints of a musical instrument for haptic display
Havryliv, Mark
Geiger, F.
Gurtler, M.
Naghdy, Fazel
Schiemer, Greg
Conference Paper
10.1007/978-3-642-04076-4_10
2009-09-01T07:00:00Z
Haptics
musical instrument
physical modeling
national carillon
<p>This conference paper was originally published as Havryliv, M, Geiger, F, Gurtler, M, Naghdy, F and Schiemer, G, The carillon and its haptic signature : modeling the changing force-feedback constraints of a musical instrument for haptic display, Proceedings of 4th International Conference, Haptic and Audio Interaction Design 2009, Dresden, Germany, September 2009. M. Ercan Altinsoy, Ute Jekosch and Stephen Brewster (Eds.). Springer-Verlag Lecture Notes in Computer Science, 5763, pp. 91-99.</p>
<p>The carillon is one of the few instruments that elicits sophisticated haptic interaction from amateur and professional players alike. Like the piano keyboard, the velocity of a player’s impact on each carillon key, or baton, affects the quality of the resultant tone; unlike the piano, each carillon baton returns a different force-feedback. Force-feedback varies widely from one baton to the next across the entire range of the instrument and with further idiosyncratic variation from one instrument to another. This makes the carillon an ideal candidate for haptic simulation. The application of synthesized forcefeedback based on an analysis of forces operating in a typical carillon mechanism offers a blueprint for the design of an electronic practice clavier and with it the solution to a problem that has vexed carillonneurs for centuries, namely the inability to rehearse repertoire in private. This paper will focus on design and implementation of a haptic carillon clavier derived from an analysis of the Australian National Carillon in Canberra.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/41
oai:ro.uow.edu.au:creartspapers-1044
2011-06-17T03:40:52Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
Best Practices of Journalism in Asia
Loo, Eric
Book
2009-01-01T08:00:00Z
<p>This book was originally published as Loo, E, Best Practices of Journalism in Asia, Konrad Adenauer Stiftung, 2009, 177p. + Revisiting Development Journalism dvd</p>
<p><strong>Refer streaming video link here: <a href="http://edustreamwgong.uow.edu.au/ilectures/BPJA-101/1006150930BPJA-10106200036012138.mp4">BPJA-101</a> (Quicktime video)</strong></p>
<p>While journalism adheres to an assumed universal ethical code and methodology, its goals and functions are essentially framed by local factors, and to an extent, existential imperatives. Discussions on what constitutes ‘best practices’ of journalism in the Asian context are ideologically polarized. For instance, governments in newly industrialized countries, such as Malaysia, and socialist bloc such as in Indochina and Myanmar, see the media more as a state apparatus and a prime mover of national development. Which conflicts with civil societies’ conception of professional journalism as a public trust, a representative of the ‘fourth estate’ – the common people – that keeps a close check on those in power. ‘Best practices’ is thus perceived and understood according to divergent expectations of what functions the media ought to serve in different societies.</p>
<p>This book eschews direct references to the Pulitzer-type criteria as the exclusive benchmarks of journalistic excellence. Instead it canvasses the scattered literature on best media practices for a cultural context and gathers the opinions of working journalists in Asia to grasp at these elusive benchmarks. The eclectic achievements of Asian journalists interviewed in this book show the varied – and at times notional forms of 'best practices' in the region. Dialogue and interviews with award-winning journalists are compiled to paint a clearer picture of what best practices mean from within Asian media realities. Structured conversations conducted through emails and on-camera at the respective journalists' workplace – in Manila, Mumbai, New Delhi, Jakarta -- delved into their personal, cultural and professional attributes. The conversations focused on the journalists' personal and professional values and purpose of what they do. Award-winning journalists were selected from countries known for their commitment to the tenets of press freedom such as India, the Philippines and Indonesia. Journalists from the three countries are known for their investigative journalism – often practised and executed at great risks to their personal safety.</p>
<p>A mix of methodologies was used to gather the empirical materials for this book:<br /><br /> a) A self-administered online questionnaire survey of newspaper journalists in Asia was sited at: www.journalismsurvey.com from April to September 2006. The survey was announced on the mailing list of the International Journalism Network, Asian Media Forum, and Inter Press Service. The survey gathered a set of qualitative data, which I hope would paint a broader picture of how journalists from developing Asian countries perceive the concept of best practices. <br /><br /> b) On-camera interviews with award-winning journalists in India, Philippines and Indonesia. The interviews focused on the journalists' capacity for directing their daily work towards serving their community, despite the unrelenting forces of rampant media corporatisation. [Appended below is the 40-minute video recording of the conversations with newspaper editors from the Philippines, India, Nepal, Malaysia and Indonesia, many of who have won regional and international awards for their work].<br /><br /> c) Commentaries by veteran journalists and educators on their perception of best practices of journalism in their respective country and how this notion can be taught to students across different political and cultural environments.</p>
<p>This book concludes that best practices in journalism are essentially culturally defined and best understood from within the realities that influence the socially transformative work by the Asian journalists who have built their professional career and won awards for their enterprising coverage of human development issues.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/42
oai:ro.uow.edu.au:creartspapers-1045
2013-02-06T01:49:51Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Pretty Fly for a White Guy: Audio Repatriation to Arnhem Land
Angel, S. J.
Journal Article
2009-12-01T08:00:00Z
<p>This article was originally published as Angel, S, Pretty Fly for a White Guy: Audio Repatriation to Arnhem Land, Scan: Journal of Media Arts Culture, 6(3), December 2009. </p>
<p>Return to Arnhem Land broadcast on ABC Radio National's Radio Eye in 2007 is a significant and culturally important radio documentary. It charts the return of ancient song cycles, recorded in 1948 by ABC broadcaster and sound recordist Colin Simpson and technician Ray Giles, to the Oenpelli community in West Arnhem Land in 2006. It tells, through the eyes and voice of historian, broadcaster and narrator Martin Thomas, how these recordings came to be as he returns them to the community; and what the community makes of them as cultural records: artefacts of cultural heritage. The documentary is stirring and evocative, a hybrid of historical account and personal narrative with shifts in time and place effectively woven together to create a seamless non-linear radio feature. No heavy handed historicism in sight, nor is there any modernist simplification of "truth" or "fidelity"( Sterne 2003). As audience we become witness to an audio event where the past and present seem to collide: ancient songs recorded on wire tape in 1948 are played back to the original descendants and we're privy to this mediated exchange. The return of the sacred/secret songs is declared an act of "cultural repatriation" and is described by the narrator/author as a step towards the Australian "post colonial project" (Thomas 2006).</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/43
oai:ro.uow.edu.au:creartspapers-1046
2013-02-06T02:49:06Z
publication:assh
publication:creartspapers
publication:audiovisual_items
publication:document_types
Power for the People
McHugh, S. A.
Audiovisual
2009-08-16T07:00:00Z
<p>Siobahn McHugh, 'Power to the People' [lecture], National Archives of Australia, Canberra, 16 August 2009. Audio file (mp3) of lecture available below; transcript available on download at top right.</p>
<p>As part of the Speakers Corner lecture series, award-winning author Siobhan McHugh spoke at the National Archives on 16 August 2009 about her research into the Snowy Mountains Hydro-Electric Scheme. Through the personal stories of the workers and their families, and drawing on her book, The Snowy: The People Behind the Power, Siobhan shared her insights into the lives of the multinational workforce that built the ‘Snowy’ in post-war Australia.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/44
oai:ro.uow.edu.au:creartspapers-1051
2013-02-10T22:06:54Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
La Musica: Sixteenth and Seventeenth Music and a Surprise [CD review]
Suiter, Wendy
Creative Work
2007-01-01T08:00:00Z
surprise
seventeenth
sixteenth
musica
la
music
<p>Suiter, W. (2007). La Musica: Sixteenth and Seventeenth Music and a Surprise [CD review]. IAWM Journal, 13 (2), 50-51.</p>
<p>La Musica, a compilation of early Baroque Italian songs, is especially significant for its inclusion of music by women: Barbara Strozzi, Francesca Caccini, Settimia Caccini, and Francasca Campana. Together with the "Surprise" (six works by contemporary composer Julie Kabat), more than sixty percent of the music on this Cd was composed by women.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/49
oai:ro.uow.edu.au:creartspapers-1049
2013-02-07T01:08:02Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Burning Desires
Jones, Garry C
Creative Work
2009-01-01T08:00:00Z
desires
burning
<p>Jones, G. C., Burning Desires. Wollongong City Gallery, 2009, Pallingjang Saltwater 2009. Wollongong. [Artwork]</p>
<p>Garry’s work in Pallingjang Saltwater 2009 is a playful exploration of notions of (dis)connections to place - physically and culturally, in both time and space. Referencing the work of the late 19th Century South Coast Aboriginal artist Mickey of Ulladulla, the question is posed: in the face of historic and ongoing social and cultural dispossession and displacement, how do we legitimately forge new and authentic forms of cultural connectedness in Country we know not to be ours by rite?*</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/47
oai:ro.uow.edu.au:creartspapers-1050
2013-02-07T00:53:38Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Urban Dreams
Jones, Garry C
Creative Work
2009-01-01T08:00:00Z
urban
dreams
<p>G. C. Jones (2009). Urban dreams. Pallingjang: Saltwater 2009, December 2009 - March 2010. [Artwork]</p>
<p>Garry’s work in Pallingjang Saltwater 2009 is a playful exploration of notions of (dis)connections to place - physically and culturally, in both time and space. Referencing the work of the late 19th Century South Coast Aboriginal artist Mickey of Ulladulla, the question is posed: in the face of historic and ongoing social and cultural dispossession and displacement, how do we legitimately forge new and authentic forms of cultural connectedness in Country we know not to be ours by rite?*</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/48
oai:ro.uow.edu.au:creartspapers-1048
2013-02-07T01:11:52Z
publication:assh
publication:creartspapers
publication:book_chapters
publication:document_types
Time without end: exploring the temporal experience of wong kar-wai's 2046 through Walter Benjamin
Law, Jo C.
Book Chapter
2009-01-01T08:00:00Z
wai
end
exploring
experience
kar
2046
benjamin
time
without
temporal
wong
walter
<p>Law, J. C. (2009). Time without end: exploring the temporal experience of wong kar-wai's 2046 through Walter Benjamin. In A. Benjamin & C. Rice (Eds.), Walter Benjamin and the architecture of modernity (pp. 159-173). Melbourne: re.press.</p>
<p>Beyond their beautifully crafted and mesmerising images revered by international audience and critics, the works of Hong Kong filmmaker, Wong Kar-wai, present melancholic tales of missed opportunities, repetition, regrets, lamentations, and mis-recognition. Time plays a central role in these works. At their hearts, Wong's films mourn for the loss of a potential humanity in a hyper-capitalist city - super-modernity that produces a disconnected space governed by a timeless time. In this paper, I present an analysis of Wong's films focusing on his 2005 work, 2046, through the prism of Walter Benjamin's philosophical writings. In particular, Benjamin's works on the Trauerspeils (or German mourning plays) and the German Romantics are used to formulate three main points: 1. Trauerspiel is a product of capitalism where the Messianic end is forever postponed and time is incomplete; this is fundamental for an interpretation of Wong Kar-wai's works; 2. Benjamin's speculative or immanent critique (developed from his in-depth engagement with the works of the German Romantics) allows an effective analysis of Wong's films that exposes their latent content (or Wahrheitsgehalt); 3. accessing the truth content of Wong's films presents a key to the practice of making perceptible elusive experiences - which Ackabar Abbas describes as these experiences that, 'the more you try to make [them] hold still in a reflective gaze, the more it moves under you'. Through this analysis, I identify strategies that form part of the practice of making the hidden perceptible as means to pursue and reveal truths: a task that is very pertinent to our present cultural politics.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/46
oai:ro.uow.edu.au:creartspapers-1052
2014-04-10T04:51:42Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Common Ground - Exploring the Royal National Park - the dramatic common ground shared by southern Sydney and the Illawarra
Barkley, Glenn P
Sear, Tom
van den Berg, Jelle
Blanchfield, Susan
Gentle, Ian
Hockey, Gardon
Jeneid, Liz
Murphy, Idris
Redgate, Jacky
Wolseley, John
Wood Conroy, Diana
Creative Work
2002-01-01T08:00:00Z
<p>This exhibition catalogue was originally published as Barkley, Glen (curator) et al., Common Ground - Exploring the Royal National Park - the dramatic common ground shared by southern Sydney and the Illawarra [exhibition], Hazelhurst Regional Gallery and Arts Centre, 8 June - 4 August 2002, University of Wollongong, 2002, 20p.</p>
<p>The University of Wollongong is renowned as a centre of excellence in research and education. It also has an important public role in developing strategic partnerships within the cultural sphere and this exhibition at Hazelhurst Regional Gallery and Arts centre is an example of the type of initiative that reflects the diverse roles of a contemporary University. The agenda of 'Common Ground' is to explore the physical place that unites the communities of southern Sydney and Illawarra, the Royal Nalional Park. The University of Woliongong has for many years undertaken projects in the scientific realms that seek to bring a grealer knowledge and understanding of lhe Royal National Park to its users, but 'Common Ground' gives a broader view of the Royal National Park, embracing both the visual arts and science, which will inform a contemporary cultural understanding of this rich heritage which we all share. It is a continuing part of a long term liaison over many years with the National Parks and Wildlife Service and will, like the scientific work that has preceded it, increase the community understanding of this unique, spectacular and inspiring region. The University of Wollongong is pleased to present this exhibition to the people of Sutherland. May it reinforce the important cultural, social and economic role the University can play in the development of the area.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/50
oai:ro.uow.edu.au:creartspapers-1053
2012-12-03T04:16:14Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
The Art Collection Ecosystem: Discovering Art using Formal Concept Analysis
Wray, Tim
Eklund, Peter
Lawson, Amanda
Conference Paper
2010-01-01T08:00:00Z
<p>Wray, T., Eklund, E. and Lawson, A. 2010, The Art Collection Ecosystem: Discovering Art using Formal Concept Analysis, Proceedings of the ICCS 2010: "Celebrating 10 years of Advancing Computational Thinking" Computational Science University of Amsterdam, The Netherlands, May 31 - June 2, 2010. Available here: <a href="http://uow.academia.edu/PeterEklund">uow.academia.edu/PeterEklund</a>.</p>
<p>We describe an application and case study in the design and evaluation of the Art Collection Ecosystem (ACE) | a Rich Internet Application that supports the ability of users to browse and explore art collections using Formal Concept Analysis. With a view of a system that allows browsing of tagged content, 25 participants conducted a usability study within the context of a popular social media website - Flickr. We describe key design elements within its user interface and incorporate re- visions of its design based on user feedback. We incorporate these results into a framework called CollectionWeb - a set of software, services and processes that allows associative and explorative browsing of any kind of collection content over the Web.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/51
oai:ro.uow.edu.au:creartspapers-1055
2014-09-04T03:55:16Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:grants
publication:document_types
Designing the Digital Ecosystem of the Virtual Museum of the Pacific
Eklund, Peter
Goodall, Peter
Wray, Tim
Bunt, Brogan
Lawson, Amanda
Christidis, L.
Daniel, V.
Van Olffen, M.
Conference Paper
10.1109/DEST.2009.5276744
2009-01-01T08:00:00Z
<p>Eklund, P., Goodall, P., Wray, T., Bunt, B., Lawson, A., Christidis, L., Daniel, V., Van Olffen, M., Designing the Digital Ecosystem of the Virtual Museum of the Pacific, in Proceedings of Digital Ecosystems and Technologies, 2009. DEST '09. 3rd IEEE International Conference, 1-3 June 2009, Istanbul. Copyright IEEE.</p>
<p>The Virtual Museum of the Pacific is a digital ecosystem implemented as Web 2.0 application that experiments with information and knowledge acquisition for a digital collection of museum artifacts from the Australian Museum. The Virtual Museum of the Pacific allows several search methods: attribute search based on a control vocabulary, query refinement and query-by-example but importantly it facilitates a number of social media interfaces that enable content to be added and tagged, the control vocabulary to be extended, user perspectives to be defined and narratives added via wiki. We characterize the design of the Virtual Museum of the Pacific as: a semantic Web application with a Web services back-end, and as a digital ecosystem by identifying its purpose, function and stakeholders. In doing so, the paper illustrates the issues encountered in its design and deployment, the technical platform, the historical context of the growth of the collection and the challenges to the organization and management of a digital ecosystem metadata model.</p>
ARC/LP0884075
<p><a href="http://purl.org/au-research/grants/ARC/LP0884075">http://purl.org/au-research/grants/ARC/LP0884075</a></p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/53
oai:ro.uow.edu.au:creartspapers-1054
2015-03-01T23:50:11Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:grants
publication:document_types
CollectionWeb Digital Ecosystems: A Semantic Web and Web 2.0 Framework for generating Museum Web sites
Eklund, Peter
Goodall, Peter
Lawson, Amanda
Wray, Tim
Conference Paper
2010-01-01T08:00:00Z
era2015
<p>Peter Eklund, Peter Goodall, Amanda Lawson, Tim Wray, CollectionWeb Digital Ecosystems: A Semantic Web and Web 2.0 Framework for generating Museum Web sites, Proceeding of Museums and the Web 2010 - the international conference for culture and heritage on-line, 13-17 April, Denver, Colorado.</p>
<p>CollectionWeb is a development platform for Web-based social media sites that distribute, display, annotate and management digital collection content. CollectionWeb is based on an approach that generates semantic navigation interfaces that induces pages from collection metadata using Formal Concept Analysis.</p>
ARC/LP0884075
<p><a href="http://purl.org/au-research/grants/ARC/LP0884075">http://purl.org/au-research/grants/ARC/LP0884075</a></p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/52
oai:ro.uow.edu.au:creartspapers-1056
2014-09-04T03:55:56Z
publication:assh
publication:creartspapers
publication:grants
publication:creative_works
publication:document_types
Virtual Museum of the Pacific
Bunt, Brogan S.
Eklund, Peter
Lawson, Amanda
Creative Work
2009-01-01T08:00:00Z
<p>B. S. Bunt, P. W. Eklund, J. A. Lawson & the Australian Museum (2009). The Virtual Museum of the Pacific. Australian Council of University Art & Design Schools, Brisbane, 2 October, 2009.</p>
<p>The Virtual Museum of the Pacific is a collaborative project between the University of Wollongong and the Australian Museum that intends to leverage the meta-data of 400 objects into a rich application. It features the ability for users to browse objects based on their attributes and semantic meaning, and group like or similar objects together that are of interest.</p>
ARC/LP0884075
<p><a href="http://purl.org/au-research/grants/ARC/LP0884075">http://purl.org/au-research/grants/ARC/LP0884075</a></p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/54
oai:ro.uow.edu.au:creartspapers-1057
2014-09-04T03:56:50Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:grants
publication:document_types
The Virtual Museum of the Pacific
Daniel, Vinod
Van Olffen, Melanie
Peita, Dion
Eklund, Peter
Goodall, Peter
Lawson, Amanda
Conference Paper
2009-01-01T08:00:00Z
<p>V. Daniel, M. Van Olffen, D. Peita, P. W. Eklund, P. Goodall & J. A. Lawson (2009). The Virtual Museum of the Pacific. 2nd International Conference on the Inclusive Museum, 8-11 July.</p>
<p>The Australian Museum’s ethnographic collection consists of 110,000 objects from Indigenous Australia (33%); Pacific (50%) and Asia, Africa and the Americas (17%). The Pacific islands collection comprises approximately 60,000 objects and is the largest collection in an Australian public museum. This Collection is of international importance to several communities with complementary interests:•Indigenous communities have a specific interest in preserving and strengthening their cultural heritage both in the host countries and wherever the communities have migrated to. •For anthropologists access to collections, regardless of location, is key to the understanding and preservation of artefacts of many geographically dispersed collections. •The general public can learn from and contribute to the body of knowledge which will develop from having an active online community</p>
ARC/LP0884075
<p><a href="http://purl.org/au-research/grants/ARC/LP0884075">http://purl.org/au-research/grants/ARC/LP0884075</a></p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/55
oai:ro.uow.edu.au:creartspapers-1058
2011-01-16T22:23:46Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Clarinet Calling [Musical score]
Suiter, Wendy
Creative Work
2008-01-01T08:00:00Z
Suiter, W. (2008). Clarinet Calling. [Printed score], Publications by Wirripang, Wollongong, 2008.
[First page of the published musical score is included here]
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/56
oai:ro.uow.edu.au:creartspapers-1060
2011-01-16T22:53:01Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Sunflowers [Musical score]
Suiter, Wendy
Creative Work
2005-01-01T08:00:00Z
Suiter, W. (2005). Sunflowers. [Printed score], Publications by Wirripang, Wollongong. Lyrics by Lauris Suiter 1998.
[Cover page of score available here]
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/57
oai:ro.uow.edu.au:creartspapers-1059
2011-01-16T22:31:53Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Moirai (string orchestra) [Musical score]
Suiter, Wendy
Creative Work
2007-01-01T08:00:00Z
Suiter, W. (2007). Moirai (string orchestra). [Musical score], Publications by Wirripang, Wollongong. Revision of original 2002 work.
[First page of published score available here.]
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/58
oai:ro.uow.edu.au:creartspapers-1061
2013-02-06T01:35:17Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Toward algorithmic composition of expression in music using fuzzy logic
Suiter, Wendy
Conference Paper
2010-01-01T08:00:00Z
<p>Suiter, W., Toward algorithmic composition of expression in music using fuzzy logic, Proceedings of the 2010 Conference on New Interfaces for Musical Expression (NIME 2010), Sydney, Australia, 319-322.</p>
<p>This paper introduces the concept of composing expressive music using the principles of Fuzzy Logic. The paper provides a conceptual model of a musical work which follows compositional decision making processes. Significant features of this Fuzzy Logic framework are its inclusiveness through the consideration of all the many and varied musical details, while also incorporating the imprecision that characterises musical terminology and discourse. A significant attribute of my Fuzzy Logic method is that it traces the trajectory of all musical details, since it is both the individual elements and their combination over time which is significant to the effectiveness of a musical work in achieving its goals. The goal of this work is to find a set of elements and rules, which will ultimately enable the construction of a genralised algorithmic compositional system which can produce expressive music if so desired.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/59
oai:ro.uow.edu.au:creartspapers-1062
2013-02-07T00:35:37Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Learning to Write
Cole, Catherine
Journal Article
2009-01-01T08:00:00Z
write
learning
<p>Cole, C. Learning to Write. Griffith Review, No.26, Summer, 2009.</p>
<p>A few months ago an article by the distinguished American author and academic Louis Menand appeared in the New Yorker, asking whether creativewriting can or should be taught. Now I've nothing against the substance of Menand's question - about the methods and value of teaching - but I'm weary of it almost always being asked only of writing programs. Can music, for example, be taught? Should painting or literature or history be taught?</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/60
oai:ro.uow.edu.au:creartspapers-1063
2011-04-29T00:03:46Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Opening speech – Pontoon : Stephanie Monteith
Cockburn, Jon
Creative Work
2005-06-24T07:00:00Z
Stephanie Monteith
Pontoon
Opening Address
Wollongong City Art Gallery
<p>Cockburn, J, Opening speech - Pontoon : Stephanie Monteith, Opening Address on behalf of Stephanie Monteith: 2004 Resident Artist, Wollongong City Art Gallery, 24 June 2005.</p>
<p>Pontoon Exhibition Opening Address on behalf of Stephanie Monteith: 2004 <br />Resident Artist. Wollongong City Art Gallery, Friday 24 June 2005, 7pm.</p>
190104 Visual Cultures
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/61
oai:ro.uow.edu.au:creartspapers-1065
2011-05-03T05:24:15Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Frenzy Episode
Golda, Agnieszka
Johnson, Martin V
Creative Work
2010-01-01T08:00:00Z
frenzy
episode
<p>Golda, A. & Johnson, M. V. (2010). Frenzy Episode. Project Contemporary Artspace Wollongong, 5-16 May 2010,</p>
<p>FRENZY EPISODE Agnieszka Golda and Martin Johnson I've lived too long. Can you see it? Isn't it beautiful? - Oh. Yes. I told you. How could I know? How could I ever imagine? Horrible. – Listen. I have to talk to you. No. There's no time. - I want to live with you. Just live. You don't listen too good. You gotta tell them they're right. But let's take care of you first. - You don't understand. It's people. (text from the science fiction film Soylent Green, 1973). Frenzy Episode is an installation based work developed collaboratively by Agnieszka Golda and Martin Johnson. In this exhibition the artists explore productions of affect, emotion and futurity in intercultural socio-spatial contexts through painting, sculpture and textiles.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/63
oai:ro.uow.edu.au:creartspapers-1070
2011-06-24T03:42:03Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
The promise of fuzzy logic in generalised music composition
Suiter, Wendy
Conference Paper
2010-01-01T08:00:00Z
fuzzy
music
composition
logic
promise
generalised
Suiter, W. "The promise of fuzzy logic in generalised music composition." Cultural Computing: Proceedings of the Second IFIP TC 14; Entertainment Computing Symposium, ECS 2010; Held as Part of WCC 2010, Brisbane, Australia. Ed. R. Nakatsu, N. Tosa, F. Naghdy, K. Wong & P. Codognet. Germany: Springer, 2010. 118-128.
Abstract. The paper outlines the rationale for using Fuzzy Logic, and Granular Computing, to emulate compositional decision making processes. Significant features of this Fuzzy Logic framework are that ambiguity in the music is maintained, while allowing the evolution of unfolding processes which reflects the temporal nature of music as performed. Granular Computing and Fuzzy Logic have been designed for physical and IT engineering applications to automate complex tasks. Fuzzy Logic is not only useful as an analytical concept, but also, can be generally applied to the production of music itself through a Fuzzy Logic control system. As artificial intelligence design and computing power both improve, it may well become possible to perform this work by digital means. My present research will contribute to this development through the identification of the significant compositional elements and their connective grammar. Once, these have been determined, then automated ways to compose music can be developed.
Keywords: Fuzzy Logic, Granular Computing, Music Composition, Algorithmic Music.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/67
oai:ro.uow.edu.au:creartspapers-1075
2011-06-24T03:42:03Z
publication:assh
publication:creartspapers
publication:book_chapters
publication:document_types
Ludwig van Beethoven: String Quartet F-Major: Introduction
Suiter, Wendy
Book Chapter
2010-01-01T08:00:00Z
van
beethoven
ludwig
string
major
quartet
f
introduction
Suiter, W. "Ludwig van Beethoven: String Quartet F-Major: Introduction." Repertoire Explorer Study Score 997: Ludwig van Beethoven: Streichquartett F-Dur Erste Fassung des Streichquartetts Opus 18 Nr 1.. Ed.P. Dietz. Munich: mph: Musikproduktion Hoeflich, 2010, 1-6.
On 25 June 1799 “Carl Amenda gewidmet” was written on the first version of Beethoven’s String Quartet in F Major. Yet when the revised version was finally published in June 1801 it was dedicated to Prince Josef von Lobkowitz. What clues does this thought provoking change provide about Beethoven and his music? Indeed it points to significant aspects of Beethoven's professional career, his personal life, and his music, which were already taking shape at the age of 29 years.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/72
oai:ro.uow.edu.au:creartspapers-1074
2011-06-24T03:42:03Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Expression in process music: possibility or paradox?
Suiter, Wendy
Conference Paper
2010-01-01T08:00:00Z
music
possibility
expression
paradox
process
Suiter, W.. Expression in process music: possibility or paradox?. Wollongong University. 2 September 2010. 2010.
Algorithmic composition progressed throughout the 20th century, as modernism became the dominant aesthetic, until finally ‘process music’ arrived, where the single remaining compositional decision related to what sonic resources to use.
Composition pedagogy in the late 20th century did not explicitly include ‘expression’. This raises a second question, as repeatedly, musical discourse refers to ‘expression’, which seems to be something that audiences desire and to which they respond.
Addressing these questions has lead me to reconsider the way music itself, and compositional processes, are characterised in music analysis. The outcome of my research is a new theory of music, using Fuzzy Logic principles. I am using this theory to build an algorithmic compositional decision-making system which can create specific aesthetic experiences.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/71
oai:ro.uow.edu.au:creartspapers-1077
2013-02-06T01:19:57Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Using open-source platforms for digital media production
Bunt, Brogan
Conference Paper
2010-01-01T08:00:00Z
media
source
digital
open
platforms
production
<p>Bunt, B. "Using open-source platforms for digital media production." Mobilizethis 2010. Charles Darwin University: Mobilizethis, 2010.</p>
<p>Media art, like contemporary art generally, has a strong critical aspect. Media art practice involves a crucial dimension of interrogating the cultural, social-political and material-aesthetic conditions of media. From Dada photographic collage through to contemporary hardware hacking there is a clearly evident concern to unsettle the representational transparency and taken-for-granted character of media. How does this inform the teaching of media art? It has obvious thematic importance, indicating paths of conceptual access and orientation, but what of the dimension of practice? What of the technical frameworks that we employ and the skills that we teach? How do they obtain a critical inflexion? This paper focuses on an attempt to foster critically informed digital media practice within a first year undergraduate media art subject.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/74
oai:ro.uow.edu.au:creartspapers-1069
2013-02-06T01:29:41Z
publication:assh
publication:creartspapers
publication:audiovisual_items
publication:document_types
Talking Heads
Peter, Thompson
Woolfe, Sue
Graham, Gordon
Suiter, Wendy
Audiovisual
2010-01-01T08:00:00Z
heads
talking
<p>Peter, T., Woolfe, S., Graham, G. & Suiter, W.. Talking Heads. Audio-visual recordingWeb. ABC1: Australian Broadcasting Corporation, 2010.</p>
<p>This transcript of the broadcast program includes interview with Wendy Suiter, discussing the collaborative project- an opera based on one of Sue Woolfe's books, for which I am writing the music which will use virtual instruments created digitally from sampled found sounds.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/66
oai:ro.uow.edu.au:creartspapers-1081
2011-06-26T22:32:05Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting
Latukefu, Lotte
Journal Article
10.1177/0255761409102320
2009-01-01T08:00:00Z
<p>Latukefu, L. (2009). Peer learning and reflection: strategies developed by vocal students in a transforming tertiary setting. International Journal of Music Education, 27(2), 124-137.</p>
<p>The focus of this article is on the analysis of reflection and peer learning in the pedagogical environment. The research draws on findings from an Australian study, which aimed to develop and critically evaluate a model of vocal pedagogy influenced by socio-cultural theories. The model sought to position Vygotsky’s theories in the environment of university-level vocal instruction. To capture the developmental nature of this pedagogical project, a design-based development research methodology was employed. Central to this approach was flexibility of the design, multiple dependent variables and capturing social interaction. The students were not the subject of experimentation, but were co-participants in the design and analysis. The results of the study suggest that there is value in peer learning for both classical and non-classical singers at an undergraduate level. In particular, the data from the student journals in the present study also suggests that if the environment is arranged in such a way that peer learning is encouraged and purposely mediated, singing students find this extremely helpful as a learning strategy.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/77
oai:ro.uow.edu.au:creartspapers-1080
2014-07-23T05:46:36Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Scientific concepts in singing: do they belong in a student toolbox of learning
Latukefu, Lotte
Verenikina, I.
Journal Article
10.1017/S0265051711000064
2010-01-01T08:00:00Z
<p>Latukefu, L. & Verenikina, I. (2010). Scientific concepts: Do they belong in a student toolbox of learning? British Journal of Music Education, 28(2), 181-194.</p>
<p>This article presents part of an Australian study the purpose of which was to look at learning singing in a pedagogical environment designed using sociocultural theory. The classroom environment was transformed over 5 years in consultation with other staff members and used the reflective journals that students wrote during that time, as a way of refining and changing the design. Themes emerging from the journals were analysed to inform changes to the design. One of the main themes to emerge was student reflections about the scientific concepts they were taught and the ways the concepts were introduced. These reflections became the basis for the discussion in this paper. The study demonstrated that the students’ acquisition of scientific concepts of singing affected both their singing performance and their ability to learn in a positive way. The study suggests that scientific concepts of singing could become part of the students’ toolbox that helps develop their singing by making meaning of what they are experiencing kinaesthetically and aurally while they sing.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/76
oai:ro.uow.edu.au:creartspapers-1079
2011-06-26T22:20:05Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Peer assessment in tertiary level singing: changing and shaping culture through social interaction
Latukefu, Lotte
Journal Article
10.1177/1321103X10370091
2010-01-01T08:00:00Z
<p>Latukefu, L. (2010). Peer assessment in tertiary level singing: changing and shaping culture through social interaction. Research Studies in Music Education, 32(2), 61-73.</p>
<p>In 2008, peer assessment was introduced into the singing component of a tertiary level undergraduate creative arts performance course within an Australian regional university. The study investigated what effect changing the role of the actor/singer in an assessment has on the culture of the course as well as individual development of graduate qualities, such as critical thinking and responsibility. It also looked at what process was involved in order to integrate peer assessment into the subject, and what kind of support was needed to achieve this. Results suggested that students saw themselves as agents of their own assessment activities by taking control of assessment, and that having to think critically about other student performances made them reflect on how effective their own performances were.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/75
oai:ro.uow.edu.au:creartspapers-1082
2011-09-14T23:35:18Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
WRIT101: Ethics of Representation for Creative Writers
Cosgrove, Shady E
Journal Article
10.1215/15314200-2008-021
2009-01-01T08:00:00Z
<p>Shady Cosgrove, WRIT101: Ethics of Representation for Creative Writers, Pedagogy, 9(1), Winter 2009, 134-141. Published by Duke University Press.</p>
<p>Medicine, journalism, law: these are courses that require students to take classes in ethics. They are compulsory subjects in areas where, upon graduation, students are trained to work with “real” human subjects. It may sound outlandish, but what about creative writing: should creative writers be expected to study the ethical implications of their craft? Certainly many teachers incorporate dialogue about representation into class discussions, but I would argue that prose fiction writers in the academy have escaped scrutiny in the ethics debate because the subjects under analysis — characters — are not real. I will argue here that the effects of these characters (and indeed other aspects of narrative) can be quite real to readers and, due to literary history’s privileging of realism, it is imperative to the craft that students consider an ethics of representation. In an attempt to tease out this issue, I will discuss notions of truth in fiction, the role of creative writing within the higher education context, and, finally, practical strategies teachers can use to bring discussions of representation into the prose fiction classroom. I subscribe to the Collins Australian dictionary definition of ethics as “the philosophical study of the moral value of human conduct and of the rules and principles that ought to govern it”; however, this is not an essay on ethics per se, but rather on how discussions of representation and practice can be incorporated into the classroom. I take the literary academic Jane Donahue Eberwein (1981: 606) as a starting point when she says, “Great books allow us to confront the problem of failure, the anxieties evoked by change, the ambiguity of moral choices.” I wonder: if creative writing programs are training students with the hope some of them may write “great books” that allow such confrontation, how do we as writers and academics ensure they can thoughtfully negotiate issues of representation?</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/78
oai:ro.uow.edu.au:creartspapers-1085
2013-02-10T22:08:44Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Literary ethics and the novel; or, can the novel save the world?
Cosgrove, Shady E
Conference Paper
2007-01-01T08:00:00Z
<p>Shady Cosgrove, Literary ethics and the novel; or, can the novel save the world? the and is papers: Australian Association of Writing Programs conference, 2007.</p>
<p>Gayatri Spivak links literary reading and ethics when she writes: ‘If he (Paul Wolfowitz) had had serious training in literary reading and/or the imagining of the enemy as human, his position on Iraq would not be so inflexible’ (Spivak 2002: 23). The inference here (as Dorothy J Hale notes) is that if Wolfowitz had majored in English over political science, he would have made ethically superior decisions. Recent literary ethicists have argued that it is not only the particulars of the text, but the reading process itself that makes literary novels worthy of ethical investigation. Paying particular attention to work by literary ethicist Hale and narratologist James Phelan, this paper will examine new ethical theories of the novel to unpack the question of whether or not the novel can inspire ethical mores.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/81
oai:ro.uow.edu.au:creartspapers-1086
2014-12-05T02:09:15Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Reading for peace? Literature as activism – an investigation into new literary ethics and the novel
Cosgrove, Shady E
Conference Paper
2008-01-01T08:00:00Z
era2015
literary ethics
social activism
reading
writing
<p>Shady Cosgrove, Reading for peace? Literature as activism an investigation into new literary ethics and the novel, Activating Human Rights and Peace 2008 Conference Proceedings, Centre for Peace and Social Justice, Southern Cross University.</p>
<p>Literary ethicists like Dorothy J Hale and narratologists like James Phelan have argued that the reading process makes literary novels worthy of ethical investigation. That is, it’s not just a book’s content – which may debate norms and values – but the process of reading that inspires the reader to consider Other points of view. This alterity, new ethicists argue, can lead to increased empathy and thus more thoughtful decision-making within the ‘actual’ world. In fact, Hale (2007: 189) says empathetic literary training is a ‘pre-condition for positive social change’. This may work well theoretically, but what practical issues does it hold for social activists? How useful can literature actually be in the face of dire social issues? Can we ‘read’ our way out of poverty and aggressive military intervention? And what would it mean to develop an activism based on reading and empathy? This paper will examine these questions using a framework based on the work of Hale and Phelan. (Hale, 2007)</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/82
oai:ro.uow.edu.au:creartspapers-1084
2013-02-08T00:56:28Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Uncertainty and Praxis in the Creative Writing Classroom
Cosgrove, Shady E
Conference Paper
2008-01-01T08:00:00Z
<p>Shady Cosgrove, Uncertainty and Praxis in the Creative Writing Classroom, Creativity and Uncertainty: Australian Association of Writing Programs Conference, 2008.</p>
<p>According to music pedagogue Randall Allsup (2003: 157), praxis is “not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action.” This paper will examine the role of uncertainty and praxis in the creative writing classroom, paying particular attention to the role of prose workshopping. First, it will offer an overview of praxis and then it will argue that, when successful, creative writing pedagogy offers praxis: that is, students learn to imagine their writing in different ways through workshopping (possibility) and to enact those changes through the rewriting process (action). Then, it will explore practical ways of addressing authority in the workshop arena as well as the importance of supplementary readings. (Allsup, Randall Everett. 2003. ‘Praxis and the Possible: Thoughts on the Writings of Maxine Greene and Paulo Freire’ Philosophy of Music Education Review 11.2: 157-169).</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/80
oai:ro.uow.edu.au:creartspapers-1083
2011-09-14T23:40:49Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Teaching and Learning as Improvisational Performance in the Creative Writing Classroom
Cosgrove, Shady E
Journal Article
10.1215/15314200-5-3-471
2005-01-01T08:00:00Z
<p>Shady Cosgrove, Teaching and Learning as Improvisational Performance in the Creative Writing Classroom, Pedagogy, 5(3), Fall 2005, 471-479. Published by Duke University Press.</p>
<p>In this essay I will argue that the teacher-as-performer metaphor is too simplistic. Instead, I will make a case for R. Keith Sawyer’s notion of the classroom as a site of improvisational performance, especially in regards to creative writing. Then I will discuss three aspects critical to the improvisational performance within this context, drawing on my own experiences in the classroom: establishing workshop structures, ascertaining shared language skills, and encouraging student participation.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/79
oai:ro.uow.edu.au:meme-1014
2011-09-29T02:33:20Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:meme
publication:dubai
publication:document_types
Reporting Religion beyond the Conflict Frame
Loo, Eric
2011-01-01T08:00:00Z
Journal Article
<p>Perhaps if journalists were more educated and experienced in the universal teachings of Christ, Muhammad, Siddharta, and Baha’ulah, we would see more enlightened coverage of religionrelated issues from environmental conservation, world hunger, and poverty to sectarian conflicts, population displacement, and fair trade. Add to this utopian state of journalism the philosophies of Gandhi, Gibran, Plato, Confucius and Ibn Sina1 - the media might be much richer in its coverage of ethno-religious affairs. Which is attainable – if journalists take time to reflect on alternative methods of reporting when, amid fast breaking news and competition to be first with the stories online, accuracy in content and context is occasionally compromised for immediacy. The unintended consequence is the homogenization of media coverage of world affairs, a tendency to report what everyone else is reporting. This reflective article shows examples of how the homogenization of religion-related issues occurs in today’s journalism. It concludes with a few proactive journalism models to take reporting of religion beyond the dominant conflict frame.</p>
1
https://ro.uow.edu.au/meme/vol1/iss1/15
oai:ro.uow.edu.au:creartspapers-1087
2014-04-10T04:52:18Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
Breathing Space
Jeneid, Liz
Wood Conroy, Diana
Ingham, Stephen
Book
2010-01-01T08:00:00Z
<p>Liz Jeneid, Diana Wood Conroy and Stephen Ingham, Breathing Space [exhibition catalogue], Wollongong City Gallery, 13 March - 25 April 2010, 8p.</p>
<p>‘Breathing space’ is about marking time through breath. When breath stops, time stops for each individual chronology. Re-iteration, repeating with variation again and again, in and out, is the rhythm of craft, of skill in drawing and making. Reiteration mirrors the arduous patterns of ancient textiles, ceramics, or inscriptions, patterns derived from images of feathers, scales, or leaves.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/83
oai:ro.uow.edu.au:creartspapers-1088
2014-04-10T04:52:47Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
Fabrics of Change : Trading Identities
Wood Conroy, Diana
Rutherford, Emma
Book
2004-01-01T08:00:00Z
<p>Diana Wood Conroy and Emma Rutherford (co-curators), Fabrics of Change: Trading Identities Exhibition [exhibition catalogue], Faculty of Creative Arts Gallery, University of Wollongong and Flinders University City Gallery, Adelaide, 24 April - 2 August 2004, 72p.</p>
<p>Fabrics of Change : Trading Identities explores textiles and their intrinsic relationship to texts of law and literature across an historical and contemporary span of British colonisation.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/84
oai:ro.uow.edu.au:creartspapers-1089
2014-04-10T04:53:12Z
publication:assh
publication:creartspapers
publication:reports
publication:document_types
Wall Paintings in the Icarus Street Tomb, Pafos
Wood Conroy, Diana
Report
2006-01-01T08:00:00Z
<p>Wood Conroy, D. & Raptou, E. (2006). Wall Paintings in the Icarus Street Tomb, Pafos. Report of the Department of Antiquities, Cyprus, 331-342.</p>
<p>Wall painting extended the impressive effect of the vaulted architecture of the Icarus Str. tomb, placing a decorative skin of vibrant garlands, flowers, and birds over the shapely arched niches. Varied images painted on the two arcosolia on the right of the tomb entrance, and on the elegant central arcosolium opposite, show the long span of the tomb's use.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/85
oai:ro.uow.edu.au:creartspapers-1091
2014-04-10T04:54:13Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
Kay Lawrence : land, self, loss
Wood Conroy, Diana
Book
2002-01-01T08:00:00Z
<p>Diana Wood Conroy, (2002). Kay Lawrence; land, self, loss. Portfolio Collection Kay Lawrence (pp. 11-22). Winchester, England: Telos Art Publishing.</p>
<p>A Gorgon in the mid-threads of a shawl, fringed with serpents is the description of a baby's shawl, the key motif of the story of the mythical Greek Kreusa. Raped by Apollo, the young princess hid their baby Ion in a cave at birth, wrapped in a covering woven with a Gorgon head she had made herself. His later recognition as a grown man, her son, by a distraught Kreusa depended on the identification of these figured cloths that she had woven as a girl. On this distinctive evidence which gave Ion his genealogical birthright hung the future of the people of Athens who were descended from him. The fierce Gorgon image. which originally had turned all viewers to stone, acted as an apotropaic ['turning away evil'] force to protect the innocent baby. Tapestries and woven images are crucial in Euripides' play in defining the architectural and political spaces in the Greek story of Ion as well as the understanding of personal fate.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/87
oai:ro.uow.edu.au:creartspapers-1090
2014-04-10T04:53:40Z
publication:assh
publication:creartspapers
publication:reports
publication:document_types
Roman wall paintings in the Pafos theatre
Wood Conroy, Diana
Report
2004-01-01T08:00:00Z
<p>Conroy, D. W. & Atkinson, J. (2004). Roman Wall Paintings in the Pafos Theatre. Report of the Department of Antiquities, Cyprus 2003, 2004, 275-300.</p>
<p>The fragments of painted plaster were first found in the 1996 and 1997 Pafos Theatre seasons in trenches lR and 1J on the south side of Wall 108 (the analemma), where the parodos provides an entrance to the orchestra on the western side of the theatre. Encrusted plaster with faint indications of colour and pattern still adhered to Wall 108. Other coarser fragments of red on cream were found in 1999 in the IR-IJ extension to the west. The extensive excavation of the western parodos area in 2001 (Trench IFF) revealed many more painted plaster fragments, some on curved sandstone blocks that had formed a vaulted ceiling, and some loose in the stone tumble that seemed to have fallen from the south against the face of the painted Wall 108. It is not certain if the parodos was covered to its full length by the barrel vault.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/86
oai:ro.uow.edu.au:creartspapers-1094
2013-02-10T21:55:46Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Studio Report - Abstract
Schiemer, Gregory M
Naghdy, Fazel
Havryliv, Mark
Hurd, Timothy
Conference Paper
2007-01-01T08:00:00Z
abstract
studio
report
<p>Schiemer, G. M., Naghdy, F., Havryliv, M. & Hurd, T. "Studio Report - Abstract." Proceedings of the Australasian Computer Music Conference 2007: TRANS Boundaries/Permeability/Reification. Ed. A. Riddell & A. Thorogood. Canberra: Australian National University, 2007. 128-128.</p>
<p>The Haptic Carillon project is an ARC Linkage (APAI) with Industry partners, the National Capital Authority and Olympic Carillon International. Our objective is to create an electronic practice clavier with the sound and feel of a real carillon. This will solve a problem that has plagued carillonists for centuries, namely, the inability to practice their instrument in private. Progress has been made synthesising haptic characteristics of the traditional clavier. We propose to present a comparative demonstration of the haptic and original carillon clavier. This will happen in the clavier chamber of the National Carillon, Aspen Island on Lake Burley Griffin. 128</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/90
oai:ro.uow.edu.au:creartspapers-1100
2013-02-08T00:48:45Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
An anechoic configurable hemispheric environment for spatialised sound
Ritz, Christian H
Schiemer, Gregory M
Burnett, Ian S
Cheng, Eva
Lock, Damien
Narushima, Terumi
Ingham, Stephen F
Wood Conroy, Diana
Conference Paper
2008-01-01T08:00:00Z
sound
environment
hemispheric
configurable
anechoic
spatialised
<p>C. H. Ritz, G. M. Schiemer, I. S. Burnett, E. Cheng, D. Lock, T. Narushima, S. F. Ingham & D. Wood Conroy, "An anechoic configurable hemispheric environment for spatialised sound," in Australasian Computer Music Conference, 2008, pp. 65-68.</p>
<p>This paper reports on the recently completed and significant upgrade of the University of Wollongong’s Configurable Hemispheric Environment for Spatialised Sound (CHESS). The CHESS studio, which housed a 16 speaker hemisphere for creating spatial sound, has been converted into an anechoic chamber and a new 3D speaker system has been designed. The recent work is a continuation of a successful crossdisciplinary research activity between the Faculty of Informatics and the Faculty of Creative Arts. Also reported are new research initiatives that will be taking place in the facility.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/93
oai:ro.uow.edu.au:creartspapers-1103
2011-10-17T03:54:03Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
A golden garment from Ancient Cyprus? Identifying new ways of looking at the past
Wood Conroy, Diana
De Miguel Garcia, Maria L
Conference Paper
2009-01-01T08:00:00Z
golden
ancient
cyprus
identifying
ways
looking
past
garment
Wood Conroy, D. & De Miguel Garcia, M. L. (2009). A golden garment from Ancient Cyprus? Identifying new ways of looking at the past. SiNet 2009 (pp. 26-26). Wollongong, Australia: University of Wollongong.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/96
oai:ro.uow.edu.au:creartspapers-1106
2014-04-10T04:55:22Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
A Brave Decade of Arts in the Illawarra
Wood Conroy, Diana
Barkley, Glenn P
Creative Work
2000-01-01T08:00:00Z
illawarra
decade
arts
brave
<p>Conroy, D. W. & Barkley, G. P.. A Brave Decade of Arts in the Illawarra. Sydney, NSW: Periphery, 2000.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/98
oai:ro.uow.edu.au:creartspapers-1109
2014-04-10T04:56:13Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Australian Textile Art: The Material Speaks
Wood Conroy, Diana
Journal Article
2001-01-01T08:00:00Z
speaks
material
art
textile
australian
<p>Conroy, D. W. "Australian Textile Art: The Material Speaks." The International Exposition of Sculpture Objects and Functional Art (2001): 36-47.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/101
oai:ro.uow.edu.au:creartspapers-1115
2014-04-10T04:58:14Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
The Fabric of the Ancient Theatre: Excavation Journals from Cyprus And The Eastern Mediterranean
Wood Conroy, Diana
Book
2004-01-01T08:00:00Z
theatre
ancient
fabric
excavation
eastern
journals
mediterranean
cyprus
<p>Conroy, D. W. The Fabric of the Ancient Theatre: Excavation Journals from Cyprus And The Eastern Mediterranean. 1 ed. Cyprus: Moufflon Publications, 2004.</p>
<p>THE FABRIC OF THE ANCIENT THEATRE: EXCAVATION JOURNALS FROM CYPRUS AND THE EASTERN MEDITERRANEAN MOUFFLON PUBLISHING, NICOSIA, CYPRUS (BOOK, 400 PAGES WITH ILLUSTRATIONS). DISTRIBUTED IN AUSTRALIA THROUGH LANDMARK PRESS, RELEASED OCTOBER 2004. HARDBACK, 400 PAGES. REVIEWED IN ART MONTHLY AUSTRALIA OCTOBER 2005 AND BRYN MAWR CLASSICAL REVIEW, (USA) FEBRUARY 2006.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/107
oai:ro.uow.edu.au:creartspapers-1117
2014-04-10T04:58:51Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Hommage to the infinite: Deborah Walker
Wood Conroy, Diana
Journal Article
2004-01-01T08:00:00Z
infinite
hommage
deborah
walker
<p>Conroy, D. W. "Hommage to the infinite: Deborah Walker." Exhibition: Deborah Walker: Hommage to the Infinite (2004): 5-6.</p>
<p>A catalogue essay of Deborah Walker, positioning her paintings in the wider art context; 'Hommage to the infinite: Deborah Walker', Stonington Stables Museum of Art, Deakin University, Melbourne, 2004.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/109
oai:ro.uow.edu.au:creartspapers-1127
2011-10-17T04:18:05Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
The Fabric of the Ancient Theatre
Wood Conroy, Diana
Book
2007-01-01T08:00:00Z
fabric
theatre
ancient
Wood Conroy, D. The Fabric of the Ancient Theatre. Nicosia, Cyprus: Moufflon Publishing, 2007.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/119
oai:ro.uow.edu.au:creartspapers-1128
2011-10-17T04:18:05Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Between colonial and postcolonial: Tiwi Design: an Aboriginal silk-screen workshop on Bathurst Island, Northern Territory
Wood Conroy, Diana
Journal Article
2004-01-01T08:00:00Z
colonial
territory
tiwi
design
silk
screen
bathurst
island
postcolonial
aboriginal
workshop
northern
between
Wood Conroy, D. "Between colonial and postcolonial: Tiwi Design: an Aboriginal silk-screen workshop on Bathurst Island, Northern Territory." Postcolonialism and Creativity: Reinventing Textiles Vol 3 Vol 3 (2004): 141-156.
BetweEn colonial and postcolonial: Tiwi Design: an Aboriginal silk-screen workshop on Bathurst Island, Northern Territory Diana Wood Conroy ‘BETWEEN COLONIAL AND POSTCOLONIAL: TIWI DESIGN: AN ABORIGINAL SILK-SCREEN WORKSHOP ON BATHURST ISLAND, NORTHERN TERRITORY.’ POSTCOLONIALISM AND CREATIVITY: RE-INVENTING TEXTILES VOL 3, PAUL SHARRAD AND ANNE COLLETT (EDS) TELOS PUBLISHING, WINCHESTER, UK 2004. 141-156
2004
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/120
oai:ro.uow.edu.au:creartspapers-1120
2013-02-11T03:37:22Z
publication:assh
publication:creartspapers
publication:book_chapters
publication:document_types
Classical to contemporary: thoughts for the future
Wood Conroy, Diana
Book Chapter
2006-01-01T08:00:00Z
thoughts
future
classical
contemporary
<p>Wood Conroy, D. "Classical to contemporary: thoughts for the future." Cultural Strands. 1 ed. Ed.M. Webster. Perth, Western Australia: FORM: Contemporary Craft and Design, 2006, 84-87.</p>
<p>FORM is an independent, not for profit organisation dedicated to advocating for and developing creativity in Western Australia.</p>
<h4>CULTURAL STRANDS PUBLICATION</h4>
<p>Inspired by the acclaimed touring exhibition <em>Woven Forms: Contemporary basket making in Australia, Cultural Strands</em> is a publication that links together 16 essays from Aboriginal and non-Aboriginal practitioners, curators and academics and investigates the warp and weft of Australian fibre arts. Techniques, culture, environment, commercial markets and sustainability are explored.</p>
<h4>Researched and developed by Carly Davenport Acker, <em>Cultural Strands/Woven Visions</em> facilitated a national body of practitioners and educators for a two day public program. Renowned fibre artist and living legend Nalda Searles guided the program. <em>Woven Visions</em> celebrated the opening of Object’s touring exhibition <em>Woven Forms: Contemporary basket making in Australia</em> and mapped the current developments and past, present and future directions of the fibre arts sector.</h4>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/112
oai:ro.uow.edu.au:creartspapers-1129
2011-10-17T04:18:05Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
The Sonic Architectures Project: Mapping the Ancient Theatre in Image and Sound
Wood Conroy, Diana
Bunt, Brogan S
Epoff, Diane
Conference Paper
2007-01-01T08:00:00Z
theatre
ancient
mapping
project
image
sonic
sound
architectures
Wood Conroy, D., Bunt, B. S. & Epoff, D. "The Sonic Architectures Project: Mapping the Ancient Theatre in Image and Sound." The Australain Council of University Art and Design School ACUADS. ACUADS, 2007. 18-19.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/121
oai:ro.uow.edu.au:creartspapers-1130
2013-02-08T04:46:20Z
publication:assh
publication:creartspapers
publication:books
publication:document_types
The fabric of the ancient theatre : excavation journals from Cyprus and the eastern Mediterranean
Wood Conroy, Diana
Book
2007-01-01T08:00:00Z
mediterranean
theatre
journals
cyprus
eastern
ancient
excavation
fabric
<p>Wood Conroy, D. The fabric of the ancient theatre : excavation journals from Cyprus and the eastern Mediterranean. 2 ed. Cyprus: Moufflon Publications, 2007.</p>
<p>The author combines her roles as artist, archaeologist and ethnographer to good effect in this collection of her journals written during her time working at the ancient theatre in Paphos and her travels around the east Mediterranean. In 1995 Diana Wood Conroy was appointed artist-in-residence at the Paphos excavation, something which was to inspire her subsequent travels to Anatolia, Macedonia and Alexandria. The journals are informal and personal in style, full of thoughts and reflection about life on a dig, and the life and culture surrounding her. `An imaginative journey through the evolution of the theatre that uncovers the complex and layered world of the Eastern Mediterranean, both ancient and modern' - from the jacket. Includes a selection of the author's own paintings and tapestries.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/122
oai:ro.uow.edu.au:creartspapers-1136
2013-02-07T00:05:42Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Shapes of Longing Artists returning to the Mediterranean
Wood Conroy, Diana
Creative Work
2009-01-01T08:00:00Z
longing
shapes
returning
artists
mediterranean
<p>Wood Conroy, D.. Shapes of Longing Artists returning to the Mediterranean. Charles Hewitt Gallery, Darlinghurst. 25 June - 14 July. Shapes of Longing: Artist returning to the Mediterranean. 2009.</p>
<p>Shapes of Longing Artists returning to the Mediterranean was an exhibition of paintings, prints and artists' books held in the Charles Hewitt Gallery Sydney, with Maggie Henton, Liz Jeneid, Penelope Lee, Kathryn Orton, Lucia Parrella and Diana Wood Conroy June 25 - July 14 2009 This 1000 word catalogue essay gives the background to Australian artists travelling in the Mediterranean, and describes the individual trajectory of the artists in the show.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/128
oai:ro.uow.edu.au:creartspapers-1134
2013-02-11T02:38:37Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Fragility of Love
Wood Conroy, Diana
Creative Work
2006-01-01T08:00:00Z
fragility
love
<p>Wood Conroy, D.. Fragility of Love. Kunapipi: Journal of Postcolonial Writing and Culture Front Cover Design. Kunapipi Publishing, 2006.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/126
oai:ro.uow.edu.au:creartspapers-1139
2011-10-17T04:18:05Z
publication:assh
publication:conference_papers
publication:creartspapers
publication:document_types
Moments of Arrival: (Un)translatability of languages and cultures in geopolitics and geopoetics
Wood Conroy, Diana
Conference Paper
2010-01-01T08:00:00Z
moments
geopoetics
arrival
un
geopolitics
translatability
languages
cultures
Wood Conroy, D. "Moments of Arrival: (Un)translatability of languages and cultures in geopolitics and geopoetics." ACLALS 2010: 'Strokes Across Cultures": The 15th Triennial ALCLALS Conference, Nicosia, Cyprus. Cyprus: University of Cyprus, 2010. 32.
The remote tropical islands of the Tiwi people in the Arafura sea off the Northern Territory of Australia became written into western texts first in 1824 when Captain Arthur Phillip King chose the location of the Fort Dundas site to initiate ‘ a second Singapore’, a vital trading post. He was then working at the Admiralty in London preparing his journal of exploration and his maps of Australia’s northern coastline for publication.2 Because of the hostility of the Tiwi, Fort Dundas was abandoned in 1829. At another moment Bishop Gsell in 1911 from Belgium established the Mission of the Sacred Heart at Nguiu and introduced the Catholic liturgy to the nomadic Tiwi. I arrived in 1974 as an art adviser to co-ordinate a silk-screen workshop ‘Tiwi Designs’ and kept a daily diary of events and emotions through observing the intersection of seemingly incommensurable cultures. Each of these incursions arrived with different assumptions, and perceived the Tiwi according to that inner image.
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/131
oai:ro.uow.edu.au:creartspapers-1132
2012-09-16T23:15:33Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Cloth and shell: revealing the luminous
Lawrence, Kay
Kean, John
Wood Conroy, Diana
Tigan, Aubrey
Nangan, Butcher J
Creative Work
2008-01-01T08:00:00Z
shell
revealing
cloth
luminous
<p>Lawrence, K., Kean, J., Wood Conroy, D., Tigan, A. & Nangan, B. J.. "Cloth and shell: revealing the luminous" SASA Gallery, Adelaide Bank Festival of Arts, 28 February - 28 March. This Everything Water. Adelaide, South Australia: South Australian School of Art Gallery, University of South Australia, 2008.</p>
<p>This everything water 1 is an exhibition of work by Kay Lawrence, Bardi artist Aubrey Tigan from Djaridjin, and Nyigina Law Man, Butcher Joe Nangan. The exhibition, which is part of the 2008 Adelaide Bank Festival of Arts, explores the iridescent and material qualities of pearl shell, and the symbolic meanings attributed to it by Indigenous and non-Indigenous people. This everything water is underpinned by research undertaken by Lawrence into shell harvested in the early 20th Century around the Dampier Peninsula, a remote area north of Broome.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/124
oai:ro.uow.edu.au:creartspapers-1113
2014-04-10T04:57:13Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Catalogue Essay and curated Exhibition
Wood Conroy, Diana
Creative Work
2002-01-01T08:00:00Z
curated
essay
exhibition
catalogue
<p>Conroy, D. W.. "Catalogue Essay and curated Exhibition" for Unfolding Territories Exhibition as part of the Fabric(ation) of the Postcolonial Conference 28/11 -13/12/02, for Unfolding Territories Exhibition as part of the Fabric(ation) of the Postcolonial Conference 28/11 -13/12/02. Wollongong: University of Wollongong, 2002.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/105
oai:ro.uow.edu.au:creartspapers-1122
2013-02-11T03:22:31Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Shaping Space: Textiles and Architecture - An Introduction
Jefferies, Janis
Wood Conroy, Diana
Journal Article
10.2752/147597506778691431
2006-01-01T08:00:00Z
textiles
space
shaping
architecture
introduction
<p>Jefferies, J. & Wood Conroy, D. "Shaping Space: Textiles and Architecture - An Introduction." Textile: the journal of cloth and culture 4 .3 (2006): 233-237.</p>
<p>As a visiting scholar from Australia, Diana stayed with Janis Jefferies in 2002, working at the Constance Howard Research and Resource Centre in Textiles at Goldsmiths College, and explored the riches of London, including the Freud Museum. The ideas for this issue of Textile tentatively emerged out of seeing the potent architecture of Anna Freud’s loom centrally placed in her consulting room, above her father Sigmund Freud’s study, with its installation of figurines of ancient deities, a challenge to ideas of collecting and anthropological questions. Janis’s research with the spatial architecture of computer systems seemed to combine with the measurements and tensions implicit in the systems for constructing woven cloth as well as ideas around the technologies of touch within virtual systems (haptics). Diana has a parallel concern with painted architecture, the decorative skin of the classical theatre, and with textile artifacts of Roman Cyprus. We are both tapestry weavers, who have been intimately involved with tapestry as a means of narrative communication embedded in the telling of stories and their complex translation; cloth makers, imbued with the idea of textile as a built structure. Both of us participated in the passionate revival of tapestry and “fiber art” in the 1960s and 1970s, a time when textiles were seen as a necessary partner to burgeoning architect-designed city buildings, mitigating the severity of concrete and glass with tactile warmth and color. </p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/114
oai:ro.uow.edu.au:creartspapers-1105
2014-04-10T04:54:44Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
Naming 2000 in Lake Mungo Revisited
Wood Conroy, Diana
Creative Work
2000-01-01T08:00:00Z
mungo
lake
2000
revisited
naming
<p>Conroy, D. W.. Naming 2000 in Lake Mungo Revisited. Goulburn,NSW: Goulburn Regional Art Gallery, 2000.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/97
oai:ro.uow.edu.au:creartspapers-1108
2014-04-10T04:55:47Z
publication:assh
publication:creartspapers
publication:journal_articles
publication:document_types
Textile Artefacts and a fragment of Cloth from Pafos, Cyprus
Wood Conroy, Diana
Journal Article
2000-01-01T08:00:00Z
pafos
cloth
textile
artefacts
cyprus
fragment
<p>Conroy, D. W. "Textile Artefacts and a fragment of Cloth from Pafos, Cyprus." Report of the Department of Antiquities, Cyprus 2000 (2000): 221-232.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/100
oai:ro.uow.edu.au:creartspapers-1110
2014-04-10T04:56:45Z
publication:assh
publication:creartspapers
publication:creative_works
publication:document_types
The Painted Wall: Passages in Archaeology
Wood Conroy, Diana
Creative Work
2001-01-01T08:00:00Z
archaeology
passages
wall
painted
<p>Conroy, D. W.. The Painted Wall: Passages in Archaeology. Wollongong: Faculty of Creative Arts, 2001.</p>
Arts and Humanities
Social and Behavioral Sciences
https://ro.uow.edu.au/creartspapers/102
142606/simple-dublin-core/100//