Academic literature on the topic 'Graphic novels Australia'

There is growing interest in not only intensive care unit (ICU) outcomes but also the resources required to deliver this care and itscost-effectiveness. The most available metric of resource utilisation is ICU length of stay, which is influenced by casemix, illness severity, and institutional characteristics, including delays in discharge. For instance, ICU length of stay is generally longer for more severely ill patients. Comparison of length of stay between units must therefore account for differences in baseline patient characteristics.

<p>This paper analyses the challenges faced by clients, students and teachers involved in a clinical program which uses new technology to deliver legal services in remote areas of Southern Queensland, Australia. A range of novel issues were addressed by Griffith University Law School, Learning Network Queensland and Caxton Legal Centre in their partnership development and delivery of this clinical program which involves the use of audio-graphics conferencing to enable students to provide legal advice and assistance to people hundreds of kilometres away. The ‘Advanced Family Law-Clinic’ program commenced in July 1999 with financial support from the Federal Attorney-General’s Department. The paper considers the range of issues which arose in development of the program.</p>

BackgroundIn Australia, evidence-based guidelines recommend that women consider taking selective oestrogen receptor modulators (SERMs) to reduce their risk of breast cancer. In practice, this requires effective methods for communicating the harms and benefits of taking SERMs so women can make an informed choice.AimTo evaluate how different risk presentations influence women’s decisions to consider taking SERMs.Design and settingCross-sectional, correlational study of Australian women in general practice.MethodThree risk communication formats were developed that included graphics, numbers, and text to explain the reduction in breast cancer risk and risk of side effects for women taking SERMs (raloxifene or tamoxifen). Women aged 40–74 years in two general practices were shown the risk formats using vignettes of hypothetical women at moderate or high risk of breast cancer and asked to choose ‘If this was you, would you consider taking a SERM?’ Descriptive statistics and predictors (risk format, level of risk, and type of SERM) of choosing SERMs were determined by logistic regression.ResultsA total of 288 women were recruited (an 88% response rate) between March and May 2017. The risk formats that showed a government statement and an icon array were associated with a greater likelihood of considering SERMs relative to one that showed a novel expected frequency tree. Risk formats for raloxifene and for the high-risk vignettes were also more strongly associated with choosing to consider SERMs. No associations were found with any patient demographics.ConclusionSpecific risk formats may lead to more women considering taking SERMs to reduce breast cancer risk, especially if they are at high risk of the condition. Raloxifene may be a more acceptable SERM to patients.

Three interrelated phenomena of a global visuospatial representation are discussed within the context of a subtype of “spatial dyslexia” as part of an “ecological syndrome.” (1) Results from a new test, Draw-A-Person-With-Face-In-Front (using simple measurement and requiring no graphic or aesthetic skills) showed in a third of 269 Australian Aboriginal school children a deficient representation of spatial relations within the natural pattern of the upper part of the human face. (2) The test performance apparently is an indicator of a similarly deficient representation of the spatial relations within written signs (single letters, short, isolated functional words, and novel or “nonwords” lacking strong semantic association and imageability). The test discriminates between two modes of visuospatial pictorial (and implied mental) representation, a simultaneous and merely “ inter object”-related global kind vs a successive and “ intraobject”-related one. Further support for such conceptualizing is found in a positive correlation between certain low literacy skills and the specific results (in 6000 examined cases) on the new drawing test. Both inabilities implicate a simultaneous global mode of visuospatial processing, which early in life promptly elicits the infants' in discriminate automatic “smiling response” and appears to be resorted to still later in life by persons with “spatial dyslexia.” (3) Such conceptualizing interrelates with the so far puzzling difference between “literal alexia” vs “verbal alexia” known to neuropathology (not implicated in the present cases but pointing to an underlying structuring process shared by pathological and by “ecological syndromes” alike).

Background: Pulsed field ablation (PFA) is a novel form of ablation using electrical fields to ablate cardiac tissue. There are only limited data assessing the feasibility and safety of this type of ablation in humans. Methods: PULSED AF (Pulsed Field Ablation to Irreversibly Electroporate Tissue and Treat AF; https://www.clinicaltrials.gov ; unique identifier: NCT04198701) is a nonrandomized, prospective, multicenter, global, premarket clinical study. The first-in-human pilot phase evaluated the feasibility and efficacy of pulmonary vein isolation using a novel PFA system delivering bipolar, biphasic electrical fields through a circular multielectrode array catheter (PulseSelect; Medtronic, Inc). Thirty-eight patients with paroxysmal or persistent atrial fibrillation were treated in 6 centers in Australia, Canada, the United States, and the Netherlands. The primary outcomes were ability to achieve acute pulmonary vein isolation intraprocedurally and safety at 30 days. Results: Acute electrical isolation was achieved in 100% of pulmonary veins (n=152) in the 38 patients. Skin-to-skin procedure time was 160±91 minutes, left atrial dwell time was 82±35 minutes, and fluoroscopy time was 28±9 minutes. No serious adverse events related to the PFA system occurred in the 30-day follow-up including phrenic nerve injury, esophageal injury, stroke, or death. Conclusions: In this first-in-human clinical study, 100% pulmonary vein isolation was achieved using only PFA with no PFA system–related serious adverse events. Graphic Abstract: A graphic abstract is available for this article.

The field of comics has undergone palpable shifts in print and digital publishing cultures, from newspaper strips and zines to hardbound graphic novels and works still emerging in the era of Web 2.0. Comics that leave behind the aesthetic trappings of print to embrace digital platforms and media are known variously as digital comics, download comics, hypercomics and webcomics. This paper adopts the term “webcomics” to denote a precise, hybrid medium combining the visual-verbal grammar of comics with the capacious potentials of digitality. Through the case study of These Memories Won’t Last, a webcomic by Australian artist and graphic designer Stuart Campbell (known by his pseudonym, Sutu), I aim to explore the ways Campbell engages sound, animation and other interactive elements alongside drawings that render the lived experiences of his grandfather, who suffers from late-stage dementia. This paper considers how webcomics might transform the stasis of word-and-image to explore and communicate subjects that sit on the outer edges of representation, such as memory, identity and trauma. It responds to a new generation of artists who harness digital technologies to expand and revise the comics form and considers the potential effects of this practice on creating, reading and interpretating life stories.

In his recent re-evaluation of McLuhanite theories for the information age, Digital McLuhan, Paul Levinson makes what at first glance appears to be a curious statement: he says that on the Web "the common denominator ... is the written word, as it is and has been with all things having to do with computers -- and will likely continue to be until such time, if ever, that the spoken word replaces the written as the vehicle of computer commands" (38). This, however, seems to directly contradict what any Web user has been able to experience for several years now: Web content has increasingly come to rely on graphics, at first still, now also often animated, and continues to include more and more audiovisual elements of various kinds. We don't even have to look at the current (and, hopefully, passing) phase of interminable Shockwave splash pages, which users have to endure while they wait to be transferred to the 'real' content of a site: even on as print-focussed a page as the one you're currently reading, you'll see graphical buttons to the left and at the bottom, for example. Other sites far surpass this for graphical content: it is hard to imagine what the official Olympics site or that of EXPO 2000 would look like in text-only versions. The drive towards more and more graphics has long been, well, visible. Already in 1997 (at a time when 33.6k modems were considered fast) Marshall considered the Internet to have entered its "graphic stage, a transitional media form that has made surfing the net feel like flipping through a glossy magazine or the interlinkages of a multimedia game or encyclopedia CD-ROMs"; to him this stage "relies on a construction that is textual and graphically enhanced through software overlays ... and highlighted by sample images, sound bites and occasionally short, moving images" (51). This historicised view mirrors a distinction made around the same time by Lovink, who divided users into "IBM-PC-modernists" still running text-based interfaces, and those enjoying the "Apple-Windows 95-postmodernism" of their graphical user interfaces (Lovink and Winkler 15). In the age of GUIs, in fact, 'text' in itself does not really exist on screen any more: everything from textual to graphical information consists of individual pixels in the same way, which is precisely what makes Levinson's initial statement appear so anachronistic. The move from 'text' to 'graphics and text' could thus be seen as a sign of the overall shift from the industrial to the information age -- a view not without precedent, since the transition from modernist to postmodernist times is similarly contemporaneous with the rise of graphic design as a form of communication as well as art. Beyond such broad strokes, we can also identify some of the finer details presented by the current state of graphics on the Web, however. Marshall's 'graphic stage', after all, was a 'transitional' one, and by now it seems that we might have passed it already, entering into a new aesthetic paradigm which appears to have borrowed many of its approaches from the realm of computer games: the new Web vision is shiny, colourful, animated, and increasingly also accompanied by sound effects. This is no surprise since the mass acceptance of personal computers themselves was largely driven by their use as a source of entertainment. Gaming and computers are inseparably interconnected, and the development of home computers' graphical capabilities in particular has long been driven almost exclusively by players' needs for better, faster, more realistic graphics. Of course, the way we interact with computers also owes a significant debt to games. Engagement in a dialogue with the machine, in which the computer displays both our own actions and its responses, representing us and itself simultaneously on screen, is the predominant mode of computing, and such a mode of engagement (dissolving the barriers between human mind and machinic computation) can now also be found in our interaction with the Web. Here, too, individual knowledge blends with the information available on the network as we immerse ourselves in hypertextual connectivity. As Talbott writes, "clearly, a generation raised on Adventure and video games -- where every door conceals a treasure or a monster worth pursuing in frenetic style -- has its own way of appreciating the hypertext interface" (13); not only has the Web taken on the aesthetics of computer gaming, then, but using the Web itself exhibits aspects of participation in a global 'knowledge game'. Talbott means to criticise this when he writes that thus "the doctrines of endless Enlightenment and Progress become the compelling subtext of a universal video game few can resist playing" (196), but however we may choose to evaluate this game, the observation itself is sound. One possible reason for taking a critical view of this development is that computer and video games rarely present more than the appearance of participation; while players may have a feeling of control over features of the game, the game itself usually remains entirely unaffected and ready for a restart at any moment. Web users might similarly feel empowered by the wealth of information to which they have gained access online, without actually making use of that information to form new knowledge for themselves. This is a matter for the individual user, however; where they have a true interest in the information they seek, we can have every confidence that they will process it to their advantage, too. Beyond this, the skills of information seeking learnt from Web use might also have overall benefits for users, as a kind of 'mind-eye coordination' similar to the 'hand-eye coordination' benefits often attributed to the playing of action games. The ability to figure out unknown problems, the desire to understand and gain control of a situation, which they can learn from computer games, is likely to help them better understand the complexity and interconnectedness of anything they might learn: "it could ... well be true that the cross-linking inherent in hypertext encourages people to see the connections among different aspects of the world so that they will get less fragmented knowledge" (Nielsen 190). The increasingly graphical nature of Web content could appear to work against this, however: "extensions of traditional hyperTEXT systems to encompass hyperMEDIA introduces [sic] a new dimension. ... The picture that 'speaks a thousand words' may say a thousand different words to different viewers. Pictures or graphics lend themselves much more than does text to multiple interpretations", as McAleese claims (12-13) -- but perhaps this overrates significantly the ability of text to anchor down meaning to any one point. Rather, it is questionable whether text and images really are that different from one another -- viewed from a historical perspective, certainly, opinions are divided, it seems: "the medieval church feared the power of the visual image because of the way it appeared to licence the imagination and the consideration of alternatives. Obversely, contemporary cultural critics fear that the abandonment of the written word in favour of graphics is stifling critical and creative powers" (Moody 60) -- take, for example, the commonly held view that movies made from novels limit the reader's imagination to the particular portrayal of events chosen for the film. In fact, there are good reasons to believe that both text and images (especially when they are increasingly easy to manipulate by digital means, thus losing once and for all their claim to photographic 'realism') can 'say a thousand different words to different viewers' -- indeed, traditional photography has also been described as 'writing with light'. As Levinson notes, therefore, "once the photograph is converted to a digital format, it is as amenable to manipulation, as divorced from the reality it purports to represent, as the words which appear on the same screen. On that score, the Internet's co-option of photography -- the rendering of the formerly analogue image as its content -- is at least as profound as the Internet's promotion of written communication" (43), and this, then, may perhaps begin to provide a resolution to his overall preference for writing as the predominant Internet communication form, as quoted above: online writing now includes in almost equal measure 'print' text and graphical images, both of which are of course graphically rendered on screen by the computer anyway; they combine into a new form of writing not unlike ancient hieroglyphics. On the Web, writing has come full circle: from the iconographic representations of the earliest civilisations through their simplification and solidification into the various alphabets back to a new online iconography. This also demonstrates the strong Western bias of this technology, of course: had computers emerged from Chinese or Japanese culture, for example -- where alphabets in the literal sense don't exist -- chances are they would never have existed in a text-only form. Now that we have passed the alphabetic stage to re-enter an era of iconography, then, it remains to be seen how this change along with our overall "'immersion' in hypertext will affect the way that we mentally structure our world. Linear argumentation is more a consequence of alphabetic writing than of printed books and it remains to be seen if hypertext presentation will significantly erode this predominant convention for mentally ordering our world" (McKnight et al. 41). Perhaps the computer game experience (where a blending of text and graphics had begun some time before the Web) can provide some early pointers already, then. The game-like nature of information search and usage online might help to undermine some of the more heavily encrusted structures of information dissemination that are still dominant: "we are promised, on the information 'library' side, less of the dogmatic and more of the ludic, less of the canonical and more of the festive. Fewer arguments from authority, through more juxtaposition of authorities" (Debray 146). This is also supported by the fact that there usually exists no one central authority, no one central site, in any field of information covered by the Web, but that there rather is a multiplicity of sources and viewpoints with varying claims to 'authority' and 'objectivity'; rather than rely on authorities to determine what is accepted knowledge, Web users must, and do, distil their own knowledge from the information they find in their searches. Kumon and Aizu's notion that from the industrial-age "wealth game" we have now moved into the "wisdom game" (320) sums up this view. However, for all the ludic exuberance of this game, we should also be concerned that, as in any game, we are also likely to see winners and losers. Those unaware of the rules of the game, and people who are prevented from playing for personal or socioeconomic reasons (the increased use of graphics will make it much more difficult for certain disabled readers to use the Web, for example) must not be left out of it. In gaming terminology, perhaps the formation of teams including such disadvantaged people is the answer? References Debray, Régis. "The Book as Symbolic Object." The Future of the Book. Ed. Geoffrey Nunberg. Berkeley: U of California P, 1996. 139-51. Kumon, Shumpei, and Izumi Aizu. "Co-Emulation: The Case for a Global Hypernetwork Society." Global Networks: Computers and International Communication. Ed. Linda M. Harasim. Cambridge, Mass.: MIT P, 1994. 311-26. Levinson, Paul. Digital McLuhan: A Guide to the Information Millennium. London: Routledge, 1999. Lovink, Geert, and Hartmut Winkler. "The Computer: Medium or Calculating Machine." Convergence 3.2 (1997): 10-18. Marshall, P. David. "The Commodity and the Internet: Interactivity and the Generation of Audience Commodity." Media International Australia 83 (Feb. 1997): 51-62. McAleese, Ray. "Navigation and Browsing in Hypertext." Hypertext: Theory into Practice. Ed. Ray McAleese. Oxford: Intellect, 1993. 5- 38. McKnight, Cliff, Andrew Dillon, and John Richardson. Hypertext in Context. Cambridge: Cambridge UP, 1991. Moody, Nickianne. "Interacting with the Divine Comedy." Fractal Dreams: New Media in Social Context. Ed. Jon Dovey. London: Lawrence and Wishart, 1996. 59-77. Nielsen, Jakob. Hypertext and Hypermedia. Boston: Academic P, 1990. Talbott, Stephen L. The Future Does Not Compute: Transcending the Machines in Our Midst. Sebastopol, Calif.: O'Reilly and Associates, 1995. Citation reference for this article MLA style: Axel Bruns. "The Knowledge Adventure: Game Aesthetics and Web Hieroglyphics." M/C: A Journal of Media and Culture 3.5 (2000). [your date of access] <http://www.api-network.com/mc/0010/adventure.php>. Chicago style: Axel Bruns, "The Knowledge Adventure: Game Aesthetics and Web Hieroglyphics," M/C: A Journal of Media and Culture 3, no. 5 (2000), <http://www.api-network.com/mc/0010/adventure.php> ([your date of access]). APA style: AxeM/C: A Journal of Media and Culture l Bruns. (2000) The knowledge adventure: game aesthetics and Web hieroglyphics. 3(5). <http://www.api-network.com/mc/0010/adventure.php> ([your date of access]).

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This thesis investigates the inclusion of graphic novels in library collections and whether the format encourages teenagers to use libraries and read in their free time. Graphic novels are bound paperback or hardcover works in comic-book form and cover the full range of fiction genres, manga (Japanese comics), and also nonfiction. Teenagers are believed to read less in their free time than their younger counterparts. The importance of recreational reading necessitates methods to encourage teenagers to enjoy reading and undertake the pastime. Graphic novels have been discussed as a popular format among teenagers. As with reading, library use among teenagers declines as they age from childhood. The combination of graphic novel collections in school and public libraries may be a solution to both these dilemmas.Teenagers’ views were explored through focus groups to determine their attitudes toward reading, libraries and their use of libraries; their opinions on reading for school, including reading for English classes and gathering information for school assignments; and their liking for different reading materials, including graphic novels. Opinions on school reading can impact feelings on reading in general and thus influence views and amount of recreational reading.A survey of public libraries determined the incidence of graphic novel collections throughout Australia and how collections are managed, with the intention of comparing libraries from different states and territories and metropolitan or rural areas. Interviews with selected librarians who collected graphic novels provided insight into their attitudes to the place of graphic novels in public and high school libraries and a more detailed picture of how the format is managed. This included use of graphic novel by the libraries’ teenage users or students and problems encountered, such as complaints about specific titles.Graphic novel collections are widespread among surveyed Australian libraries, although a metropolitan location led to a greater likelihood of collection of graphic novels, and librarians were passionate about the format and its popularity among teenagers. The teenagers investigated were not as universally positive about graphic novels or libraries. The necessity of inclusion of all formats of reading matter in library collections will enable teenagers to discover for themselves what provides enjoyable reading experiences, so these become the norm, and lead to a greater enthusiasm for reading and more undertaken in their free time.

Aurora, an illustrated novella, is a retelling of the classic fairytale Sleeping Beauty, set on the Australian coast around the grounds of the family lighthouse. Instead of following in the footsteps of tradition, this tale focuses on the long time Aurora is cursed to sleep by the malevolent Minerva; we follow Aurora as she voyages into the unconscious. Hunted by Minerva through the shifting landscape of her dreams, Aurora is dogged by a nagging pull towards the light—there is something she has left behind. Eventually, realising she must face Minerva to break the curse, they stage a battle of the minds in which Aurora triumphs, having grasped the power of her thoughts, her words. Aurora, an Australian fairytale, is a story of self-empowerment, the ability to shape destiny and the power of the mind. The exegesis examines a two-pronged question: is the illustrated book for young adults—graphic novel—relevant to a contemporary readership, and, is the graphic novel, where text and image intersect, a suitably specular genre in which to explore the unconscious? It establishes the language of the unconscious and the meaning of the term ‘graphic novel’, before investigating the place of the illustrated book for an older readership in a contemporary market, particularly exploring visual literacy and the way text and image—a hybrid narrative—work together. It then studies the aptitude of graphic literature to representing the unconscious and looks at two pioneers of the form: Audrey Niffenegger, specifically her visual novel The Three Incestuous Sisters, and Shaun Tan, and his graphic novel The Arrival. Finally, it reflects upon the creative work, Aurora, in light of three concerns: how best to develop a narrative able to relay the dreaming story; how to bestow a certain ‘Australianess’ upon the text and images; and the dilemma of designing an illustrated book for an older readership.

La métaphore visuelle constitue un procédé récurrent dans les albums de Shaun Tan qui l’utilise pour interroger le regard, dans une démarche inspirée par le surréalisme. S’appuyant sur la théorie de la métaphore conceptuelle de Lakoff et Johnson, cette thèse considère la métaphore comme un processus de construction du sens. L’approche systémique fonctionnelle de l’image de Kress et van Leeuwen permet de dégager les liens entre les procédés visuels et le sens, et les métaphores visuelles sont analysées à partir des catégories déterminées par Forceville. L’étude des métaphores de Tan révèle que ce processus de pensée et son expression visuelle permettent à un public allant de l’adulte à l’enfant d’accéder au sens non littéral des albums. Les métaphores contextuelles des USA et de l’Australie dénoncent les choix de la société contemporaine en matière de migration, sous la forme d’une fable dans The Lost Thing ou d’un roman graphique utopique dans The Arrival tandis que les métaphores verbo-picturales de Tales from Outer Suburbia questionnent la relation entre l’homme, l’animal et la nature. The Red Tree et Rules of Summer développent une réflexion sur les émotions et les relations humaines, à travers les métaphores conceptuelles de la dépression, et les représentations des codes sociaux dans les jeux partagés par deux frères. L’étude de Rules of Summer dans une classe de maternelle montre que de jeunes enfants perçoivent l’inadéquation de l’interprétation littérale de nombreux éléments ou de scènes représentés et cherchent à justifier leurs interprétations. Les images de Tan peuvent ainsi être mises à profit pour construire la compétence métaphorique chez l’enfant
Visual metaphor represents a recurrent process in Shaun Tan’s picture books as he uses it to question the reader’s gaze, in a way reminiscent of surrealism. Drawing on Lakoff and Johnson’s conceptual metaphor theory, this thesis considers metaphor as a meaning making process. Kress and van Leeuwen’s systemic functional approach to images accounts for the links between visual processes and meaning, and Forceville’s categories provide a basis to analyze the visual metaphors. The study of Tan’s metaphors reveals that this thinking process and its visual expression make it possible for readers ranging from adults to children to access the non literal meaning of his albums. Contextual metaphors of the USA and Australia denounce contemporary society’s choices regarding migration, through a fable in The Lost Thing or a utopic graphic novel in The Arrival. In Tales from Outer Suburbia, verbo-pictural metaphors question the relationship between men, animals and nature. Emotions and human relationships are evoked and questioned through conceptual metaphors of depression in The Red Tree, and metaphorical representations of social codes through the games shared by two brothers, in Rules of Summer. A study of Rules of Summer in Kindergarten shows that young children perceive the inadequacy of a literal interpretation for many of the represented elements or scenes, and that they try to justify their interpretations. Tan’s images can thus successfully contribute to developing the metaphorical competence of children

The applications of machine learning algorithms to the analysis of data sets of DNA sequences are very important. The present chapter is devoted to the experimental investigation of applications of several machine learning algorithms for the analysis of a JLA data set consisting of DNA sequences derived from non-coding segments in the junction of the large single copy region and inverted repeat A of the chloroplast genome in Eucalyptus collected by Australian biologists. Data sets of this sort represent a new situation, where sophisticated alignment scores have to be used as a measure of similarity. The alignment scores do not satisfy properties of the Minkowski metric, and new machine learning approaches have to be investigated. The authors’ experiments show that machine learning algorithms based on local alignment scores achieve very good agreement with known biological classes for this data set. A new machine learning algorithm based on graph partitioning performed best for clustering of the JLA data set. Our novel k-committees algorithm produced most accurate results for classification. Two new examples of synthetic data sets demonstrate that the authors’ k-committees algorithm can outperform both the Nearest Neighbour and k-medoids algorithms simultaneously.