Journal articles on the topic 'Performance art Australia'
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1
Zurbrugg, Nicholas. "Sound art, radio art, and post‐radio performance in Australia." Continuum 2, no. 2 (January 1989): 26–49. http://dx.doi.org/10.1080/10304318909359363.
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Nguyen, Anh. "Photo Essay: “Vietnamese Here Contemporary Art and Refections” Art Exhibition, Melbourne, Australia, May 2017." Migration, Mobility, & Displacement 4, no. 1 (June 7, 2019): 133–39. http://dx.doi.org/10.18357/mmd41201918976.
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Anh Nguyen was co-curator, with Nadia Rhook, of the “Vietnamese Here Contemporary Art and Refections” exhibition about Vietnamese migrants in Melbourne, Australia, May 4–26, 2017. Phuong Ngo’s work, the basis of this photo essay, was part of the exhibition, which featured visual art, performance art, and readings refecting on Vietnamese heritage, history, and memory in the diaspora. The exhibition was sponsored by the Australian Research Council’s Kathleen Fitzpatrick Laureate Fellowship, of which Anh Nguyen is a researcher.
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HARRIS, AMANDA. "Representing Australia to the Commonwealth in 1965: Aborigiana and Indigenous Performance." Twentieth-Century Music 17, no. 1 (October 24, 2019): 3–22. http://dx.doi.org/10.1017/s1478572219000331.
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AbstractIn 1965, the Australian government and Australian Elizabethan Theatre Trust (AETT) debated which performing arts ensembles should represent Australia at the London Commonwealth Arts Festival. The AETT proposed the newly formed Aboriginal Theatre, comprising songmakers, musicians, and dancers from the Tiwi Islands, northeast Arnhem Land and the Daly River. The government declined, and instead sent the Sydney Symphony Orchestra performing works by John Antill and Peter Sculthorpe. In examining the historical context for these negotiations, I demonstrate the direct relationship between the historical promotion of ‘Australianist’ art music composition that claimed to represent Aboriginal culture, and the denial of the right of representation to Aboriginal performers as owners of their musical traditions. Within the framing of Wolfe's settler colonial theory and ‘logic of elimination’, I suggest that appropriative Australian art music has directly sought to replace performances of Aboriginal culture by Aboriginal people, even while Aboriginal people have resisted replacement.
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Pike, Shane, Sasha Mackay, Michael Whelan, Bree Hadley, and Kathryn Kelly. "‘You can’t just take bits of my story and put them into some play’: Ethical dramaturgy in the contemporary Australian performance climate." Performing Ethos: An International Journal of Ethics in Theatre & Performance 10, no. 1 (December 1, 2020): 69–87. http://dx.doi.org/10.1386/peet_00018_1.
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In Australia a vibrant tradition of participatory and often politically motivated performance work developed under the term ‘community arts and cultural development’ across the 1980s, 1990s and early 2000s. In this body of practice, considerations of ethics are articulated through process, practices and representation rather than content. Though effective, community arts as it developed in Australia is often time, resource and emotionally intensive for artists, community participants and audiences. In recent years, retraction of funding, as well as shifts in practice towards live art, performance art and relational aesthetics have reduced the resources available for these once prominent practices. Practitioners are confronting challenges and needing to develop new ways of working in an operating environment where long-term consultation is not necessarily possible or preferred by stakeholders. In this article, we reflect on the current state of play for practitioners seeking to develop ethical dramaturgy in performance works that collaborate with communities to tell life stories or represent participants’ lived experiences in Australia. Through examples from our own practice, as practice-led researchers, we consider how work in this sector is under strain and experiencing scarcity, precarity and an increasing lack of access to institutional resources that have historically enabled ethically rigorous dramaturgical practices. We aim, through this process, to rediscover and rearticulate an ethical dramaturgy for deployment in the Australian environment as it exists today.
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Bowker, Sam. "No Looking Back." Australian Journal of Islamic Studies 4, no. 1 (July 17, 2019): 18–32. http://dx.doi.org/10.55831/ajis.v4i1.153.
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This is a critical review of changes in the two years since I wrote “The Invisibility of Islamic Art in Australia” for The Conversation in 2016. This includes the National Museum of Australia’s collaborative exhibition “So That You May Know Each Other” (2018), and the rise of the Eleven Collective through their exhibitions “We are all affected” (2017) in Sydney and “Waqt al-Tagheer – Time of Change” (2018) in Adelaide. It considers the representation of Australian contemporary artists in the documentary “You See Monsters” (2017) by Tony Jackson and Chemical Media, and the exhibition “Khalas! Enough!” (2018) at the UNSW.
These initiatives demonstrate the momentum of generational change within contemporary Australian art and literary performance cultures. These creative practitioners have articulated their work through formidable public networks. They include well-established and emerging artists, driven to engage with political and social contexts that have defined their peers by antagonism or marginalisation.
There has never been a ‘Golden Age’ for ‘Islamic’ arts in Australia. But as the Eleven Collective have argued, we are living in a time of change. This is an exceptional period for the creation and mobilisation of artworks that articulate what it means to be Muslim in Australia.
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Curran, Georgia. "Amanda Harris. Representing Australian Aboriginal Music and Dance, 1930–1970." Context, no. 47 (January 31, 2022): 85–87. http://dx.doi.org/10.46580/cx80760.
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In Representing Australian Aboriginal Music and Dance 1930–1970, Amanda Harris sets out a history of Aboriginal music and dance performances in south-east Australia during the four-decade-long period defined as the Australian assimilation era. During this era, and pushing its boundaries, harsh government policies under the guise of ‘protection’ and ‘welfare’ were designed forcibly to assimilate Aboriginal people into the mainstream population. It is striking while reading this book how few of these stories are widely known, particularly given the heavy influence that Harris uncovers it having on the Australian art music scene of today. As such, the book makes an important contribution to the ‘truth telling’ of Australian history while also showing that—despite the severe policies during this era, including the banning of speaking in Indigenous languages and restricting the performance of ceremony—Aboriginal people have remained active agents in driving their own engagements and asserting their own culturally distinct modes of music and dance performance. This resilience against significant odds has been aptly described by one of the book’s contributors, Yorta Yorta and Dja Dja Warrung cultural leader, visual and performance artist, curator and opera singer Tiriki Onus, as ‘hiding in plain sight,’ referring to the ways in which Aboriginal people ensured the continued practice and performance of their culture by doing so in public, the only place they were allowed to…
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CHAMBERS, Georgina M., Stephanie K. Y. CHOI, Katie IRVINE, Christos VENETIS, Katie HARRIS, Alys HAVARD, Robert J. NORMAN, Kei LUI, William LEDGER, and Louisa R. JORM. "ANZARD Data Linkage – Agreement Between Births Recorded by Clinics and in NSW Perinatal Data Collection." Fertility & Reproduction 04, no. 03n04 (September 2022): 176. http://dx.doi.org/10.1142/s2661318222740875.
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Background: Fertility clinics submit treatment data on all ART cycles to the Australian and New Zealand Assisted Reproductive Technology Database (ANZARD) as part of their accreditation. The National Perinatal Epidemiology and Statistics Unit (NPESU), who manages ANZARD, is undertaking a study involving the linkage of ANZARD to state and commonwealth datasets to investigate health outcomes of infants born from fertility treatments. Aim: To describe the creation and performance of the linked dataset and to evaluate the agreement between births recorded by clinics and those recorded in state perinatal data collections (PDC). Method: The linked dataset was created by linking the ANZARD to NSW and ACT administrative datasets (performed by NSW Centre for Health Record Linkage (CHeReL)) and to Medicare Benefits Scheme and Pharmaceutical Benefits Schedule (performed by AIHW). The CHeReL’s Master Linkage Key (MLK) was used as a bridge between ANZARD’s statistical linkage key and state administrative datasets. Linkage rates and concordance between births recorded in ANZARD and PDCs was evaluated. Results: A 96.7% linkage rate was achieved between women recorded in ANZARD and CHeReL’s MLKs. A reconciliation of ANZARD-recorded births among NSW residents found that 94.2% (95% CI: 93.9-94.4%) of births were also recorded in NSW/ACT PDCs. A proportion of the missing births could be to women who had ART treatment in NSW but birthed in a different Australian state or country. A high concordance rate (>99%) was found in plurality status and birth outcome between ANZARD and PDCs. Conclusion: High linkage rates can be achieved with partially identifiable data and population spines, such as the CHeReL’s MLK, can be successfully used to link clinical registries and administrative datasets. This linkage resource will provide invaluable information on the safety of the ART and non-ART treatment, and the role of subfertility on the fertility treatments for Australia and beyond.
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Cross, David. "On task: De-Limit, dance and the performance of menial action." Choreographic Practices 12, no. 2 (December 1, 2021): 135–51. http://dx.doi.org/10.1386/chor_00033_1.
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Reflecting on a specific case study commissioned for the 2020 Keir Choreographic Awards in Australia, this text investigates how the work De-Limit sought to negotiate the relationship between menial, process-driven labour and dance/installation art. Developed as a collaboration between dance maker Alison Currie and visual artist David Cross, the work interrogated how Walter Benjamin’s and Martin Heidegger’s ideas on boredom and suspended time, respectively, might offer new considerations of task-based practice. This study specifically seeks to test key thresholds in relation to task-orientated discourse with the insertion of a series of counter-moments informed by Freud’s thinking around the uncanny. Playing with ideas of staging and set making at the intersection of art and dance, this text also seeks to interrogate how the building of an art installation offers a frame in which to understand dance and its assorted modalities in different ways. De-Limit slips between functional and abstract, exploring live action as an unstable liminal space between labour and performance.
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Nishant, Nidhi, Giovanni Di Virgilio, Fei Ji, Eugene Tam, Kathleen Beyer, and Matthew L. Riley. "Evaluation of Present-Day CMIP6 Model Simulations of Extreme Precipitation and Temperature over the Australian Continent." Atmosphere 13, no. 9 (September 12, 2022): 1478. http://dx.doi.org/10.3390/atmos13091478.
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Australia experiences a variety of climate extremes that result in loss of life and economic and environmental damage. This paper provides a first evaluation of the performance of state-of-the-art Coupled Model Intercomparison Project Phase 6 (CMIP6) global climate models (GCMs) in simulating climate extremes over Australia. Here, we evaluate how well 37 individual CMIP6 GCMs simulate the spatiotemporal patterns of 12 climate extremes over Australia by comparing the GCMs against gridded observations (Australian Gridded Climate Dataset). This evaluation is crucial for informing, interpreting, and constructing multimodel ensemble future projections of climate extremes over Australia, climate-resilience planning, and GCM selection while conducting exercises like dynamical downscaling via GCMs. We find that temperature extremes (maximum-maximum temperature -TXx, number of summer days -SU, and number of days when maximum temperature is greater than 35 °C -Txge35) are reasonably well-simulated in comparison to precipitation extremes. However, GCMs tend to overestimate (underestimate) minimum (maximum) temperature extremes. GCMs also typically struggle to capture both extremely dry (consecutive dry days -CDD) and wet (99th percentile of precipitation -R99p) precipitation extremes, thus highlighting the underlying uncertainty of GCMs in capturing regional drought and flood conditions. Typically for both precipitation and temperature extremes, UKESM1-0-LL, FGOALS-g3, and GCMs from Met office Hadley Centre (HadGEM3-GC31-MM and HadGEM3-GC31-LL) and NOAA (GFDL-ESM4 and GFDL-CM4) consistently tend to show good performance. Our results also show that GCMs from the same modelling group and GCMs sharing key modelling components tend to have similar biases and thus are not highly independent.
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Turpin, Myfany, and Jennifer Green. "Rapikwenty: ‘A loner in the ashes’ and other songs for sleeping." Studia Metrica et Poetica 5, no. 1 (August 5, 2018): 52–79. http://dx.doi.org/10.12697/smp.2018.5.1.03.
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Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.
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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." Media International Australia 116, no. 1 (August 2005): 24–35. http://dx.doi.org/10.1177/1329878x0511600105.
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The issue of an ethical approach to pleasure does not imply a religious or moral order, but a constant re-evaluation of how each image or representation of any contemporary culture (Indigenous, musical, professional, digital, etc.) impacts on social justice, equity, tolerance and freedom. Two attempts of anthropological restitution developed with Aboriginal peoples for a mixed audience are presented here. The first is a CD-ROM ( Dream Trackers: Yapa Art and Knowledge of the Australian Desert), focused on one Central Australian community (Lajamanu in the Northern Territory), while the second is an interactive DVD ( Quest in Aboriginal Land) based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aim to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Nonlinear or reticular thinking mostly stresses the fact that there is no centrality to the whole but a multipolar view from each recomposed network within each singularity, a person, a place (a Dreaming in the case of Aboriginal cultures), allowing the emergence of meanings and performances, encounters, creations as new original autonomous flows. Reticular or network thinking, I argue, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies.
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Bhardwaj, Jessica, Yuriy Kuleshov, Zhi-Weng Chua, Andrew B. Watkins, Suelynn Choy, and Qian (Chayn) Sun. "Evaluating Satellite Soil Moisture Datasets for Drought Monitoring in Australia and the South-West Pacific." Remote Sensing 14, no. 16 (August 16, 2022): 3971. http://dx.doi.org/10.3390/rs14163971.
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Soil moisture (SM) is critical in monitoring the time-lagged impacts of agrometeorological drought. In Australia and several south-west Pacific Small Island Developing States (SIDS), there are a limited number of in situ SM stations that can adequately assess soil-water availability in a near-real-time context. Satellite SM datasets provide a viable alternative for SM monitoring and agrometeorological drought provision in these regions. In this study, we investigated the performance of Soil Moisture Active Passive (SMAP), Soil Moisture and Ocean Salinity (SMOS), Soil Moisture Operational Products System (SMOPS), SM from the Advanced Microwave Scanning Radiometer 2 (AMSR-2) and SM from the Advanced Scatterometer (ASCAT) over Australia and south-west Pacific SIDS. Products were first evaluated in Australia, given the presence of several in-situ SM monitoring stations and a state-of-the-art hydrological model—the Australian Water Resources Assessment Landscape modelling system (AWRA-L). We further investigated the accuracy of SM satellite datasets in Australia and the south-west Pacific through Triple Collocation analysis with two other SM reference datasets—ERA5 reanalysis SM data and model data from the Global Land Data Assimilation System (GLDAS) dataset. All datasets have differing observation periods ranging from 1911-now, with a common period of observations between 2015–2021. Results demonstrated that ASCAT and SMOS were consistently superior in their performance. Analysis in the six south-west Pacific SIDS indicated reduced performance for all products, with ASCAT and SMOS still performing better than others for most SIDS with median R values ranging between 0.3–0.9. We conducted a case study of the 2015 El Niño and Positive Indian Ocean Dipole-induced drought in Papua New Guinea. It was shown that ASCAT is a valuable dataset indicative of agrometeorological drought for the nation, highlighting the value of using satellite SM products to provide early warning of drought in data-sparse regions in the south-west Pacific.
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Wright, Duncan, Birgitta Stephenson, Paul S. C. Taçon, Robert N. Williams, Aaron Fogel, Shannon Sutton, and Sean Ulm. "Exploring Ceremony: The Archaeology of a Men's Meeting House (‘Kod’) on Mabuyag, Western Torres Strait." Cambridge Archaeological Journal 26, no. 4 (October 25, 2016): 721–40. http://dx.doi.org/10.1017/s0959774316000445.
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The materiality of ritual performance is a growing focus for archaeologists. In Europe, collective ritual performance is expected to be highly structured and to leave behind a loud archaeological signature. In Australia and Papua New Guinea, ritual is highly structured; however, material signatures for performance are not always apparent, with ritual frequently bound up in the surrounding natural and cultural landscape. One way of assessing long-term ritual in this context is by using archaeology to historicize ethno-historical and ethnographic accounts. Examples of this in the Torres Strait region, islands between Papua New Guinea and mainland Australia, suggest that ritual activities were materially inscribed at kod sites (ceremonial men's meeting places) through distribution of clan fireplaces, mounds of stone/bone and shell. This paper examines the structure of Torres Strait ritual for a site ethnographically reputed to be the ancestral kod of the Mabuyag Islanders. Intra-site partitioning of ritual performance is interpreted using ethnography, rock art and the divergent distribution of surface and sub-surface materials (including microscopic analysis of dugong bone and lithic material) across the site. Finally, it discusses the materiality of ritual at a boundary zone between mainland Australia and Papua New Guinea and the extent to which archaeology provides evidence for Islander negotiation through ceremony of external incursions.
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Hudson, Debra, Oscar Alves, Harry H. Hendon, Eun-Pa Lim, Guoqiang Liu, Jing-Jia Luo, Craig MacLachlan, et al. "Corrigendum to: ACCESS-S1: The new Bureau of Meteorology multi-week to seasonal prediction system." Journal of Southern Hemisphere Earth Systems Science 70, no. 1 (2020): 393. http://dx.doi.org/10.1071/es17009_co.
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ACCESS-S1 will be the next version of the Australian Bureau of Meteorology's seasonal prediction system, due to become operational in early 2018. The multiweek and seasonal performance of ACCESS-S1 has been evaluated based on a 23-year hindcast set and compared to the current operational system, POAMA. The system has considerable enhancements compared to POAMA, including higher vertical and horizontal resolution of the component models and state-ofthe-art physics parameterisation schemes. ACCESS-S1 is based on the UK Met Office GloSea5-GC2 seasonal prediction system, but has enhancements to the ensemble generation strategy to make it appropriate for multi-week forecasting, and a larger ensemble size.ACCESS-S1 has markedly reduced biases in the mean state of the climate, both globally and over Australia, compared to POAMA. ACCESS-S1 also better predicts the early stages of the development of the El Niño Southern Oscillation (through the predictability barrier) and the Indian Ocean Dipole, as well as multi-week variations of the Southern Annular Mode and the Madden-Julian Oscillation — all important drivers of Australian climate variability. There is an overall improvement in the skill of the forecasts of rainfall, maximum temperature (Tmax) and minimum temperature (Tmin) over Australia on multi-week timescales compared to POAMA. On seasonal timescales the differences between the two systems are generally less marked. ACCESS-S1 has improved seasonal forecasts over Australia for the austral spring season compared to POAMA, with particularly good forecast reliability for rainfall and Tmax. However, forecasts of seasonal mean Tmax are noticeably less skilful over eastern Australia for forecasts of late autumn and winter compared to POAMA.The study has identified scope for improvement of ACCESS-S in the future, particularly 1) reducing rainfall errors in the Indian Ocean and Maritime Continent regions, and 2) initialising the land surface with realistic soil moisture rather than climatology. The latter impacts negatively on the skill of the temperature forecasts over eastern Australia and is being addressed in the next version of the system, ACCESS-S2.
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Hudson, Debra, Oscar Alves, Harry H. Hendon, Eun-Pa Lim, Guoqiang Liu, Jing-Jia Luo, Craig MacLachlan, et al. "ACCESS-S1 The new Bureau of Meteorology multi-week to seasonal prediction system." Journal of Southern Hemisphere Earth Systems Science 67, no. 3 (2017): 132. http://dx.doi.org/10.1071/es17009.
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ACCESS-S1 will be the next version of the Australian Bureau of Meteorology's seasonal prediction system, due to become operational in early 2018. The multiweek and seasonal performance of ACCESS-S1 has been evaluated based on a 23-year hindcast set and compared to the current operational system, POAMA. The system has considerable enhancements compared to POAMA, including higher vertical and horizontal resolution of the component models and state-ofthe-art physics parameterisation schemes. ACCESS-S1 is based on the UK Met Office GloSea5-GC2 seasonal prediction system, but has enhancements to the ensemble generation strategy to make it appropriate for multi-week forecasting, and a larger ensemble size.ACCESS-S1 has markedly reduced biases in the mean state of the climate, both globally and over Australia, compared to POAMA. ACCESS-S1 also better predicts the early stages of the development of the El Niño Southern Oscillation (through the predictability barrier) and the Indian Ocean Dipole, as well as multi-week variations of the Southern Annular Mode and the Madden-Julian Oscillation — all important drivers of Australian climate variability. There is an overall improvement in the skill of the forecasts of rainfall, maximum temperature (Tmax) and minimum temperature (Tmin) over Australia on multi-week timescales compared to POAMA. On seasonal timescales the differences between the two systems are generally less marked. ACCESS-S1 has improved seasonal forecasts over Australia for the austral spring season compared to POAMA, with particularly good forecast reliability for rainfall and Tmax. However, forecasts of seasonal mean Tmax are noticeably less skilful over eastern Australia for forecasts of late autumn and winter compared to POAMA.The study has identified scope for improvement of ACCESS-S in the future, particularly 1) reducing rainfall errors in the Indian Ocean and Maritime Continent regions, and 2) initialising the land surface with realistic soil moisture rather than climatology. The latter impacts negatively on the skill of the temperature forecasts over eastern Australia and is being addressed in the next version of the system, ACCESS-S2.
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Hancox, Donna, Sandra Gattenhof, Sasha Mackay, and Helen Klaebe. "Pivots, arts practice and potentialities: Creative engagement, community well-being and arts-led research during COVID-19 in Australia." Journal of Applied Arts & Health 13, no. 1 (March 1, 2022): 61–75. http://dx.doi.org/10.1386/jaah_00088_1.
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Pre-dating COVID-19 it was widely acknowledged that there was a loneliness epidemic and that prolonged loneliness and reduced human touch results in increased propensity to heart disease, stroke and clinical dementia. Given such statistics, and the use of isolation and shielding as a health response to the COVID-19 pandemic, it is imperative that creative projects or research investigations embed strategies to address the potential fragmentation of community and increased difficulty of social connection. This discussion examines two Australian art-based projects ‐ ‘A Place in Our Art’ and ‘Shorewell Presents … Dear Friend’ ‐ to illustrate the use of arts and cultural activities to maintain and support social connection. The article draws on arts-health and performance theory to unpack project design and outcomes of using both physical and virtual creative art-based engagement strategies in a crisis to entice continued participation and support well-being.
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Motta, Ana Paula, Peter M. Veth, and Balanggarra Aboriginal Corporation. "Relational ontologies and performance: Identifying humans and nonhuman animals in the rock art from north-eastern Kimberley, Australia." Journal of Anthropological Archaeology 63 (September 2021): 101333. http://dx.doi.org/10.1016/j.jaa.2021.101333.
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Marks, Laura U. "Calligraphic Animation: Documenting the Invisible." Animation 6, no. 3 (September 21, 2011): 307–23. http://dx.doi.org/10.1177/1746847711417930.
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Calligraphic animation shifts the locus of documentation from representation to performance, from index to moving trace. Animation is an ideal playing field for the transformative and performative qualities that Arabic writing, especially in the context of Islamic art, has explored for centuries. In Islamic traditions, writing sometimes appears as a document or a manifestation of the invisible. Philosophical and theological implications of text and writing in various Islamic traditions, including mystic sciences of letters, the concept of latency associated with Shi‘a thought, and the performative or talismanic quality of writing, come to inform contemporary artworks. A historical detour shows that Arabic animation arose not directly from Islamic art but from Western-style art education and the privileging of text in Western modern art – which itself was inspired by Islamic art. A number of artists from the Muslim and Arab world, such as Mounir Fatmi (Morocco/France), Kutlug Ataman (Turkey), and Paula Abood (Australia) bring writing across the boundary from religious to secular conceptions of the invisible. Moreover, the rich Arabic and Islamic tradition of text-based art is relevant for all who practice and study text-based animation.
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Khanesar, Mojtaba Ahmadieh, Jingyi Lu, Thomas Smith, and David Branson. "Electrical Load Prediction Using Interval Type-2 Atanassov Intuitionist Fuzzy System: Gravitational Search Algorithm Tuning Approach." Energies 14, no. 12 (June 16, 2021): 3591. http://dx.doi.org/10.3390/en14123591.
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Establishing accurate electrical load prediction is vital for pricing and power system management. However, the unpredictable behavior of private and industrial users results in uncertainty in these power systems. Furthermore, the utilization of renewable energy sources, which are often variable in their production rates, also increases the complexity making predictions even more difficult. In this paper an interval type-2 intuitionist fuzzy logic system whose parameters are trained in a hybrid fashion using gravitational search algorithms with the ridge least square algorithm is presented for short-term prediction of electrical loading. Simulation results are provided to compare the performance of the proposed approach with that of state-of-the-art electrical load prediction algorithms for Poland, and five regions of Australia. The simulation results demonstrate the superior performance of the proposed approach over seven different current state-of-the-art prediction algorithms in the literature, namely: SVR, ANN, ELM, EEMD-ELM-GOA, EEMD-ELM-DA, EEMD-ELM-PSO and EEMD-ELM-GWO.
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Johnston, Daniel. "Inside the Theatre of Business: Performance and Corporate Presentation Training." Journal of Business Anthropology 10, no. 1 (July 16, 2021): 138–60. http://dx.doi.org/10.22439/jba.v10i1.6329.
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How are theatre-techniques used in business training? Do theatre-making skills represent a unique field of knowledge? In this case study, I consider the National Institute of Dramatic Art’s (NIDA) ‘Executive Presenter’ two- day course in Sydney, Australia, and attempt to counter a simplistic notion of theatre as magical practice. Performance techniques are complex, historically and culturally-contingent processes for making and sharing meaning (McAuley 2008). I describe exercises from the course in some detail ‒ including elements of space, voice, body, structure, awareness, spontaneity, and rehearsal ‒ and suggest that we can understand these presentation skills in a relationship of continuity with everyday meaning-making, rather than as a magical art form. On the one hand, NIDA trades off and reinforces the popular mystique surrounding acting. On the other hand, the course introduces simple and effective techniques of verbal and non-verbal communication. Ultimately, my investigation considers the claim made in marketing the course that ‘public speaking can come naturally to you.’
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De Geyter, Ch, C. Wyns, C. Calhaz-Jorge, J. de Mouzon, A. P. Ferraretti, M. Kupka, A. Nyboe Andersen, K. G. Nygren, and V. Goossens. "20 years of the European IVF-monitoring Consortium registry: what have we learned? A comparison with registries from two other regions." Human Reproduction 35, no. 12 (November 14, 2020): 2832–49. http://dx.doi.org/10.1093/humrep/deaa250.
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Abstract STUDY QUESTION How has the performance of the European regional register of the European IVF-monitoring Consortium (EIM)/European Society of Human Reproduction and Embryology (ESHRE) evolved from 1997 to 2016, as compared to the register of the Centres for Disease Control and Prevention (CDC) of the USA and the Australia and New Zealand Assisted Reproduction Database (ANZARD)? SUMMARY ANSWER It was found that coherent and analogous changes are recorded in the three regional registers over time, with a different intensity and pace, that new technologies are taken up with considerable delay and that incidental complications and adverse events are only recorded sporadically. WHAT IS KNOWN ALREADY European data on ART have been collected since 1997 by EIM. Data collection on ART in Europe is particularly difficult due to its fragmented political and legal landscape. In 1997, approximately 78.1% of all known institutions offering ART services in 23 European countries submitted data and in 2016 this number rose to 91.8% in 40 countries. STUDY DESIGN, SIZE, DURATION We compared the changes in European ART data as published in the EIM reports (2001–2020) with those of the USA, as published by CDC, and with those of Australia and New Zealand, as published by ANZARD. PARTICIPANTS/MATERIALS, SETTING, METHODS We performed a retrospective analysis of the published EIM data sets spanning the 20 years observance period from 1997 to 2016, together with the published data sets of the USA as well as of Australia and New Zealand. By comparing the data sets in these three large registers, we analysed differences in the completeness of the recordings together with differences in the time intervals on the occurrence of important trends in each of them. Effects of suspected over- and under-reporting were also compared between the three registers. X2 log-rank analysis was used to assess differences in the data sets. MAIN RESULTS AND THE ROLE OF CHANCE During the period 1997–2016, the numbers of recorded ART treatments increased considerably (5.3-fold in Europe, 4.6-fold in the USA, 3.0-fold in Australia and New Zealand), while the number of registered treatment modalities rose from 3 to 7 in Europe, from 4 to 10 in the USA and from 5 to 8 in Australia and New Zealand, as published by EIM, CDC and ANZARD, respectively. The uptake of new treatment modalities over time has been very different in the three registers. There is a considerable degree of underreporting of the number of initiated treatment cycles in Europe. The relationship between IVF and ICSI and between fresh and thawing cycles evolved similarly in the three geographical areas. The freeze-all strategy is increasingly being adopted by all areas, but in Europe with much delay. Fewer cycles with the transfer of two or more embryos were reported in all three geographical areas. The delivery rate per embryo transfer in thawing cycles bypassed that in fresh cycles in the USA in 2012, in Australia and New Zealand in 2013, but not yet in Europe. As a result of these changing approaches, fewer multiple deliveries have been reported. Since 2012, the most documented adverse event of ART in all three registers has been premature birth (<37 weeks). Some adverse events, such as maternal death, ovarian hyperstimulation syndrome, haemorrhage and infections, were only recorded by EIM and ANZARD. LIMITATIONS, REASONS FOR CAUTION The methods of data collection and reporting were very different among European countries, but also among the three registers. The better the legal background on ART surveillance, the more complete are the data sets. Until the legal obligation to report is installed in all European countries together with an appropriate quality control of the submitted data the reported numbers and incidences should be interpreted with caution. WIDER IMPLICATIONS OF THE FINDINGS The growing number of reported treatments in ART, the higher variability in treatment modalities and the rising contribution to the birth rates over the last 20 years point towards the increasing impact of ART. High levels of completeness in data reporting have been reached, but inconsistencies and inaccuracies still remain and need to be identified and quantified. The current trend towards a higher diversity in treatment modalities and the rising impact of cryostorage, resulting in improved safety during and after ART treatment, require changes in the organization of surveillance in ART. The present comparison must stimulate all stakeholders in ART to optimize surveillance and data quality assurance in ART. STUDY FUNDING/COMPETING INTEREST(S) This study has no external funding and all costs are covered by ESHRE. There are no competing interests. TRIAL REGISTRATION NUMBER N/A.
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White, Michael. "Resources for a Journey of Hope: the Work of Welfare State International." New Theatre Quarterly 4, no. 15 (August 1988): 195–208. http://dx.doi.org/10.1017/s0266464x00002748.
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Founded by John Fox in Bradford in 1968, Welfare State International – WSI for short – is a consortium of freelance associates, many of whom have a fine art background. Funded by the Arts Council to research prototype forms of visual, celebratory theatre and ceremonial art, the company has achieved an international reputation for its original and pioneering work, having worked for and with communities throughout Britain and Europe, and as far afield as Japan, Australia, the USA, Canada, and Tanzania. Handcrafted celebratory events may variously incorporate specially made pyrotechnic animations, iceworks, architectural lanterns, carnival orchestras, oratorios of popular song, clay grottoes, mobile tableaux of performance art, theatrical transformations, surreal films, and infernal sculptural machines. WSI has consistently explored the territory between theatrical product and applied anthropology. In the original series of Theatre Quarterly, a feature in TQ8 (1972), compiled by John Fox, described and illustrated the company's early years, and in 1983 Tony Coult and Baz Kershaw edited a ‘Welfare State Handbook’ for Methuen, entitled Engineers of the Imagination. As the company celebrates its twentieth anniversary, its Development Director, Michael White, looks at some current directions and preoccupations in WSI's work and thinking.
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Salmon, Paul, Adam Hulme, Guy H. Walker, Patrick Waterson, and Neville A. Stanton. "The Accident Network (AcciNet): A new accident analysis method for describing the interaction between normal performance and failure." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 64, no. 1 (December 2020): 1676–80. http://dx.doi.org/10.1177/1071181320641407.
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Accidents continue to create an unacceptable personal, social, and economic burden in many domains. Various accident analysis methods exist; however, key limitations have been identified. This paper describes a new accident analysis method, the Accident Network (AcciNet), that was recently developed as part of an ongoing collaboration between Human Factors and Ergonomics research groups from Australia and the United Kingdom. The method is demonstrated via an analysis of the Uber-Volvo fatal pedestrian collision. The analysis demonstrates how AcciNet goes beyond current state-of-the-art accident analysis methods to consider the role of normal performance in accident causation and identify the interrelations between failures, normal performance, and both human and non-human actors in the system. We describe the implications for accident analysis in practice and outline the next steps of the research program, including formal reliability and validity testing of AcciNet and the development of practical training materials.
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Banimahd, Meysam, Steve Tyler, Matthew Kuo, and Fiona Chow. "Earthquake risk management for oil and gas infrastructure in the north west of Australia." APPEA Journal 60, no. 2 (2020): 588. http://dx.doi.org/10.1071/aj19213.
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The July 2019 magnitude 6.6 earthquake 200 km offshore from Broome is a recent reminder of the significant risk that earthquakes pose to oil and gas infrastructure in Australia. Unlike tropical cyclones, there are no reliable methods for predicting the timing, location and magnitude of imminent earthquakes. Appropriate risk management is therefore required, together with the implementation of emergency response and integrity management procedures, to manage the potential impacts to health, safety, process safety, the environment and production. Given the concentration of oil and gas infrastructure in the north west of Australia, a collaborative approach is advantageous for earthquake risk management and emergency response measures. This paper shares Woodside’s earthquake risk and integrity management procedures with the aim of enabling appropriate quality and consistency throughout the industry. The paper reviews state-of-the-art international practice in earthquake risk management for critical infrastructure from design to operation. Applicable seismic design criteria, likely failure modes and performance requirements are also described. Woodside’s real-time earthquake alert and integrity management systems are presented. Recommendations are made on best practice for earthquake risk management in the region and areas for further collaboration and improvement within the industry.
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Chun, Tarryn Li-Min. "Wang Chong and the Theatre of Immediacy: Technology, Performance, and Intimacy in Crisis." Theatre Survey 62, no. 3 (August 3, 2021): 295–321. http://dx.doi.org/10.1017/s0040557421000211.
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In early January 2020, when Chinese theatre director Wang Chong (b. 1982) arrived in New York to remount his production of Nick Payne's Constellations for the Public Theater's Under the Radar Festival, he couldn't have predicted that this would be the last time for months that he would watch his actors from the middle of a full house. By the time his work-in-progress solo show, Made in China 2.0, opened at the Asia TOPA Festival in Melbourne, Australia, at the end of that February, it was clear that there would be no live theatre in Wang's hometown of Beijing for some time. All of China was on lockdown as the disease now tragically familiar as COVID-19 swept the country. Then, as Wang returned to Beijing in early March, businesses around the globe were shuttering, theatres were going dark, and theatre artists were confronting an unprecedented challenge to their personal safety, livelihoods, and ability to make meaningful art. In short order, some well-resourced theatre institutions began to stream performance recordings and reconfigure their seasons for online platforms. Only a month after returning home, Wang Chong joined this mass online movement with his production of Samuel Beckett's Waiting for Godot, streamed live on 5–6 April 2020 as Dengdai Geduo.
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YOUNG, GREG. "‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music." Popular Music 23, no. 2 (May 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.
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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Australian settings. This paper examines that development as part of a continuum of twentieth century Australian male music performance that has variously been informed by the bush legend; a mythologised late nineteenth-century Australian masculine image, popularised in The Bulletin under the editorship of Archibald, that saw the urban as the feminine and the rural as the masculine. The paper considers how the combination of sexual anxiety surrounding male gender identity in Australian performance, and this rigid bush aesthetic, have encouraged the development of unstable male gender representations in Australian music that for the most part have come across as either caricatured male, sexless or anti-pop. The exception is the late Michael Hutchence whose performances were a clear departure from this in that on stage and in music videos he conveyed a star persona that was sexually charged and often ambiguous about its sexuality. It is for that reason alone that Michael Hutchence has been referred to as Australia's only international rock star (Carney 1997).
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Gesesew, Hailay, Paul Ward, Kifle Woldemichael, and Lillian Mwanri. "Improving the UNAIDS 90-90-90 Treatment Targets: Solutions Suggested from a Qualitative Study of HIV Patients, Community Advocates, Health Workers and Program Managers in Jimma, Southwest Ethiopia." International Journal of Environmental Research and Public Health 17, no. 1 (January 6, 2020): 378. http://dx.doi.org/10.3390/ijerph17010378.
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Ethiopia’s performance toward the UNAIDS 90-90-90 targets is low. The present study explored interventions to improve delayed HIV care presentation (first 90), poor retention (second 90) and clinical and immunological failure (third 90). We employed a qualitative approach using in-depth interviews with 10 HIV patients, nine health workers, 11 community advocates and five HIV program managers. Ethical approvals were obtained from Australia and Ethiopia. The following were suggested solutions to improve HIV care and treatment to meet the three 90s: (i) strengthening existing programs including collaboration with religious leaders; (ii) implementing new programs such as self-HIV testing, house-to-house HIV testing, community antiretroviral therapy (ART) distribution and teach-test-treat-link strategy; (iii) decentralizing and integrating services such as ART in health post and in private clinics, and integrating HIV care services with mental illness and other non-communicable diseases; and (iv) filling gaps in legislation in issues related with HIV status disclosure and traditional healing practices. In conclusion, the study suggested important solutions for improving delayed HIV care presentation, attrition, and clinical and immunological failure. A program such as the teach-test-treat-link strategy was found to be a cross-cutting intervention to enhance the three 90s. We recommend further nationwide research before implementing the interventions.
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Amini, Erfan, Danial Golbaz, Rojin Asadi, Mahdieh Nasiri, Oğuzhan Ceylan, Meysam Majidi Nezhad, and Mehdi Neshat. "A Comparative Study of Metaheuristic Algorithms for Wave Energy Converter Power Take-Off Optimisation: A Case Study for Eastern Australia." Journal of Marine Science and Engineering 9, no. 5 (May 1, 2021): 490. http://dx.doi.org/10.3390/jmse9050490.
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One of the most encouraging sorts of renewable energy is ocean wave energy. In spite of a large number of investigations in this field during the last decade, wave energy technologies are recognised as neither mature nor broadly commercialised compared to other renewable energy technologies. In this paper, we develop and optimise Power Take-off (PTO) configurations of a well-known wave energy converter (WEC) called a point absorber. This WEC is a fully submerged buoy with three tethers, which was proposed and developed by Carnegie Clean Energy Company in Australia. Optimising the WEC’s PTO parameters is a challenging engineering problem due to the high dimensionality and complexity of the search space. This research compares the performance of five state-of-the-art metaheuristics (including Covariance Matrix Adaptation Evolution Strategy, Gray Wolf optimiser, Harris Hawks optimisation, and Grasshopper Optimisation Algorithm) based on the real wave scenario in Sydney sea state. The experimental achievements show that the Multiverse optimisation (MVO) algorithm performs better than the other metaheuristics applied in this work.
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Cohen, Matthew Isaac. "Look at the Clouds: Migration and West Sumatran ‘Popular’ Theatre." New Theatre Quarterly 19, no. 3 (August 2003): 214–29. http://dx.doi.org/10.1017/s0266464x03000125.
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The numerous interrelated ‘popular’ theatres of Indonesia provide important evidence for the study of artistic interaction and change. The West Sumatran Randai theatre emerged in a culturally hybrid space and has been a sensitive index to local, national, and international flows and conditions. Matthew Isaac Cohen traces the origins of Randai in the late-colonial period and discusses its associations with rantau – a time of temporary migration, traditionally associated with the rite of passage to adulthood, but increasingly a semi-permanent exile for many Sumatrans. He then traces how and why Randai has now become more than a local art form, having been exported out of the province of West Sumatra to be utilized as source material for modern theatre by Indonesian theatre makers in Jakarta and Australia. Matthew Isaac Cohen is a Lecturer in Theatre Studies at the University of Glasgow, a scholar of Indonesian theatre and performance, and a practising shadow puppeteer.
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Su, Yang, and David Jones. "Healing the ‘Scar’ of the Landscape: Post-Mining Landscape in Anglesea." KnE Engineering 2, no. 2 (February 9, 2017): 182. http://dx.doi.org/10.18502/keg.v2i2.613.
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<p>The nexus between environmental bio-remediation and environmental design, as it pertains to disused coal mining sites in Australia, is little investigated. Increasingly, many of these open cut extraction holes around south-eastern Australia, are becoming redundant as their resources are exhausted or non-economic viability creeps into the industry or are becoming management ‘nightmares’. The recently announced March 2017 cessation of the Yallourn Power Station and associated brown coal Open Cut, and the recent fires and insurance liability legal determinations of the Yallourn Open Cut are exemplar of the former and latter respectively.</p>This paper surveys the deeper bio-remediation and ecological transformative issues directly associated with the Anglesea brown coal Open Cut, and offers an ecological design lens insight as to possible treatments and scenarios that can be offered to guide the future use and management of the site. The lens demonstrates the richness that interdisciplinary design and applied research offers in assisting the healing and mediation of sites. The extraordinary nature and scope of the Anglesea coal mine site provides an opportunity to create a range of cultural attractions, natural succession treatments, natural bio-remediation strategies and educational opportunities. One scenario, for an Anglesea Lake Eco-Resort, proposes to incorporate an integrated Aboriginal cultural destination, performance centre, art installations and recreational venues, engaging the Anglesea community, visitors, researchers and students towards creating a vibrant and unique environment.
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Woodland, Sarah, Leah Barclay, Vicki Saunders, and Bianca Beetson. "Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison." Performance Matters 8, no. 1 (June 9, 2022): 73–82. http://dx.doi.org/10.7202/1089679ar.
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Listening to Country was an arts-led research project where, as an interdisciplinary team of practitioner-researchers, we worked with incarcerated Aboriginal and Torres Strait Islander women to produce a one-hour immersive audio work based on field recordings of natural environments. The project began with a pilot phase in Brisbane Women’s Correctional Centre (BWCC), Australia, to investigate the value of acoustic ecology in promoting wellbeing among women who were experiencing separation from family, culture, and Country (ancestral homelands). The team facilitated a three-week program with the women, using arts-led processes informed by visual art, performance, Indigenous storywork, and dadirri (deep, active listening). The soundscape presented here is a response to the creative process that we led inside the prison and the audio work that the incarcerated women co-created with the research team. The accompanying text describes the background to the original project, the process we undertook in the prison, and our methodology for translating knowledge from the research based on the acoustic and poetic resonances of our experience.
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Moody, David. "Peter Brook's Heart of Light: ‘Primitivism’ and Intercultural Theatre." New Theatre Quarterly 11, no. 41 (February 1995): 33–39. http://dx.doi.org/10.1017/s0266464x0000885x.
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Peter Brook's work has always figured in debates over ‘intercultural’ projects in the contemporary theatre. However, the controversy has most often centred on his engagement with Asian theatrical traditions, and in particular on his production of The Mahabharata. David Moody here examines Peter Brook's writings on Africa, as theatrical ‘discourse’ with its own theoretical half-life quite distinct from actual productions. This discourse, it is argued, can be described as ‘primitivist’, in that it constructs the African audience as, in Barthes's term, ‘degree zero’ – a ‘limit-text’ to universal theatrical communication. In doing so it presents a limiting version of African theatrical traditions themselves, and, as a result, reinforces a broader, more destructive global discourse of cultural primitivism concerning African and so-called ‘indigenous’ art and performance. David Moody, who currently lectures in Theatre and Drama Studies at Murdoch University, Perth, Australia, is a playwright, actor, and director who has written extensively on African, post-colonial, and popular theatre, and is now engaged in his own problematic intercultural projects.
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Massari, Christian, Wade Crow, and Luca Brocca. "An assessment of the performance of global rainfall estimates without ground-based observations." Hydrology and Earth System Sciences 21, no. 9 (September 5, 2017): 4347–61. http://dx.doi.org/10.5194/hess-21-4347-2017.
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Abstract. Satellite-based rainfall estimates over land have great potential for a wide range of applications, but their validation is challenging due to the scarcity of ground-based observations of rainfall in many areas of the planet. Recent studies have suggested the use of triple collocation (TC) to characterize uncertainties associated with rainfall estimates by using three collocated rainfall products. However, TC requires the simultaneous availability of three products with mutually uncorrelated errors, a requirement which is difficult to satisfy with current global precipitation data sets. In this study, a recently developed method for rainfall estimation from soil moisture observations, SM2RAIN, is demonstrated to facilitate the accurate application of TC within triplets containing two state-of-the-art satellite rainfall estimates and a reanalysis product. The validity of different TC assumptions are indirectly tested via a high-quality ground rainfall product over the contiguous United States (CONUS), showing that SM2RAIN can provide a truly independent source of rainfall accumulation information which uniquely satisfies the assumptions underlying TC. On this basis, TC is applied with SM2RAIN on a global scale in an optimal configuration to calculate, for the first time, reliable global correlations (vs. an unknown truth) of the aforementioned products without using a ground benchmark data set. The analysis is carried out during the period 2007–2012 using daily rainfall accumulation products obtained at 1° × 1° spatial resolution. Results convey the relatively high performance of the satellite rainfall estimates in eastern North and South America, southern Africa, southern and eastern Asia, eastern Australia, and southern Europe, as well as complementary performances between the reanalysis product and SM2RAIN, with the first performing reasonably well in the Northern Hemisphere and the second providing very good performance in the Southern Hemisphere. The methodology presented in this study can be used to identify the best rainfall product for hydrologic models with sparsely gauged areas and provide the basis for an optimal integration among different rainfall products.
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Sussman, Sally, and Tony Day. "Orientalia, Orientalism, and The Peking Opera Artist as ‘Subject’ in Contemporary Australian Performance." Theatre Research International 22, no. 2 (1997): 130–49. http://dx.doi.org/10.1017/s030788330002054x.
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As brochures for the January 1996 Sydney Festival blare out ‘Feel the Beat. Feel the Heat!’ to draw the crowds of summering Sydney folk to performances of the National Dance Company of Guinea (already appropriated and stamped with approval by reviewers in San Francisco and London, who are quoted on the same flyer), the chairman and former artistic director of Playbox Theatre in Melbourne, Carrillo Gartner, worries about the strength of popular Australian opposition to Australia's expanding links with Asia. In an article on the holding of the 14th annual Federation for Asian Cultural Promotion in Melbourne, Gartner fears that ‘there are people in this community […] thinking that […] it is the demise of all they believe in their British heritage’. The focus of the article, though, is not the promotion of Asian culture but how to overcome Asian indifference to Australia and the problem of bringing Australian artists to the notice of Asian impresarios and audiences. Australian cultural cringe wins out over Australian Asia-literate political correctness. In another corner of the continent the director and playwright Peter Copeman has been attempting to replace ‘the Euro-American hand-me-downs and imitations’ of mainstream Australian theatre with a theatre project which explores ‘attitudes of the dominant Anglo-Celtic and the Vietnamese minority cultures towards each other, using the intercultural dialectic as the basis of dramatic conflict’.
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Hänel, Mirko, Darja Istenič, Hans Brix, and Carlos A. Arias. "Wastewater-Fertigated Short-Rotation Coppice, a Combined Scheme of Wastewater Treatment and Biomass Production: A State-of-the-Art Review." Forests 13, no. 5 (May 22, 2022): 810. http://dx.doi.org/10.3390/f13050810.
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Vegetated filters based on short-rotation coppice (SRC) can be used to treat various industrial and municipal wastewater while producing valuable biomass in an economical and sustainable way, showing potential in the field of pollution control and bio-based circular economy. This study provides an overview of the state of the art in wastewater-fertigated SRC systems (wfSRCs) worldwide. Different designs, wastewater sources, tree species and varieties, planting schemes, geographic locations, and climates for wfSRC implementation were identified after conducting a literature review. The performance review includes standard water quality parameters, BOD5, COD, nitrogen, phosphorous, and potassium, as well as the extent of pathogen and emergent contaminant removal and biomass production rates. Identified knowledge gaps and important factors to support the practical implementation of wfSRCs are highlighted. Europe leads the research of wfSRC, followed by North America and Australia. The available publications are mainly from developed countries (73%). The most applied and studied tree species in wfSRC systems are willows (32%), followed by eucalyptus (21%) and poplars (18%). Most of the reviewed studies used domestic wastewater (85%), followed by industrial wastewater (8%) and landfill leachate (7%). Most data show high BOD5 and COD removal efficiencies (80%). There are large differences in the documented total nitrogen and total phosphorus removal efficiencies (12%–99% and 40%–80%, respectively). Enhanced biomass growth in wfSRC systems due to wastewater fertigation was reported in all reviewed studies, and biomass production varied from 3.7 to 40 t DM/ha/yr. WfSRCs seem to have high potential as viable and cost-effective wastewater treatment alternatives to conventional treatment technologies.
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R.D. Hoult. "Minimum Longitudinal Reinforcement Requirements for Boundary Elements of Limited Ductile Walls for AS 3600." Electronic Journal of Structural Engineering 17 (January 1, 2017): 43–52. http://dx.doi.org/10.56748/ejse.17218.
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Observations of poor performance of reinforced concrete walls in recent earthquake events have been associated with a light amount of longitudinal reinforcement. In particular, single-crack failures have been observed for reinforced concrete walls that have an insufficient amount of longitudinal reinforcement to allow secondary cracking. It has been proposed that the next revision of the Concrete Structures code in Australia (AS 3600) increase the current minimum longitudinal reinforcement required for limited ductile reinforced concrete walls to mitigate against this type of failure in the event of a large earthquake. This research investigates the current and proposed longitudinal reinforcement requirements of AS 3600. A reinforced concrete wall is analysed using a state-of-the-art finite element modelling program for a range of different longitudinal reinforcement configurations. The wall detailed to the minimum longitudinal reinforcement requirements proposed for the next revision of AS 3600, which requires boundary elements, was found to allow secondary cracking and using less bars than a wall with distributed reinforcement. The displacement capacities of the walls that formed secondary cracks are found to be limited unless transverse reinforcement is used to confine the longitudinal reinforcement in the boundary ends of the wall.
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Murphies, Andrew. "Sound in Space: Adventures in Australian Sound Art, held at the Museum of Contemporary Art, Artspace and Sydney's Tropical Garden glasshouse, Sydney, Australia, 26 May-22 August 1995, and curated by Rebecca Coyle. Audiothèque curated by Alessio Cavallaro; performance programme co-ordinated by Coyle, Cavallaro and Nicholas Tsoutas." Convergence: The International Journal of Research into New Media Technologies 2, no. 1 (March 1996): 133–39. http://dx.doi.org/10.1177/135485659600200110.
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Dinesh, N., and G. C. Dandy. "A decision support system for municipal wastewater reclamation and reuse." Water Supply 3, no. 3 (June 1, 2003): 1–8. http://dx.doi.org/10.2166/ws.2003.0001.
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Wastewater reclamation and reuse is being viewed increasingly as a sustainable approach to integrated water resources management in many countries including Australia. The technical feasibility of reclamation and reuse has been demonstrated by a number of successful projects. The current state-of-the art of reclamation technologies can produce water of any desired quality (including potable quality). However, the increasing number of efficient treatment processes has made the selection of an optimum treatment train a difficult task for planners and decision-makers. A decision support system (DSS) can be particularly useful in wastewater reclamation and reuse as it can provide assistance in the evaluation and selection of treatment alternatives for a given reuse application before exhaustive simulation or pilot studies are conducted. This paper highlights the ongoing research on the development of a computer based DSS named MOSTWATAR(©) (which stands for Model for Optimum Selection of Technologies for WAstewater Treatment And Reuse). MOSTWATAR(©) has a database of the performance characteristics and costs of commonly used reclamation technologies and an optimization module based on genetic algorithms to generate and optimize treatment trains. It also contains detailed reuse guidelines applicable in the various Australian States. This model is intended to assist planners and decision-makers in the techno-economic assessment of reclamation technologies and aid in the selection of the best 5 treatment trains for a given end use and location, wastewater characteristics, and flow rate. This paper describes salient features of the MOSTWATAR(©) package and demonstrates its application to a case study. The results from user-generated options are presented and it is shown that this model can be a very useful tool for selecting the best treatment trains for wastewater reclamation and reuse.
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Williams, P., J. M. Stanley, and M. K. Cattach. "The application of ground and airborne magnetic methods to exploration and geological mapping in the Yilgarn goldfields of Western Australia." Exploration Geophysics 20, no. 2 (1989): 103. http://dx.doi.org/10.1071/eg989103.
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The performance of both ground level and airborne magnetometer systems have been greatly improved as a result of advances in digital electronics, accurate automatic positioning devices and the introduction of high resolution, fast sampling caesium magnetometer sensors. Multiple sensor, low heading error airborne surveys are now being performed at relatively low ground clearance levels. The development of the TM-3, automatic positioning ground magnetometer system has made it practical to adequately sample all spatial frequencies present in the ground level magnetic field thereby acquiring the full spectrum of magnetic information.Approximately a one square kilometre area near Coolgardie in WA has been chosen as a case-study area for investigating the relative effectiveness of conventional and new, ground level and airborne, magnetic surveying techniques. The site is geologically typical of the auriferous environments within the Yilgarn block.This is the first time that such a comparative study has been made using all of the most common magnetic survey sampling standards available to the exploration industry. Data collected from conventional, government sponsored regional airborne survey and ground level proton precession magnetometer surveys has been image processed using state-of-the-art techniques. Data from a high quality, low level, multiple sensor, airborne, caesium magnetometer survey and a "broad spectrum" (sampled at a density of 200,000 measurements per square km) ground level caesium survey have similarly been processed. Geological control has been obtained from an extensive drilling and costeaning program.This data set has provided a definitive comparison in cost spent, speed of survey and information obtained from each survey.
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Ferraro, Diego, Patricio Alberto, Eduardo Villarino, and Alicia Doval. "A multi-physics analysis for the actuation of the SSS in opal reactor." EPJ Nuclear Sciences & Technologies 4 (2018): 8. http://dx.doi.org/10.1051/epjn/2018003.
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OPAL is a 20 MWth multi-purpose open-pool type Research Reactor located at Lucas Heights, Australia. It was designed, built and commissioned by INVAP between 2000 and 2006 and it has been operated by the Australia Nuclear Science and Technology Organization (ANSTO) showing a very good overall performance. On November 2016, OPAL reached 10 years of continuous operation, becoming one of the most reliable and available in its kind worldwide, with an unbeaten record of being fully operational 307 days a year. One of the enhanced safety features present in this state-of-art reactor is the availability of an independent, diverse and redundant Second Shutdown System (SSS), which consists in the drainage of the heavy water reflector contained in the Reflector Vessel. As far as high quality experimental data is available from reactor commissioning and operation stages and even from early component design validation stages, several models both regarding neutronic and thermo-hydraulic approaches have been developed during recent years using advanced calculations tools and the novel capabilities to couple them. These advanced models were developed in order to assess the capability of such codes to simulate and predict complex behaviours and develop highly detail analysis. In this framework, INVAP developed a three-dimensional CFD model that represents the detailed hydraulic behaviour of the Second Shutdown System for an actuation scenario, where the heavy water drainage 3D temporal profiles inside the Reflector Vessel can be obtained. This model was validated, comparing the computational results with experimental measurements performed in a real-size physical model built by INVAP during early OPAL design engineering stages. Furthermore, detailed 3D Serpent Monte Carlo models are also available, which have been already validated with experimental data from reactor commissioning and operating cycles. In the present work the neutronic and thermohydraulic models, available for OPAL reactor, are coupled by means of a shared unstructured mesh geometry definition of relevant zones inside the Reflector Vessel. Several scenarios, both regarding coupled and uncoupled neutronic & thermohydraulic behavior, are presented and analyzed, showing the capabilities to develop and manage advanced modelling that allows to predict multi-physics variables observed when an in-depth performance analysis of a Research Reactor like OPAL is carried out.
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Bennett, Theodore. "Tortured genius: The legality of injurious performance art." Alternative Law Journal 42, no. 1 (March 2017): 24–28. http://dx.doi.org/10.1177/1037969x17694791.
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In the 20th century, a distinct subset of performance art emerged in which the artist is deliberately physically injured as part of their performance. While such performances are now a settled type of artistic expression their legal status is unclear. This article examines the legality of such performances under the Australian criminal law. Focusing on common law principles, it compares injurious performance art to the legally recognised category of ‘dangerous exhibitions’ and ultimately argues that such performances will only be lawful if it can be clearly demonstrated that they have public utility.
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Fensham, Rachel. "Trajectories of the ‘Dead Heart’: Performing the Poetics of (Australian) Space." New Theatre Quarterly 24, no. 1 (January 30, 2008): 3–13. http://dx.doi.org/10.1017/s0266464x08000018.
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In this paper Rachel Fensham returns to the writings of Gaston Bachelard in order to examine the poetics of space from a non-European perspective. Spatial metaphors, such as the ‘dead heart’ that might evoke phenomenological and psychic dimensions of space in Australia, also register in historical and geographical imaginaries. However, postcolonial theories of space disturb visual metaphors and cartographic concepts in the mises en scène of theatrical performance. Here, Fensham analyzes two recent performances that radically reimagine the poetics of (Australian) space through the movement trajectories of walking and falling. Rachel Fensham is a Professor of Dance and Theatre Studies at the University of Surrey. Her book with Denise Varney, The Dolls' Revolution: Australian Theatre and Cultural Imagination (Australian Scholarly Publishing, 2005), examines the influence of women playwrights on mainstream Australian theatre, and she is currently undertaking research on transnationalism and choreographic practice.
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Islam, Rafiqul, and Habibullah Habibullah. "Place Recognition with Memorable and Stable Cues for Loop Closure of Visual SLAM Systems." Robotics 11, no. 6 (December 4, 2022): 142. http://dx.doi.org/10.3390/robotics11060142.
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Visual Place Recognition (VPR) is a fundamental yet challenging task in Visual Simultaneous Localization and Mapping (V-SLAM) problems. The VPR works as a subsystem of the V-SLAM. VPR is the task of retrieving images upon revisiting the same place in different conditions. The problem is even more difficult for agricultural and all-terrain autonomous mobile robots that work in different scenarios and weather conditions. Over the last few years, many state-of-the-art methods have been proposed to solve the limitations of existing VPR techniques. VPR using bag-of-words obtained from local features works well for a large-scale image retrieval problem. However, the aggregation of local features arbitrarily produces a large bag-of-words vector database, limits the capability of efficient feature learning, and aggregation and querying of candidate images. Moreover, aggregating arbitrary features is inefficient as not all local features equally contribute to long-term place recognition tasks. Therefore, a novel VPR architecture is proposed suitable for efficient place recognition with semantically meaningful local features and their 3D geometrical verifications. The proposed end-to-end architecture is fueled by a deep neural network, a bag-of-words database, and 3D geometrical verification for place recognition. This method is aware of meaningful and informative features of images for better scene understanding. Later, 3D geometrical information from the corresponding meaningful features is computed and utilised for verifying correct place recognition. The proposed method is tested on four well-known public datasets, and Micro Aerial Vehicle (MAV) recorded dataset for experimental validation from Victoria Park, Adelaide, Australia. The extensive experimental results considering standard evaluation metrics for VPR show that the proposed method produces superior performance than the available state-of-the-art methods.
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Aryal, Jagannath, Chiranjibi Sitaula, and Sunil Aryal. "NDVI Threshold-Based Urban Green Space Mapping from Sentinel-2A at the Local Governmental Area (LGA) Level of Victoria, Australia." Land 11, no. 3 (February 27, 2022): 351. http://dx.doi.org/10.3390/land11030351.
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Obtaining accurate, precise and timely spatial information on the distribution and dynamics of urban green space is crucial in understanding livability of the cities and urban dwellers. Inspired from the importance of spatial information in planning urban lives, and availability of state-of-the-art remote sensing data and technologies in open access forms, in this work, we develop a simple three-level hierarchical mapping of urban green space with multiple usability to various stakeholders. We utilize the established Normalized Difference Vegetation Index (NDVI) threshold on Sentinel-2A Earth Observation image data to classify the urban vegetation of each Victorian Local Government Area (LGA). Firstly, we categorize each LGA region into two broad classes as vegetation and non-vegetation; secondly, we further categorize the vegetation regions of each LGA into two sub-classes as shrub (including grassland) and trees; thirdly, for both shrub and trees classes, we further classify them as stressed and healthy. We not only map the urban vegetation in hierarchy but also develop Urban Green Space Index (UGSI) and Per Capita Green Space (PCGS) for the Victorian Local Government Areas (LGAs) to provide insights on the association of demography with urban green infrastructure using urban spatial analytics. To show the efficacy of the applied method, we evaluate our results using a Google Earth Engine (GEE) platform across different NDVI threshold ranges. The evaluation result shows that our method produces excellent performance metrics such as mean precision, recall, f-score and accuracy. In addition to this, we also prepare a recent Sentinel-2A dataset and derived products of urban green space coverage of the Victorian LGAs that are useful for multiple stakeholders ranging from bushfire modellers to biodiversity conservationists in contributing to sustainable and resilient urban lives.
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Yuriy, Dyachenko. "FRENCH MUSETTE IN THE WORKS OF A. HAIDENKO." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 121–34. http://dx.doi.org/10.34064/khnum2-22.07.
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At the present stage of development of world music, the accordion and button accordion occupy one of the leading positions. Formation of instruments on the professional concert stage is an integral part of both world and Ukrainian musical culture, as evidenced by the composition, a large number of performing competitions and festivals that take place not only in Ukraine but also in Europe, Asia and America, and Australia. A significant phenomenon of the latest wave of development of accordion and button accordion art is the crystallization of pop and jazz in the works of composers and performers. From the second half of the twentieth century, the popularity of pop and jazz music among performers and listeners (due to its brightness and accessibility) opened new horizons, genre and stylistic searches which have largely affected the trends in the development of world accordion and button accordion art, including pop and jazz. The composer’s activity of leading performers is becoming a widespread phenomenon of modern pop-jazz accordion movement. Among them we note V. Podgorny, V. Zubytsky, V. Vlasov, A. Haidenko, O. Nazarenko, B. Myronchuk, A. Stashevsky and others. Well aware of the specifics of technical-expressive, acoustic and textural capabilities of modern accordion and button accordion, domestic composers-accordionists have created a large number of bright works of pop and jazz direction. Thus, the intensification of composer’s work and the emergence of new works of pop and jazz in the accordion and button accordion art of modern times have determined the relevance of the topic of this article. The purpose of the article is to identify the main stylistic and genre features of the French musette in the works of A. Haidenko. One of the most significant examples of this genre is the series «Paris Secrets» of five waltzes in the style of French musettes for accordion by A. Haidenko. Such a work as a «musette» has not yet been mastered by any of the domestic composers, especially in the form of a cycle. The composer rethought the basics of the French folk instrumental genre in terms of professional accordion performance. This synthesis transforms the genre of the musette, embodies the pop genre in terms of academic art. The use of professional performance capabilities distinguishes the artist’s works from other compositions of this style, with the general availability of musical material to a wide range of listeners. Typical melismatics of French musettes is organically and professionally implemented by A. Haidenko in the whole cycle. The melismatics is based on beamed ascending and descending grace notes on chord tones, “singing” grace notes on separate notes, chromatic grace notes (imitations of “transitions” to the sound), mordents. Sudden dynamic contrasts, shift of strong bars, chord introduction, virtuosity, brightness of phrases and sentences are typical for A. Haidenko’s musettes. The series of five waltzes for accordion “Paris Secrets” in the style of French musettes by A. Haidenko is a unique heritage not only of the domestic, but also of the world original repertoire.
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Anderson, Margot. "Dance Overview of the Australian Performing Arts Collection." Dance Research 38, no. 2 (November 2020): 149–67. http://dx.doi.org/10.3366/drs.2020.0305.
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The Dance Collection at Arts Centre Melbourne traces the history of dance in Australia from the late nineteenth century to today. The collection encompasses the work of many of Australia's major dance companies and individual performers whilst spanning a range of genres, from contemporary dance and ballet, to theatrical, modern, folk and social dance styles. The Dance Collection is part of the broader Australian Performing Arts Collection, which covers the five key areas of circus, dance, opera, music and theatre. In my overview of Arts Centre Melbourne's (ACM) Dance Collection, I will outline how the collection has grown and highlight the strengths and weaknesses associated with different methods of collecting. I will also identify major gaps in the archive and how we aim to fill these gaps and create a well-balanced and dynamic view of Australian dance history. Material relating to international touring artists and companies including Lola Montez, Adeline Genée, Anna Pavlova and the Ballet Russes de Monte Carlo provide an understanding of how early trends in dance performance have influenced our own traditions. Scrapbooks, photographs and items of costume provide glimpses into performances of some of the world's most famous dance performers and productions. As many of these scrapbooks were compiled by enthusiastic and appreciative audience members, they also record the emerging audience for dance, which placed Australia firmly on the touring schedule of many international performers in the early decades of the 20th century. The personal stories and early ambitions that led to the formation of our national companies are captured in collections relating to the history of the Borovansky Ballet, Ballet Guild, Bodenwieser Ballet, and the National Theatre Ballet. Costume and design are a predominant strength of these collections. Through them, we discover and appreciate the colour, texture and creative industry behind pivotal works that were among the first to explore Australian narratives through dance. These collections also tell stories of migration and reveal the diverse cultural roots that have helped shape the training of Australian dancers, choreographers and designers in both classical and contemporary dance styles. The development of an Australian repertoire and the role this has played in the growth of our dance culture is particularly well documented in collections assembled collaboratively with companies such as The Australian Ballet, Sydney Dance Company, and Chunky Move. These companies are at the forefront of dance in Australia and as they evolve and mature under respective artistic directors, we work closely with them to capture each era and the body of work that best illustrates their output through costumes, designs, photographs, programmes, posters and flyers. The stories that link these large, professional companies to a thriving local, contemporary dance community of small to medium professional artists here in Melbourne will also be told. In order to develop a well-balanced and dynamic view of Australian dance history, we are building the archive through meaningful collecting relationships with contemporary choreographers, dancers, designers, costume makers and audiences. I will conclude my overview with a discussion of the challenges of active collecting with limited physical storage and digital space and the difficulties we face when making this archive accessible through exhibitions and online in a dynamic, immersive and theatrical way.
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VARNEY, DENISE. "Caught in the Anthropocene: Theatres of Trees, Place and Politics." Theatre Research International 47, no. 1 (February 18, 2022): 7–27. http://dx.doi.org/10.1017/s030788332100047x.
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This article investigates live performance in the broad geo-historical context of the Anthropocene, a contested term in recent scholarship, but one that offers a breadth of focus on human relations with its coexistent non-human other. These interrelations are examined through a range of theatrical and non-theatrical genres and sites from the Australian parliament's coal theatrics to exemplary performances by Indigenous companies Bangarra Dance Theatre and Marrugeku. It sets the scene with a visit to the Curtain Tree in the rainforests of north Queensland, Australia, arguing that the vitality and display of its root system models a special kind of reciprocity between the performative elements of the environment and the environmental elements of theatre and performance. This is traced through recent short-run immersive works, Hanna Cormick's Mermaid (2020) and Melinda Hetzel and Company's Conservatory (2020), and a rereading of a canonical Australian drama, Summer of the Seventeenth Doll.
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Adil Abboud, Sahar, Saba Al-Wais, Salma Hameedi Abdullah, Fady Alnajjar, and Adel Al-Jumaily. "Label Self-Advised Support Vector Machine (LSA-SVM)—Automated Classification of Foot Drop Rehabilitation Case Study." Biosensors 9, no. 4 (September 27, 2019): 114. http://dx.doi.org/10.3390/bios9040114.
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Stroke represents a major health problem in our society. One of the effects of stroke is foot drop. Foot drop (FD) is a weakness that occurs in specific muscles in the ankle and foot such as the anterior tibialis, gastrocnemius, plantaris and soleus muscles. Foot flexion and extension are normally generated by lower motor neurons (LMN). The affected muscles impact the ankle and foot in both downward and upward motions. One possible solution for FD is to investigate the movement based on the bio signal (myoelectric signal) of the muscles. Bio signal control systems like electromyography (EMG) are used for rehabilitation devices that include foot drop. One of these systems is function electrical stimulation (FES). This paper proposes new methods and algorithms to develop the performance of myoelectric pattern recognition (M-PR), to improve automated rehabilitation devices, to test these methodologies in offline and real-time experimental datasets. Label classifying is a predictive data mining application with multiple applications in the world, including automatic labeling of resources such as videos, music, images and texts. We combine the label classification method with the self-advised support vector machine (SA-SVM) to create an adapted and altered label classification method, named the label self-advised support vector machine (LSA-SVM). For the experimental data, we collected data from foot drop patients using the sEMG device, in the Metro Rehabilitation Hospital in Sydney, Australia using Ethical Approval (UTS HREC NO. ETH15-0152). The experimental results for the EMG dataset and benchmark datasets exhibit its benefits. Furthermore, the experimental results on UCI datasets indicate that LSA-SVM achieves the best performance when working together with SA-SVM and SVM. This paper describes the state-of-the-art procedures for M-PR and studies all the conceivable structures.
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Gao, Guangliang, Zhifeng Bao, Jie Cao, A. K. Qin, and Timos Sellis. "Location-Centered House Price Prediction: A Multi-Task Learning Approach." ACM Transactions on Intelligent Systems and Technology 13, no. 2 (April 30, 2022): 1–25. http://dx.doi.org/10.1145/3501806.
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Accurate house prediction is of great significance to various real estate stakeholders such as house owners, buyers, and investors. We propose a location-centered prediction framework that differs from existing work in terms of data profiling and prediction model. Regarding data profiling, we make an important observation as follows – besides the in-house features such as floor area, the location plays a critical role in house price prediction. Unfortunately, existing work either overlooked it or had a coarse grained measurement of locations. Thereby, we define and capture a fine-grained location profile powered by a diverse range of location data sources, including transportation profile, education profile, suburb profile based on census data, and facility profile. Regarding the choice of prediction model, we observe that a variety of approaches either consider the entire data for modeling, or split the entire house data and model each partition independently. However, such modeling ignores the relatedness among partitions, and for all prediction scenarios, there may not be sufficient training samples per partition for the latter approach. We address this problem by conducting a careful study of exploiting the Multi-Task Learning (MTL) model. Specifically, we map the strategies for splitting the entire house data to the ways the tasks are defined in MTL, and select specific MTL-based methods with different regularization terms to capture and exploit the relatedness among tasks. Based on real-world house transaction data collected in Melbourne, Australia, we design extensive experimental evaluations, and the results indicate a significant superiority of MTL-based methods over state-of-the-art approaches. Meanwhile, we conduct an in-depth analysis on the impact of task definitions and method selections in MTL on the prediction performance, and demonstrate that the impact of task definitions on prediction performance far exceeds that of method selections.
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Genovese, Ann. "Unravelling Identities: Performance and Criticism in Australian Feminisms." Feminist Review 52, no. 1 (March 1996): 135–53. http://dx.doi.org/10.1057/fr.1996.12.
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The following article is an exploration of the non-linear and non-unified identities that make up Australian feminism. The main premise is that the divergent strands of rational and romantic thought, central to the project of liberalism, are inherent in the characterization of Australian feminisms. As a result, there have always been tensions between feminists, centred around politics of self-identification. These tensions continue to exist, but to be articulated in different ways in different decades as a result of the ever changing relationships between feminist, state and media/public discourses. These ideas are explored through comparing two key moments in our recent past in which differences between feminisms were declared. These two events – the Mary Daly visit to Australia to promote Gyn/Ecology in 1981, and the debate engendered by Helen Garner's The First Stone in 1995 – are taken to be performative metaphors through which the continuities and discontinuities of the nature of Australian feminisms can be subjectively explored.