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16S rDNA amplicon sequence data - Maules Creek
No full text16S rDNA amplicon sequence data for samples from groundwater, hyporheic zone and surface waters at Maules Creek, 2015-2016.<div><br></div><div>Data sequenced at Ramaciotti Centre NSW using Illumina MiSeq 250 bp reads, demultiplexed</div><div><br></div><div>See Korbel et al (in review) for full details of sample collection and processing</div>
Force-Matching Task Data Files and Analysis Code
No full text<p>The force-matching task integrates haptic technology and electrical engineering to determine an individual’s level of sensory attenuation to somatic stimuli. The task requires a detailed methodology to facilitate reliable and replicable estimates, and there has been a distinct lack of re-evaluation of the methodological processes related to this paradigm. In this task, subjects are asked to match a force delivered to their finger, either by pressing directly on their own finger with their other hand (known as the direct condition) or by controlling the device using an external potentiometer to control the force indirectly through a torque motor (known as the slider condition). We analysed N=138 subjects to determine 1) the optimal number of replications (2, 4, 6 or 8 replications) of the target force, 2) the optimal time-window (1-1.5s, 1.5-2s, 2-2.5s and 2.5-3s) to extract the estimate of sensory attenuation, 3) if participants’ performance during the task improved, worsened or was stable across the experimental period regardless of condition, and 4) if learning effects were related to psychological traits. </p><br><p><br></p><br><p>.do script file can be read using STATA</p>
Data from: Age-dependent social learning in a lizard
No full textEvidence of social learning, whereby the actions of an animal facilitate the acquisition of new information by another, is taxonomically biased towards mammals, especially primates, and birds. However, social learning need not be limited to group-living animals because species with less interaction can still benefit from learning about potential predators, food sources, rivals and mates. We trained male skinks (Eulamprus quoyii), a mostly solitary lizard from eastern Australia, in a two-step foraging task. Lizards belonging to ‘young’ and ‘old’ age classes were presented with a novel instrumental task (displacing a lid) and an association task (reward under blue lid). We did not find evidence for age-dependent learning of the instrumental task; however, young males in the presence of a demonstrator learnt the association task faster than young males without a demonstrator, whereas old males in both treatments had similar success rates. We present the first evidence of age-dependent social learning in a lizard and suggest that the use of social information for learning may be more widespread than previously believed.<br><br><h3>Usage Notes</h3><br>task1_dataTrial by trial data for all lizards in instrumental task (task 1). "Liz.ID" is a combination of toe-clips and PIT tags. "Dem.ID" is the ID of the demonstrating lizard. "Batch" is the batch number (three-level factor) each lizard was associated with. "Treat" two-level factor of treatment - SL = Social demonstration, C = Control. "Age" - two-level factor identifying age class of lizard. "LT" are learning trials - i.e. trials until the lizard learnt. "correct.incorrect" - whether the lizard flipped the yellow lid successfully (1) or unsuccessfully (0). "Lat_min1" - time from start of trial to the point when the lizard successfully flipped the yellow lid. "Learn" two level factor identifying whether the lizard learn the task (1) or not (0). 'trial' trial number for each lizard. "juldat" is the jillian date that each trial was run.data_T1_final.csvdata_T2_finalTrial by trial data for all lizards in association task (task 2). "Liz.ID" is a combination of toe-clips and PIT tags. "Dem.ID" is the ID of the demonstrating lizard. "Batch" is the batch number (three-level factor) each lizard was associated with. "Treat" two-level factor of treatment - SL = Social demonstration, C = Control. "Age" - two-level factor identifying age class of lizard. "LT" are learning trials - i.e. trials until the lizard learnt. "correct.incorrect" - whether the lizard flipped the blue lid successfully (1) or unsuccessfully (0). "Lat_Blue.min1" - time from start of trial to the point when the lizard successfully flipped the blue lid. "Learn" two level factor identifying whether the lizard learnt the task (1) or not (0). 'trial' trial number for each lizard. "juldat" is the jillian date that each trial was run. "blue.choice" - whether the lizard choose only the blue lid (1) or whether the lizard choose either the blue then the white or only the white lid (0)
Spirit & Muscle 2012 Philippines
No full textBACKGROUND Prior to being included in Susan Gibb's 2012 curated exhibition of Australian and New Zealand Video Art at the University of the Philippines Film Institute, Spirit & Muscle was first exhibited at the Australian Centre for Contemporary Art in 2006 and subsequently in 2010 as part of the curated exhibition COLOURlightTIME, Two Rooms Gallery, Auckland, New Zealand. Susan Gibb's exhibition explored the performing body as a site of universal signification and the 'inter-medium' possibilities of video art. CONTRIBUTION Kosloff's Spirit & Muscle is a performative video that uses physical gestures and abstract costumes to reference the phallocentric male cannon in art history, as well as cultural ideals. She demonstrates the abstract possibilities of the performing body in this work by alluding to a range of cultural interests, including sport, modern abstraction, dance and cartoons. Spirit & Muscle conflates 'high' and 'low' references and uses the performing body to explore signification processes within video art. SIGNIFICANCE The significance of this research is that it explored how simple gestures and choreography can be used to structure meaning processes within the video medium. Select works from Australia and New Zealand were exhibited at the University of the Philippines Film Institute, an organisation that is at the forefront of Filipino film education, practice, and scholarship. The University of the Philippines itself has a strong association with the history of conceptual art and this exhibition provided an opportunity for transnational reflection on the legacies of modernism and conceptualism, and how contemporary artists interpret these in their own social and artistic climate. The exhibition was an AsiaLink program supported by the Australia Council for the Arts and Arts NSW. Works such as this led to Kosloff being invited to be the Monash University Prato Centre Visual Resident for 2015
Swarm
No full textResearch Background<br>Projection as an extension of installation practice has been steadily gaining popularity in both galleries and public spaces as the technology has improved and the costs less prohibitive. This forward evolution of image quality and fidelity has also coincided with a resurgence of interest in aspects the natural world in contemporary art practice and the relationship between culture and nature. <br>Research Contribution<br>The 2D animated installation Swarm exhibited in the old Science lab as part of 'Place of Assembly' 2012 engages the audience in a site specific animated projection which plays on the previous activities of a community schoolhouse space soon to be demolished. This work acknowledges and activates the awareness of the importance of non-conventional exhibition spaces and the transience of community art spaces awaiting development.<br>Research Significance<br>This group exhibition was funded by Arts Victoria, the City of Yarra, and was part of the Melbourne Festival 2012.<br>http://placeofassembly.com.au/artist/martine-corompt
Open for inspection
No full textThe aim of Open for Inspection was to use mixed media installation to examine trends in Australian and Sweden housing and to explore how these countries deal with housing stress, homelessness, social and private housing. The artists presented an installation, public forums and live printing events through the exhibition to investigate how aspirations for home ownership could be signified through artefacts, drawing and video. The artworks for the exhibition were inspired by research into 20thC Swedish social housing and incuded a floor drawing of a Swedish functionalist kitchen typical to the 1960s-1970s Swedish Miljonprogrammet (in which a million homes were built), video which explored the stress of moving from rental homes, objects which reference the domestic and Australian statistics and literature on housing vulnerability. The artists also created new artworks for the installation through live printmaking events held during the exhibition. These artefacts were informed by discussions held in the public forums which included speakers from Austalian peak housing organisations and were hosted by the artists. The project was informed by the architectural, design and socially inclusive concepts of Swedish social housing and connects with exhibitions such as the Stockholm on the Move exhibition, Fargfabriken, Stockholm (2012-13) which used art, design, forums and workshops to investigate the development and urban planning of the Stockholm region and Australian artist, Elvis Richardson's mixed media installation, Housed (Margaret Lawrence Gallery, Melb, 2009) which examined the gulf between Australian public and private housing. The significance of the artistic research behind Open for Inspection lies in the artistic engagement with and synthesis of Australian and Swedish housing initiatives and issues. This was revealed through the exhibition which was attended by 1362 visitors and subject of a presentation by Keely Macarow, Auckland Art Gallery, NZ on 13/9/14
Private View & Occasional Performance
No full text'Private View & Occasional Performance' is a public artwork that uses work from the project 'Dark Rooms'. In the exhibition 'Dark Rooms' photographs are presented conventionally on the walls, this time however the work is compressed, wrapped in bubble wrap and presented as a stack (sculpture) in the gallery. Participants of this project wear white gloves and unwrap the photographs to present an expanded version. The work becomes a photographic public performance that travels through the galleries of DUDSPACE, KINGS ARI and to King street. The participants hold the photographs to the public for an hour a day before the work is returned to Dudspace gallery, where it compresses again into a stack of framed photographs wrapped in bubble wrap as though in a stockroom. The work can be viewed activated by participants or as a stack of photographs resting against the wall in the gallery. Artists who have informed my own making process and relationship to the photographic image in an event and or public participatory performance are Francis Alys, Tom Nicholson, Bianca Hester and Jeremy Deller. This work has become new knowledge in the field of fine art photography because it uses the framed image as an art object differently from the conventional image on the gallery wall. It reflects on religious rituals, processions, parades and political marches where the photograph is presented in the public space as a way to activate images and the relationship that the public has to images presented. The work as an outcome realies on participation as a way of re-thinking the way that photographic images are displayed, stored and presented in a contemporary art gallery context and in the public space. This is the first time that framed photographs are explicitly used within the gallery and in the public space activated through participation in a conetemporary art context. http://dudspace.com/filter/ARCHIVE/Private-View-Nikos-Pantazopoulo
Drive
No full textResearch background The city as phenomena has often been presented as a space of alienation, or conversely utopianism, and has been the subject of art since the 19th Century. Drive investigated the idea of a city as an inconclusive space, familiar and habitual to those incessantly moving within the urban space; a location where one may experience narratives formed through a type of disembodied interiority. Drive posed the question: by stepping out of our conscious sense of predetermination and by drifting within our minds while driving, is our experience and sense of 'being' more subject to forces or choices that arbitrarily alter our sense of purpose, particularly as journeys by definition usually must go somewhere? Research contribution This project involved the research, development and production of a video installation investigating the concept of city as passageway, a site of fluidity. Drive presented ideas of moving image as 'painting' within a large multifaceted installation, to present multipart personal and social visions via fragmentary glimpses through sensory heuristic components. The research investigated the role of passivity within the act of producing and viewing. Passivity may be formed within a perpetual compulsion for mobility, dynamism or drive, a state formed through a condition based in viewing, in looking on, consuming, enacting and partaking through inaction, characterised and framed within contemporaneity, and specifically free market capitalism. The research investigated and examined the question of passivity as inherent to perpetual transition and as a notable conscious, or unconscious activity of our times within free market capitalism. Research significance The research and production of this installation was supported by a peer selection Arts Project Grant from The City of Melbourne. The exhibition of the installation at Blindside was selected through a peer selection process
Timeline paintings and photopainting interventions
No full textResearch Background The project has the title" Dahlhausen Viral" and brings an artistic viral response/reflection and interference to the new hang of the museum collection. The interventions revealed new colour formal and narrative connections between works and helped to recontextualise readings of the traditional collection and interventions alike. Dr Christoph Dahlhausen the curator of the project is Adjunct Professor in the School of Art RMIT Dr Christoph Dahlhausen has included other artists into this project including David Thomas with whom he has collaborated in a similar fashion at the Museum of Modern Art at Heide in Melbourne. The works by Thomas are site specific to Kunstmuseum Ahlen Research Contribution Briefly state the research aim(s) and research result(s) of this Creative Work in terms of the creation of new knowledge that can be used by others. This means originality and should be stated explicitly. If nothing has been done like this before (be sure!), state this is so and say exactly how this contributes to new knowledge. The work is new and specifically engages the spaces , colours and the collection of the Kunstmuseum Ahlen via the use of the monochrome time line paintings , painted colour on photographs of the gallery spaces By using colours that reference the site and particular works in the collection the work positions the viewer amid an encounter with experience and time revealing unexpected historical links , formal and perceptual synchronicities and differences. My work extends the object of painting in a light handed way into the space of the gallery in a manner that feels transitory .These intimately scaled interventions offers us the opportunity to contemplate time, change. (Continued on research coversheet
Objects and jewellery exploring the depiction and view of landscape
No full textResearch Background This research is situated in contemporary jewellery and object making. This research was the first project where a jeweller explored and interpreted a personal experience of Antarctica to produce jewellery objects that depicted the landscape. These objects reveal new interpretations of Antarctica that engage with the viewer through the recognisable personal jewellery and object. The works have been curated into this international exhibition that observes and documents the traditions of jewellery and its depiction of landscape from antiquity to the present by comparing jewellery objects to the traditions of painting. Research Significance This research was presented at the Shmuckmuseum, Pforzheim. The permanent collection at the Schmuckmuseum focuses on treasures from Greco-Roman antiquity, the Renaissance and Jugendstil/Art Nouveau as well as contemporary art jewellery. The Shmuckmuseum is the only museum internationally dedicated to the history of jewellery. This temporary exhibition was accompanied by a 168 page catalogue. Research Contribution The work was selected and included in what was the first international survey of contemporary and historic jewellery to explore the notion of landscape. This group of work was the only contribution from AU/NZ. Harold Stahl states in the publication: "Haydon's Antarctic industrial landscapes radiate a strangely remote aura. People and machines blend with their surroundings into an indistinct unity, shapes and colours into abstract entities. Incorporated in jewellery these Antarctic impressions stand in stark contrast to the image repertoire of the souvenir jewellery of the past." This exhibition and publication situate this research, which has produced objects and representations of Antarctica by investigating new and innovative ways to interpret historical techniques and draw on the notion of the souvenir