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Biology, ecology and voltinism of the Australian spongillafly Sisyra pedderensis Smithers (Neuroptera: Sisyridae)
Get PDFThe life stages of Sisyra pedderensis are described and statistical data from laboratory rearing experiments discussed. Novel sampling methods
were used to obtain pupae from the field since adults were not attracted to black lights and the larval life cycle closed in the laboratory.
The diel cycles of egg eclosion, full-fed larval emergence from aquatic habitats, and adult emergence are examined and illustrated. Morphological
data are provided to identify the three larval instars. A comprehensive comparison of the biology of S. pedderensis and closely
related overseas species is made. In Lake Pedder, this species of spongillafly was proved to be bivoltine, with overwintering larvae becoming
imagines in early summer which was followed by a single summer generation
Plateau vegetation on sub-Antarctic Macquarie Island
Get PDFThe plateau of sub-Antarctic Macquarie Island supports an open short herb, feldmark vegetation that is markedly affected by the prevailing strong westerly winds. This paper reports on a line transect survey carried out in 1980 which documents variation then apparent in species composition in this vegetation. Sixty-two species were recorded, with plant occurrences along 16 transects ranging from 16.7–99.5%.
The cushion plant Azorella macquariensis Orchard was an important component of the plateau vegetation: it occurred at 14 of the 16 sites surveyed, with occurrences up to 50%. The dieback reported in Azorella macquariensis in 2008 was, by 2012, regarded as extensive and severe throughout its range. The data presented here well precede the first records of the dieback, and contribute to early descriptive data against which future developments in the plateau vegetation of Macquarie Island can be evaluated
Alicia King - The ephemeral flesh projects (Art forum)
No full textAlicia King is an Australian interdisciplinary artist. Her practice explores biological relationships between humans, animals and the wider environment, and alludes to that which generally lies outside of the everyday category of the ‘living’. In 2009 Alicia was awarded a PhD Transformations of the flesh; rupturing embodiment through biotechnology - an artistic exploration of relationships between biotech practices and the physical, ethical and ritual human and animal body. Her practice spans sculpture, video, biotech, installation and performance. In recent years she has developed biotech art projects at SymbioticA, as well as the University of Tasmania School of Medicine, and the Vrij University Amsterdam.
Alicia has exhibited throughout Australia and beyond, most recently inVISCERAL, at Science Gallery, Dublin, and Tokyo Wonder Site, Japan. She is recipient of various state and national funding grants, and international Residencies including Asialink's Tokyo Wonder Site Residency; Australia Council Tokyo Studio; Cité Internationale des Arts, Paris; Vrij Glas Foundation, Amsterdam; and Foundation B.A.D, Rotterdam. Alicia's work is being published by the MoMA New York in their upcoming Publication Bio-Design; Nature + Science + Creativity
Extreme events in the sub-Antarctic
No full textExtreme physical events, excluding meteorological events, can be divided into two broad categories — endogenous and exogenous.
Endogenous phenomena include earthquakes, landslides, tsunami, volcanic or gas hydrate eruptions that occur within the region but may have both local and distant impacts; the 2011 Puyehue-Cordon Caulle volcanic eruption, and the frequent major earthquakes along the Chile margin or near Macquarie Island are examples. Exogenous events are those originating outside the area but influencing it. These include the terminal Cretaceous asteroid impact, asteroid/meteorite impacts, such as the major Eltanin Asteroid impact 2.5 million years ago, and extraterrestrial-sourced radiation from extreme solar/galactic or extra-galactic events in which the effect is not confined to the sub-Antarctic but is global
The sub-Antarctic as a source of human enrichment — the case of South Georgia
Get PDFSouth Georgia and how its history and heritage may be considered a unique source of human enrichment today is considered in the light
of the sealing and whaling eras and more recent times when science and tourism dominate. Attitudes to the whaling heritage have gradually
changed in this latter period. The spectacular natural heritage is emphasised, and a recent project on habitat restoration at the island
is mentione
Stephen Ormandy (Art forum)
No full textStephen Ormandy is a Founding director of Dinosaur Studios . Louise Olsen, Stephen Ormandy and Liane Rossler met while studying drawing and painting at a Sydney art school in 1983. They formed the company Dinosaur Designs in 1985. The intuitive creativity that shapes their distinctive work in jewellery has also informed the development of their extraordinary company. Dinosaur Designs now stands as one of the most visible and successful design-based businesses in Australia, operating its own stores in Sydney, Melbourne and New York as well as exporting to more than twenty countries worldwide. Olsen, Ormandy and Rossler have managed to intersect the boundaries between art, craft, design, fashion and business, and have forged an important place for themselves within Australian design history, not only through their longevity and popularity but also through the distinctively Australian character of their work.
Stephen will talk about Dinosaur Studios development from its foundation after art school graduation to its present successful business format
Pascal Gielen - Being an artist in post-Fordist times - Artistic strategies in post-Fordist times (Art Forum)
No full textPascal Gielen (1970) leads the research group and book series 'Arts in Society' at the Fontys School of Fine and Performing Arts. He is also director of the research center 'Arts in Society' at the University of Groningen, where he is associate professor in the sociology of art within the department of Arts, Culture and Media.
Gielen has written several books, articles and essays on contemporary art, cultural heritage and cultural politics. He also frequently gives lectures about these topics. Recent publications include 'The Murmuring of the Artistic Multitude. Global Art, Memory and Post-Fordism' (2009); 'Being an Artist in Post-Fordist Times' (2009), 'Community Art. The Politics of Trespassing' (2011) and 'Teaching Art in the Neoliberal Realm. Realism versus Cynicism' (2012)
Sam Leach - Science Week (Art forum)
No full textScience has been a theme of marginal, though perhaps growing, importance in contemporary art. James Elkins has talked extensively about the limited nature of art engagement with science while has been limited as pointed out more optimistic critics such as Sian Ede and Arthur Miller argue for hybrid forms and suggest that arts ambiguity is apt for considering the complexity of science. This talk will look at visual representations of science from the seventeenth century to the contemporary, considering how these images reflect the cultural history of science. The focus for the historical context will be tracing the origins of the tension between science practice and science communication from the origins of modern science in the seventeenth century, through the expansion of science into the public realm in the enlightenment of the eighteenth century and into the split between art and science which began in the early romantic era and continued into the twentieth century. Finally the talk will consider how this legacy poses problems for contemporary art which addresses science as increasing numbers of contemporary artists consider the implications of science and work on art-science collaborations.
Leach’s paintings deal with the relationship between humans and non human animals and between science and art. He has had numerous solo exhibitions and numerous group exhibitions, in Australia and abroad. Recent solo exhibitions include The Ecstasy of Infrastructure, TarraWarra Museum of Art, 2011, and We have never been modern at the Hong Kong Art Fair. Leach has been the subject of considerable media attention, featuring on the front page of Melbourne’s Age newspaper, and in an ABC documentary about his work. Leach’s work has won several awards, including the Metro Prize and the Geelong Gallery prize in 2006, the Eutick Memorial Still Life award and the Siemens Art Prize and travelling scholarship in 2007 and both the Wynne and Archibald Prizes at the Art Gallery of New South Wales in 2010. He is currently completing a Ph.D in Fine Art
Dredging up Mawson: implications for the geology of coastal East Antarctica.
Get PDFDuring the 1911–1914 Australasian Antarctic Expedition samples of bottom sediment were dredged from a wide sweep of coastline extending from the main base at Commonwealth Bay, to the western edge of the Shackleton Ice Shelf. An earlier study showed these sediments to contain palynomorphs recycled from eroding sedimentary sequences. High concentrations of Permian, Jurassic to Early Cretaceous, and Cenozoic microfossils were present in three regions of the continental shelf, namely, offshore from the Shackleton Ice Shelf, from Cape Carr and from close to the Mertz Glacier. The findings of the earlier study are re-evaluated in the light of new information concerning the bathymetry of sampled areas on the continental shelf, the sub-ice topography of ice shelves and the Antarctic interior, and of sedimentary processes controlling the movement of palynomorphs on the sea floor. Data from the vicinity of the Shackleton Ice Shelf raise the possibility of sourcing some recycled material through sub-ice connections with the deep Aurora Subglacial Basin of the interior. From the George V Basin, west of the Mertz Glacier, new echo-sounding data show the dredges collected lie mostly on the edge of a steep trough parallel to the coast. Previous suggestions that Jurassic to Cretaceous sequences there correlate with those of the Otway Basin on the Australian margin are corroborated by recent seismic reflection data showing thick rift and pre-rift sequences offshore from the Adélie and Wilkes coasts. The relationship of these sequences to putative Mesozoic sequences within the inland Wilkes Basin is uncertain. Limited studies suggest that recycled palynomorphs in continental shelf sediments may lie close to the sites of their original deposition
Mary Scott - The illusion of truth (Art forum)
No full textMary Scott is an avid collector of objects and images; she is also a maker of drawings, paintings and other stuff. She travels habitually; for her, travel provides a framework for unsystematic learning. In 2011 she returned to Italy after an absence of 20 years, well-versed in accounts of the 18 C English gentlemen’s fascination with the Grand Tour, to undertake her own tour. Her task was to study the remnants of pre-Enlightenment object collections, the ordering of which, preceded taxonomic systems around which museums, today, are arranged. Founded in the traditions of curiosity these early object collections promote non-linear, syncretic and analogous forms of knowledge. Scott’s talk contextualises her current art project that draws on a large personal image archive to classifying objects according to her own principles. In a formative stage, the project visualises her interest in repetition, symmetry, analogical juxtapositions and poetic resonances that provide sensate, tactile and intellectual knowledge at variance with the rigid reasoning and systemisation that has been given free rein in the pursuit of modern knowledge. She is also interested in reinstating the important connection between the arts and sciences, between nature and culture and demonstrating value in the intuitive aspects of human cognition to cultural and social construction of knowledge.
Scott is Senior Lecturer and Head of Drawing, at the Tasmanian School of Art. Recent exhibitions include Keepers and Kind (2011), Criterion Gallery, Hobart; Wilderness: Balnaves Contemporary Painting (2010), Art Gallery of NSW; Look Out (2010), CAST in collaboration with Tasmanian Museum and Art Gallery; Hobart City $15,000 Invitation Art Prize (Winner Drawing) (2009), TMAG; The Keeping Room (2009), Criterion Gallery, Hobart; Every Minute of Every Day (2009), in ‘Trust’, Ten Days on The Island Festival, Tasmania. Her artwork is referenced in numerous professional texts and catalogues and is included in significant public and private collections. In 2010 she was recipient of Rising Stars Research Grant, University of Tasmania and her commitment to high quality teaching and learning has been recognised through seven teaching certificates and two teaching awards, including a Vice-Chancellor’s Award for Outstanding Contribution to Teaching and Learning (2008) and Citation for Outstanding Contribution to Student Learning, The Australian Learning and Teaching Council (2008)