400 research outputs found
Barbara Dicker Oration 2023 - A New Era for Dementia Diagnosis and Treatment
No full textThe annual Barbara Dicker Oration is an initiative of the Barbara Dicker Brain Sciences Foundation (BDBSF) that facilitates meaningful conversations about mental health and brains sciences, as well as research advancements in these fields.
This year we welcome special guest speaker Professor Scott Ayton, Head of the Dementia Mission and Translational Neurodegeneration Laboratory at the Florey Institute and Director of the Centre of Research Excellence in Enhanced Dementia Diagnosis, to speak on the topic of "A New Era for Dementia Diagnosis and Treatment".
Alzheimer’s disease is the leading cause of dementia, a disease that robs people of their memory and capacity to function independently. It is the second leading cause of death in Australia and around 400,000 people are currently living with dementia in Australia. With this figure set to increase due to our ageing population, further challenging our health and aged care systems, treatment is urgently needed.
Professor Ayton will present on the rapidly changing landscape of dementia care and treatment, as well as profiling potential new opportunities to improve the lives of people living with dementia.
Barbara Dicker Oration 2018 - The phenomenon of hallucinations
No full textThe 2018 Barbara Dicker Oration was presented by Professor Iris Sommer on 13 September 2018. Professor Sommer is a best-selling author and Professor of Cognitive Aspects of Neurological and Psychiatric Disorder at the Department of Neuroscience at the University Medical Center Groningen, Netherlands. Entitled The phenomenon of hallucinations, Professor Sommer offered a holistic view into the research and experiences of hallucinations. It’s actually more common than you might think but what happens in our brains when we hallucinate? And what does this mean for new treatments and interventions
Observations of MaDCoWS clusters using MUSTANG2
No full textSZE maps of Galaxy clusters from the MaDCoWS cluster list observed at 90GHz with MUSTANG2 on the Green Bank Radio telescope
Droppers as part of Weather Station (Part II), b-side festival 2016, Portland, Dorset, UK – 10-18 September 2016
No full textWeather Station - A giant inflatable ball becomes the Weather Station, a mobile pavilion for the collection of images, objects and ideas. An artist-led response to the changing relationship we have with landscape and the paradox of being both in and of the natural world. Cumulative rather than collaborative, the structure passes from one artist to the next, gathering traces of its journey through the beautiful and broken landscapes of South West England, before returning to it’s plinth for exhibition.
Weather Station (Part II) exhibition will bring together work by artists Laurie Lax, Laura Hopes, Elaine Fisher, James Hankey, Nicola Kerslake, Phil Smith, Stair/Slide/Space, Jethro Brice, Simon Lee Dicker and Alexander Stevenson + special guests Andy Webster & Darren Ray. Project partners include b-side (Dorset), Backlane West (Cornwall), Exeter Phoenix (Devon), Hand in Glove (Bristol), Plymouth Art Centre (Devon), and Hestercombe Gallery (Somerset)
Melancholische Polka (Ach, sag doch nicht immer wieder Dicker zu mir) ; Klavier / Akkordeon
No full textTHE AMERICAN CENTRISM OF NARRATIVES IN THE NOVELS OF JOEL DICKER
No full textУ статті розглядається феномен американоцентризму у творчості швейцарського письменника Жоеля Діккера, зокрема в його романах «Правда про справу Гаррі Квеберта» і «Зникнення Стефані Мейлер». Американоцентризм у літературі, а саме у творчості франкомовних авторів, можна розглядати як певну тенденцію до фокусування на американських темах, контекстах або образах у їхніх творах. Це явище можна пояснити кількома чинниками: культурною експансією США; літературними традиціями; біографічною зумовленістю оповіді; транснаціональним контекстом. Американізація сюжету, локалізація героїв на теренах США, використання англомовних запозичень є характерними для сучасних французьких і франкомовних авторів. Ж. Діккер, попри своє європейське походження, часто використовує американські реалії, культурні контексти й локації як центральні елементи творів. Проаналізовано, як автор конструює оповідь, інтегруючи елементи американської культури, і те, як це впливає на сприйняття читачами його текстів. Також розглядається питання, використання Ж. Діккером американських декорацій і ментальності є спробою адаптації до глобалізованого книжкового ринку чи ж це справжнє захоплення Америкою та її культурою. Аналіз базується на текстуальних прикладах та інтерв’ю з автором. Додатково розглядаються характерні риси, що відрізняють оповідь Ж. Діккера від інших авторів, які звертаються до американської тематики. Зокрема, увага приділяється його майстерності в побудові сюжетних ліній, створенні напруження й інтриги, а також використанні детективних елементів. Підкреслюється, як американоцентризм сприяє розвитку персонажів і загальній динаміці оповіді. Особливу увагу приділено аналізу персонажів, їхніх мотивацій і внутрішніх конфліктів, що часто відображають типово американські цінності і стереотипи. Таким чином, стаття пропонує всебічне дослідження впливу американської культури на творчість Жоеля Діккера, а також вивчає, як його романи сприяють діалогу між європейською й американською літературними традиціями.The article examines the phenomenon of American centrism in the work of the Swiss writer Joel Dicker, in particular in his novels “The Truth About Harry Quebert” and “The Disappearance of Stephanie Mailer”. American centrism in literature, namely in the work of French-speaking authors, can be seen as a certain tendency to focus on American themes, contexts or images in their works. This phenomenon can be explained by several factors: the cultural expansion of the USA; literary traditions; biographical conditioning of the story; transnational context. Americanization of the plot, localization of heroes on the territory of the United States, use of English borrowings are characteristic features of modern French and Francophone authors. J. Dicker, despite his European origin, often uses American realities, cultural contexts and locations as the central elements of his works. It is analysed how the author constructs the story, integrating elements of American culture, and how this affects the readers' perception of his texts. The question is also considered whether J. Dicker's use of American scenery and mentality is an attempt to adapt to the globalized book market, or whether it is a real admiration for America and its culture. The analysis is based on textual examples and an interview with the author. In addition, the article considers the characteristic features that distinguish J. Dicker's story from other authors who address American themes. In particular, attention is paid to his mastery in constructing storylines, creating tension and intrigue, as well as using detective elements. It is emphasized how American centrism contributes to the development of characters and the overall dynamics of the narrative. Special attention is paid to the analysis of the characters, their motivations and internal conflicts, which often reflect typically American values and stereotypes. Thus, the article offers a comprehensive study of the influence of American culture on the work of Joel Dicker, and also examines how his novels contribute to the dialogue between European and American literary traditions
Emancipation through Art: the Role Friedl Dicker-Brandeis Played at the Theresienstadt Ghetto
No full textArt education commonly takes place in venues such as schools, art studios, cultural centers and art museums. Contexts have a direct bearing on what kind of program is proposed. The actors involved in art teaching also significantly determine objectives and strategies within institutional backdrops housing the artmaking. Of particular interest here are unusual contexts, when artwork is produced in confinement, i.e. psychiatric institutions, special education facilities, prisons, refugee and concentration camps. Several questions ensue: Who are the teachers/artists involved in engaging others in art within highly restricted environments? How does artmaking happen behind-the-scenes? What about materials? What do images say about individual subjectivities, and how do they help process the extreme conditions that imprisonment imposes? How does artmaking contribute to emancipation? This paper is part of a larger study focusing on artwork produced by political prisoners in paulista political prisons (in São Paulo, Brazil) (1969-1979) by bringing to the foreground information on the experience of artmaking at Terezín (Theresienstadt Ghetto) supervised by artist/art teacher Freidl Dicker-Brandeis. Studies of artwork produced in psychiatric facilities in the 1940s and 1950s (Author, year-a; Author, year-b) contribute to the present discussion, along with a current project under my supervision about the collection from the paulista political prisons during the military dictatorship (1964-1985). About the context: Theresienstadt was not a typical concentration camp–rather, it was established in 1941 as a ghetto/transit camp from which prisoners were deported to Auschwitz for extermination (Arendt, 2000; Kasperová, 2013). It was used to showcase to the Red Cross what Nazis purported to be ‘humane’ treatment. Though formal schooling was prohibited, several adult prisoners assumed the task of preparing children for living in freedom at a future time. They taught traditional Jewish values, using modern educational approaches that respected the diversity of backgrounds at the ghetto. Despite the bleak conditions of life at Terezín, children and youth were also involved in cultural activities (music, theater and visual arts), allowing “inmates to forget the horrors of the surrounding world” (Kasperová, 2013, p. 52), while maintaining a semblance of normal life and learning. Dicker-Brandeis, born in Viena in 1898, was an art teacher sent to Terezín in December 1942, with her husband Pavel (Hurwitz, 1988). Before deportation and extermination at Auschwitz in 1944, she managed to hide two suitcases stuffed full of drawings, paintings and collages by boy and girl prisoners. Articles by Leshnoff (2006), Wix (2010), Pariser (2008), Hurwitz (1988) were instrumental in presenting biographical information on Dicker-Brandeis’ life and accomplishments. Other texts focus on the artworks themselves (Golomb, 1992) and on cultural and educational initiatives that took place at Terezín (Peschel, 2012; Leschnoff, 2006). Along with reproductions of the children’s artwork, the literature produced about experiences of artmaking at Terezín enables us to establish connections relating the ghetto experience to artmaking in other contexts of confinement, so as to understand how art teaching can contribute to emancipation of the imagination.
Photogeneration and dynamics of charge carriers in the conjugated polymer poly(3-hexylthiophene)
No full textThe conjugated polymer poly(3-hexylthiophene) is a promising candidate for applications in organic thin-film electronic and optoelectronic devices. This dissertation addresses fundamental issues regarding the photogeneration and recombination dynamics of charge carriers in this polymer. Measurements were carried out using an electrodeless, low-field microwave detection technique. With this technique, the intrinsic charge-carrier photogeneration and charge-transport properties of the material can be studied, in the absence of effects arising from electrode contacts and high electric fields, commonly present in conventional DC conductivity studies. The following issues are investigated: The quantum yield and wavelength dependence of photoelectron emission from the polymer surface. The wavelength dependence and activation energy of the quantum yield of charge carrier photogeneration within thin layers. The role of molecular order in the photogeneration of charge carriers. The effect of exciton annihilation on the photoconductance. The recombination dynamics of photogenerated charge carriers. The GHz charge carrier mobility and its activation energy. A generalized version of the stretched-exponential (Kohlrausch) decay law is derived, which provides an analytical description of the diffusive recombination of charge carriers.Interfaculty Reactor Institut
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