DDF 2 Page CV Chronological
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Refugee Filmmaking
Alphaville: Journal of Film and Screen Media no. 18, 2019, pp. 3–11 DOI: https://doi.org/10.33178/alpha.18.01 Refugee Filmmaking Editorial Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera Figure 1: Production still taken for Mare Nostrum (Rana Kazkaz and Anas Khalaf, 2016). Georges Films, Synéastes Film. Photo credit: Eric Devin. The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. We have benefited from these academic alliances and invitations, but we also embrace the widest notion of hospitality, whereby the moment of arrival, the request for assistance and shelter, and subsequent decisions over citizenship and long-term residency are located in a moral environment of welcome and mutual learning. We trace and acknowledge our intellectual relationships here in so far as they have allowed us to articulate an emerging and shared recognition that refugee lived experience stands as the barometer for political civility and social health in our time. © Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License 4 The challenge of the global collapse into conflict and authoritarianism is stark, and the work of refugee filmmakers and documentarists—and indeed those who use scholarship to draw attention to their efforts—is serious and important. This curated collection of essays, films, reflections and reviews seeks to understand the nature and extent of refugee filmmaking today, and to determine who counts as a refugee filmmaker and why. -
Anita Kocsis Doctor of Philosophy School of Media Arts Icinema Centre for Interactive
Co-Designing New Media Spaces Candidate: Anita Kocsis Doctor of Philosophy School of Media Arts iCinema Centre for Interactive Cinema Research University of New South Wales 2010 1 Abstract Human centred design is a design philosophy that places the human at the centre of any design program. It engages in co-design practices that rely on participatory collaboration between designer and stakeholders. This thesis investigates how making meaning in digitally augmented exhibitions can satisfy the objectives of designers and content providers through the use of human centred design principles. It contends that a reflective analysis of collaborative design processes can improve stakeholder relations and meet the diverse needs and interests of audience members. New media museum exhibits position designers to represent the research of expert content providers. However differing stakeholder visions can turn collaborative design into an incoherent, competitive process in which audience experience, digital mediation, visualisation techniques and the meaning of the work become contested territory. In this thesis two key concepts, “brokering by design”, and the audience experience, are proposed as central to understanding and improving collaborative digital design. Firstly, “brokering by design” can resolve conceptual differences where a design impasse between stakeholders (such as curator, artist, designer, historian, scientist, museum staff) presents itself. Secondly, a study of the audience experience in the digital exhibition makes visible hitherto unseen levels of social interaction and profound experiential aspects. Two Case Studies serve as the analytic foundation of this thesis and assist to address the twofold purpose of this thesis. These are: (a) the problems in the design process and; (b) the reception of the resulting exhibition by the audience. -
'Something Is Wrong with Our Army…' Command, Leadership & Italian
Journal of Military and Strategic VOLUME 14, ISSUE 1, FALL 2011 Studies ‘Something is wrong with our army…’ Command, Leadership & Italian Military Failure in the First Libyan Campaign, 1940-41. Dr. Craig Stockings There is no question that the First Libyan Campaign of 1940-41 was an Italian military disaster of the highest order. Within hours of Mussolini’s declaration of war British troops began launching a series of very successful raids by air, sea and land in the North African theatre. Despite such early setbacks a long-anticipated Italian invasion of Egypt began on 13 September 1940. After three days of ponderous and costly advance, elements of the Italian 10th Army halted 95 kilometres into Egyptian territory and dug into a series of fortified camps southwest of the small coastal village of Sidi Barrani. From 9-11 December, these camps were attacked by Western Desert Force (WDF) in the opening stages of Operation Compass – the British counter-offensive against the Italian invasion. Italian troops not killed or captured in the rout that followed began a desperate and disjointed withdrawal back over the Libyan border, with the British in pursuit. The next significant engagement of the campaign was at the port-village Bardia, 30 kilometres inside Libya, in the first week of 1941. There the Australian 6 Division, having recently replaced 4 Indian Division as the infantry component of WDF (now renamed 13 Corps), broke the Italian fortress and its 40,000 defenders with few casualties. The feat was repeated at the port of Tobruk, deeper into Libya, when another 27,000 Italian prisoners were taken. -
Refugee Filmmaking Editorial
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title Refugee filmmaking: Editorial Author(s) Hemelryk Donald, Stephanie; Davies Hayon, Kaya; Sorbera, Lucia Editor(s) Hemelryk Donald, Stephanie Davies Hayon, Kaya Sorbera, Lucia Publication date 2019 Original citation Hemelryk Donald, S., Davies Hayon, K. and Sorbera, L. (2019) 'Refugee filmmaking: Editorial', Alphaville: Journal of Film and Screen Media, 18, pp. 3-11. doi: 10.33178/alpha.18.01 Type of publication Article (non peer-reviewed) Link to publisher's http://www.alphavillejournal.com/Issue18/Editorial.pdf version http://dx.doi.org/10.33178/alpha.18.01 Access to the full text of the published version may require a subscription. Rights © 2019, the Author(s). This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. https://creativecommons.org/licenses/by-nc-nd/4.0/ Item downloaded http://hdl.handle.net/10468/9414 from Downloaded on 2021-09-29T02:51:04Z Alphaville: Journal of Film and Screen Media no. 18, 2019, pp. 3–11 DOI: https://doi.org/10.33178/alpha.18.01 Refugee Filmmaking Editorial Stephanie Hemelryk Donald, Kaya Davies Hayon, and Lucia Sorbera Figure 1: Production still taken for Mare Nostrum (Rana Kazkaz and Anas Khalaf, 2016). Georges Films, Synéastes Film. Photo credit: Eric Devin. The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. -
The Silent Assassin
Introduction Welcome to the latest issue of Research@UNSW, a biennial publication highlighting the breadth of important research taking place across the University of New South Wales. We’ve focused this issue on our industry, business, government and community partnerships that are so vital to our research effort – whether it be in medicine, science, engineering or the arts. As you would be aware, UNSW is one of Australia’s top universities – a member of the Group of Eight and of the prestigious international network U21. The only Australian research-intensive university established with a scientific and technological focus, UNSW continues to build on its reputation for world-class research in areas critical to the future, with close links to industry and an emphasis on practical application and impact. If you are already involved in research collaboration with our institution, you may see opportunities for further involvement – if not, you may see an opportunity to become involved. The publication is also aimed at keeping key stakeholders in government and the higher education sector informed, as well as outlining opportunities for students interested in pursuing postgraduate research at UNSW. “We’ve focused There are contact details at the back of the publication for anyone interested in pursuing a this issue on our partnership or collaboration, or postgraduate study. You are also more than welcome to contact the individual researchers whose work is highlighted in these pages. industry, business, government UNSW shares with its many partners a commitment to pioneering research and innovation, so important to the long-term welfare of the nation. -
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE Andrew W Mellon
TERENCE EDWIN SMITH, FAHA, CIHA CURRICULUM VITAE www.terryesmith.net/web http://www.douban.com/group/419509/ Andrew W Mellon Professor of Contemporary Art History and Theory Henry Clay Frick Department of the History of Art and Architecture 104 FFA, University of Pittsburgh, Pittsburgh PA 15260 USA Tel 412 648 2404 fax 412 648 2792 Messages (Linda Hicks) 412 648 2421 [email protected] 3955 Bigelow Boulevard, #911, Pittsburgh, PA 15213 Tel. 412 682 0395 cell 919 683 8352 33 Elliott St., Balmain, NSW 2041 Australia, tel. 61 -2- 9810 7464 (June-August each year) 1. ACADEMIC RECORD 2. APPOINTMENTS 3. RESEARCH GRANTS, HONOURS AND AWARDS 4. PUBLICATIONS, INTERVIEWS, EXHIBITIONS 5. TEACHING AND ADMINISTRATION 6. HONORARY PROFESSIONAL POSITIONS 7. COMMUNITY SERVICE 8. GUEST LECTURES AND CONFERENCE PAPERS 9. RELATED ACTIVITIES 10. PROFILES 11. RECENT REVIEWS 1 1. ACADEMIC RECORD 1986 Doctor of Philosophy, University of Sydney (dissertation topic: “The Visual Imagery of Modernity: USA 1908-1939”) 1976 Master of Arts, University of Sydney, first class honours and University Medal (thesis topic: “American Abstract Expressionism: ethical attitudes and moral function”) 1973-74 Doctoral studies, Institute of Fine Arts, New York University (Professors Goldwater, Rosenblum, Rubin); additional courses at Columbia University, New York (Professor Schapiro), Whitney Museum of American Art, New York 1966 Bachelor of Arts, University of Melbourne 2. APPOINTMENTS 2011-2015 Distinguished Visiting Professor, National Institute for Experimental Arts, College of Fine -
Merry Christmas 20% Discount*
1 Catalogue 189 DECEMBER 2015 MERRY CHRISTMAS 20% DISCOUNT* * Discount does not apply to SIMMO, Legs Eleven or Randwick to Hargicourt 2 Glossary of Terms (and conditions) INDEX Returns: books may be returned for refund within 7 days and only if not as described in the catalogue. NOTE: If you prefer to receive this catalogue via email, let us know on CATEGORY PAGE [email protected] My Bookroom is open each day by appointment – preferably Aviation 3 in the afternoons. Give me a call. Espionage 4 Abbreviations: 8vo =octavo size or from 140mm to 240mm, ie normal size book, 4to = quarto approx 200mm x 300mm (or coffee table size); d/w = dust wrapper; pp = pages; vg cond = (which I thought was self explanatory) very good condition. Military Biography 6 Other dealers use a variety including ‘fine’ which I would rather leave to coins etc. Illus = illustrations (as opposed to ‘plates’); ex lib = had an earlier life in library Military General 8 service (generally public) and is showing signs of wear (these books are generally 1st editions mores the pity but in this catalogue most have been restored); eps + end papers, front and rear, ex libris or ‘book plate’; indicates it came from a Napoleonic et al 10 private collection and has a book plate stuck in the front end papers. Books such as these are generally in good condition and the book plate, if it has provenance, ie, is linked to someone important, may increase the value of the book, inscr = Naval 12 inscription, either someone’s name or a presentation inscription; fep = front end paper; the paper following the front cover and immediately preceding the half title page; biblio: bibliography of sources used in the compilation of a work (important Special Forces & Airborne 13 to some military historians as it opens up many other leads). -
Hilarie Mais CV 18 KW 2
! Hilarie Mais Born Leeds, England. Lives and works Sydney. Education 1979-80 Artist in Residence, State University of New York, Purchase, New York 1977-78 New York Studio School Fellowship, New York, USA 1975-77 Slade School of Fine Art, University College London, MA, London 1971-74 Winchester School of Art, UK. B.A., 1st Hons, Winchester 1968 Jacob Kramer School of Art, Leeds Awards 2011 Australia Council Visual Arts Board Fellowship 2000 Pollock-Krasner Foundation Grant 1999 VISY Art Prize 1994 The Blake Prize 1993 Australia Council Fellowship 1987 VA/CB Artist Grant 1977 Boise Scholarship, UCL London HFC Award, UCL London NYSS Fellowship , New York Studio School , New York 1973 Hampshire Art Travel Award Solo Exhibitions 2018 Hilarie Mais : TarraWarra Museum of Art, Victoria Hilarie Mais : Drill Hall University Gallery, ANU, Canberra 2017 Hilarie Mais : Museum of Contemporary Art , Sydney 2012 Hilarie Mais: identifying structures, William Wright Artists Projects, Sydney 2011 Hilarie Mais, John Buckley Gallery, Melbourne 2008 Hilarie Mais, Christine Abrahams Gallery, Melbourne 2007 Hilarie Mais, Sherman Galleries, Sydney 2006 Hilarie Mais: Other Nature, Galerie Düsseldorf, Perth 2005 Hilarie Mais: Divide, Sherman Galleries, Sydney 2004 Hilarie Mais: Survey of Works 1974–2004, Australian National University, Drill Hall Gallery, Canberra Hilarie Mais, Christine Abrahams Gallery, Melbourne 2002 In Side: An Exhibition in Two Parts, Sherman Galleries, Sydney 2001 Hilarie Mais, Christine Abrahams Gallery, Melbourne 2000 Weather, Sherman Galleries, -
L^Jor General. Sir Ivan DOUGHEFTTY. CBE., DSO & Bar.. ED., BE.. LLD
* % ^ MONTHLY JOURNAL OF THE 2/4 INFANTRY BATTALION ASSOCIATION PATRON: l^jor General. Sir Ivan DOUGHEFTTY. CBE., DSO & Bar.. ED., BE.. LLD.. (Hon.) 41st year of continuous publication Registpi-ed bys Austrsllp Pnst Publicntlnn - NAS 153?. Vol. 41, No. 3 , Prlco: SOc, nnr cor»y. MAltCE 1986. Prpsidpnt: Alf Cfirpcnter, Chothrm Rd, Georrjctown, ??98, Phone! 049-671969 Vice PrrBlfipnts: Senior! Allan Lindsey, ?la l‘'i»ral Rd, Cnringbnh, ???9, 02-5241937 Pummel rand; Lnurla UoCosker, pn MiHsdon Rd, Toringa 4060 . 07-3701395 Fnr Nth Cnpct: Allan Kii-k, 179 Dihba St, Llsmore, 2480, 066-214464 Northern NSW! Esen Riordnn, 111 Knmp St, Knmpsey, ?4/l0. 065-624671 Nnv/Cpptle: GeoTTfe Ultchell, 6 Verll PI, Wnratoh, 2290 049-672182 Southern NSW! Artip Kleem, 3 K.irnbnh Avenue, Young, ?594, 063-022461 Victoria! Claude Raymond, 9? Rnsp St, West Coburg, 3058. 03-3541145 Sth Australia: Peter Denver, 1-5 Admiral Tee, Gnolwa, 5214. 0B5-5522S2 West Auatrnlia: Doug Slinger, 55 Hothrm St, Opyewater, 6053. 09-2717027 Cnmmlttpc! Ccc Chrystcl, Ferd Pngg, Ken Ker.teven, UC. BD • > John Keehaa, Ted Fox, Harry Wrloht, Norm Aubrrpan, George Stnd<, Secretary: Fred Stegon, 13 Seven Hills Rd, Snven Hlllg, ?147. 02-6711765 Asat. Serr^’trrv! John Ha,wki.ns, 21 Maloney St. Blacktowa .2148 02-62^531 Trnnsurert Allen Lindsay, ?lft li'irTal Rd • t Cnringbah, 2229. D2-5241937 Editor: ner4 MUFnr-d Rd, Mirf^do 2228 . 02-5242114 nrrT^' Rd, Carlingforri, 2110. 03-0715312 -—gion>. Officer! John Hav-kins, ?1 f.L-'loney St, Qlncktow, 2148 , 02-6220531 Uelnon Officer to the Gallipoli Memorial Club: Athol Heath. -
Del Kathryn Barton
DEL KATHRYN BARTON Born in 1972 n Sydney, Australia Currently ives and works in Sydney, Australia EDUCATION 1993 Bachelor of Fine Arts, College of Fine Arts, University of New South Wales, Sydney PUBLIC COLLECTIONS Art Gallery of New South Wales, Sydney, Australia Art Gallery of South Australia, Adelaide, Australia Art and Australia, Sydney, Australia Artbank, Sydney, Melbourne, Perth, Australia BHP Billiton Collection, Melbourne, Australia Esk Collection, Launceston, Australia Gallery of Modern Art, Brisbane, Queensland, Australia Museum of Old and New Art, Hobart, Australia National Gallery of Australia, Canberra, Australia RACV Collection, Victoria, Australia The Flinders Collection, Melbourne, Australia The Acacia Collection, Melbourne, Australia The International School of Tourism, New South Wales, Australia The University of Sydney Union Collection, Sydney, Australia The Students Association, College of Fine Arts, University of New South Wales, Sydney UBS, Sydney, Australia SELECTED SOLO EXHIBITIONS 2019 I wanted to build a bed for all the tired beds, Roslyn Oxley9 Gallery, Sydney, Australia Del Kathryn Barton, albertz benda, New York, NY 2017-2018 Del Kathryn Barton: The Highway is a Disco, NGV Australia, Melbourne, Australia 2017 r u a bunny? albertz benda, New York, NY 2016 angel dribble, Roslyn Oxley9 Gallery, Sydney, Australia Del Kathryn Barton: The Nightingale and the Rose, The Australian Centre for the Moving Image, Melbourne, Australia 2015 the highway is a disco, ARNDT Gallery, Singapore 2014 electro orchid, Roslyn Oxley9 -
Immersive Intelligent Aesthetics As Conduit for Digital and Public Humanities Research Susanne Thurow Icinema Centre, UNSW Sydney, Australia
e-ISSN 2724-3923 magazén Vol. 1 – Num. 1 – June 2020 Immersive Intelligent Aesthetics as Conduit for Digital and Public Humanities Research Susanne Thurow iCinema Centre, UNSW Sydney, Australia Dennis Del Favero iCinema Centre, UNSW Sydney, Australia Ursula Frohne Westfälische Wilhelms-Universität Münster, Deutschland Abstract The article outlines conceptual frameworks and experimental studies devel- oped at the University of New South Wales, surveying a selection of creative arts industry research projects. These deliver fully immersive interactive visualisation systems that enable new forms of embodied engagement with artistic, cultural and performance datasets, deploying Artificial Intelligence to analyse and augment user navigation for improving data identification, access and processing. Sketching the developmental trajectory of intelligent aesthetics across these projects, the paper closes with a criti- cal consideration of effects and implications of human-machine co-agency in this new context of cultural reflection. Keywords Artificial Intelligence. Collaborative Design. Collection Management. Dig- ital Museology. Immersive Visualisation. Interactive Aesthetics. User-led Experiences. Summary 1 Introduction. – 2 The iCinema Research Centre. – 2.1 The Advanced Visualisation & Interaction Environment (AVIE). – 2.2 Foundational Interactive Immersive Visualisation Projects. – 2.3 Elaboration SPACE of SPACE Intelligent SPACE Aesthetic SPACE Frameworks. – 3 Conclusion. Peer review Submitted 2020-07-15 Edizioni Accepted 2020-10-01 Ca’Foscari -
INSTRUMENT of SURRENDER We, Acting by Command of and in Behalf
INSTRUMENT OF SURRENDER We, acting by command of and in behalf of the Emperor of Japan, the Japanese Government and the Japanese Imperial General Headquarters, hereby accept the provisions set forth in the declaration issued by the heads of the Governments of the United States, China, and Great Britain on 26 July 1945 at Potsdam, and subsequently adhered to by the Union of Soviet Socialist Republics, which four powers are hereafter referred to as the Allied Powers. We hereby proclaim the unconditional surrender to the Allied Powers of the Japanese Imperial General Headquarters and of all Japanese armed forces and all armed forces under the Japanese control wherever situated. We hereby command all Japanese forces wherever situated and the Japanese people to cease hostilities forthwith, to preserve and save from damage all ships, aircraft, and military and civil property and to comply with all requirements which my be imposed by the Supreme Commander for the Allied Powers or by agencies of the Japanese Government at his direction. We hereby command the Japanese Imperial Headquarters to issue at once orders to the Commanders of all Japanese forces and all forces under Japanese control wherever situated to surrender unconditionally themselves and all forces under their control. We hereby command all civil, military and naval officials to obey and enforce all proclamations, and orders and directives deemed by the Supreme Commander for the Allied Powers to be proper to effectuate this surrender and issued by him or under his authority and we direct all such officials to remain at their posts and to continue to perform their non-combatant duties unless specifically relieved by him or under his authority.