Dr A N I T A ( A K ) Milroy | The University of Queensland, Australia (original) (raw)

Papers by Dr A N I T A ( A K ) Milroy

In 2014, the professional society of physicists in Australia themed their national conference “Th... more In 2014, the professional society of physicists in Australia themed their national conference “The Art of Physics” (Canberra, 7-11 December, 2014). The aim was to “stimulate diverse and creative participation in the Congress” and delegates were encouraged to be “adventurous” (“Australian Institute of Physics”). Wegener, a physicist with a deep interest in the arts, invited Milroy, an artist with a deep interest in science, to collaborate to produce a body of artistic work addressing the Congress theme. Their shared experiences as metalsmiths led to the idea to transform physics relics into wearable art and small sculptural objects. Wegener’s respect for the artefacts of physics research had resulted in a collection of lab “junk.” Making use of this variety of oddments stretched the knowledge and skill of the metalsmiths, who were forced in some cases to handle unfamiliar materials and to try new processes. The term “Labpunk” was coined to describe the resulting works of art and science. In addition to an exhibition of approximately 50 works during the Congress, individual pieces were commissioned as gifts for each of the nine plenary speakers (Figure 1). Each gift was inspired by the research interests of the speaker. Throughout the collaboration the pair followed a fourfold aspiration: to create by making wearable works of art and small sculptural objects; to reflect on their practice with special attention to recording a dialogue between the science of physics and the art of metalsmithing and jewellery-making; to interact, by networking and engaging in discourse that spans cultural divides; and to address thefinite through repurposing materials (Wegener & Milroy).For this article, Wegener and Milroy invited creative practice researcher, Holmes, to extend the collaboration. Initially Holmes was actively engaged “in conversation” with photographs and several physical Labpunk works, without any prior explanation by the duo. Once Holmes had made his observations, the artists added more information about each work, in terms of inspiration, technique, process, materials, recipient’s reactions and so on. Holmes took on the role of provocateur, subsequently extending the discussion to incorporate an in-depth critique of someof the assumptions behind their aspirations, and to speculate on those works that aim to interpret and be inspired by physics as wearable art. The conversations were recorded and subsequently transcribed, edited and built on over multiple drafts, circulated by email and collaboratively negotiated. Specifically, the intent was to tease out issues of process, practice and knowledge making

Increased demand for access to museum collections is driving a trend toward specimen digitisation... more Increased demand for access to museum collections is driving a trend toward specimen digitisation. Three dimensional (3D) digital models provide researchers with rapid on-line access and augment publications.The availability of accurate 3D digital models reduces the need for museums to loan specimens, and thus reduces risk of loss and/or damage. A digital 3D model also enables multiple researchers to examine the same specimen simultaneously. This trend has direct implications for scientific illustrators, as specimen representation or reconstruction is evolving from traditional techniques to digital technologies, and from two-dimensional visualisations to three dimensionaldigital models. The following case study documents the production of 3D digital models of palæobotanical specimens at the Queensland museum using a digital single lens reflex camera (DSLR) and Agisoft PhotoScan photogrammetric software. The resulting models can be shared online, viewed using a commonly available format, and tactually manipulated using a touchscreen

In August 2013, an intensive research-writing workshop, embedding Indigenous perspectives and app... more In August 2013, an intensive research-writing workshop, embedding Indigenous perspectives and approaches, responded to imperatives to develop creative works as research outputs. Inspired by a visual artwork, two poems were collaboratively developed and performed at the workshop by the participants. This activity, and these outputs, explored how visual works can inspire creative text, and how the melding of individual voices offers a dynamism that may not be achieved as a solo writer. Sharing this research technique to facilitate both individual and collaborative research writing resists the competitive nature of research evaluation/ranking. These works were created for publication and performance by ten Aboriginal, two Torres Strait Islander and eight non-Indigenous women. This type of collaboration stands in contrast to Indigenous auto/biographical writing, and engaged Indigenous and non-Indigenous authors in a collaborative research process which has resulted in publication. This presented both challenges and opportunities to develop processes in learning, teaching and research as a collective of creative scholars

Australasian Journal of Popular Culture, 2015

ABSTRACT The Queensland Museum geosciences collection is vast, with over five million individual ... more ABSTRACT The Queensland Museum geosciences collection is vast, with over five million individual items, intriguing, and of great interest to a wide variety of audiences in Australia and overseas. Recent developments in imaging technologies, the rapid evolution of the Internet, a corresponding increase in ‘digital natives’ and expectations of greater access to virtual collections are impetuses for museums, worldwide, to digitize their collections. This trend may be considered in a democratic context, as museums strive to provide online access. Their goal, in contrast to the two-dimensional (2D) digitization of collections in Libraries/Art galleries/Herbaria, is to provide access to three-dimensional (3D) digital objects. The Queensland Museum, like most museums, only has a small portion of the collection on display and the most scientifically significant specimens are kept in a secure, environmentally controlled type store. This is one of the essential paradoxes of museums – that in order to protect and conserve natural history collections, physical access has to be restricted. However, we argue that in response to these emerging imaging technologies the traditional, scientific research culture of the museum is evolving and adapting novel research methodologies to enhance access to the most significant specimens held by the museum. As a result, the following artist–scientist–technology collaboration highlights our use of digital imaging techniques; specifically photogrammetry and medical computed tomography (CT) scanning to create ‘virtual’ type specimens. Two digitized type specimens are presented here as exemplars. We consider these as exciting first steps to democratizing the Museum’s geosciences collection, as an accessible on-line resource for a diversity of end users.

Sometimes physics fascinates just because of its aesthetics. It could be the artistic appeal of a... more Sometimes physics fascinates just because of its aesthetics. It could be the artistic appeal of an experimental image, a beautiful object used in doing physics, a pleasing curve that relates parameters… The authors of this article see possibilities for art in the artefacts of physics – in bits of lab equipment, experimental results, and theoretical models. One is a scientist with a passion for art, the other an artist with a passion for science. Collaboratively they are making original works of art which may be worn as jewellery, or enjoyed as sculpture, by re-purposing physics artefacts.

The Doctoral Experience, 2019

The doctoral journey often requires a revision of previously held paradigms—ontological, epistemo... more The doctoral journey often requires a revision of previously held paradigms—ontological, epistemological, methodological, axiological and rhetorical—as new thought creates new knowledge. A PhD is, after all, a Doctor of Philosophy, and thus requires deep sustained cogitation to contribute to knowledge. Such deep thinking requires dedicated time; the Ancient Greek philosophers knew this and valued it accordingly. Think Archimedes, and the epiphany he (allegedly) had whilst bathing which resulted in a principle of how to determine the volume of an object with an irregular shape. Indeed, some of the most revolutionary theories of our time, such as Darwin’s Theory of Evolution, were born not only from periods of sustained observation but also from periods of sustained thinking. Making time to think is a very individual process: for Darwin, regular walks around his property were how he made the time to think, and to ruminate on what he had observed, studied, and or researched, and in suc...

Journal of Natural Scientific Illustration, 2015

Increased demand for access to museum collections is driving a trend toward specimen digitisation... more Increased demand for access to museum collections is driving a trend toward specimen digitisation. Three dimensional (3D) digital models provide researchers with rapid on-line access and augment publications.
The availability of accurate 3D digital models reduces the need for museums to loan specimens, and thus reduces risk of loss and/or damage. A digital 3D model also enables multiple researchers to examine the same specimen simultaneously. This trend has
direct implications for scientific illustrators, as specimen representation or reconstruction is evolving from traditional techniques to digital technologies, and from two-dimensional visualisations to three dimensional digital models. The following case study documents the production of 3D digital models of palæobotanical specimens at the Queensland museum using a digital single lens reflex camera (DSLR) and Agisoft PhotoScan photogrammetric software. The resulting models can be shared online, viewed using a commonly available format, and
tactually manipulated using a touchscreen.

Australasian Journal of Popular Culture, 2015

The Queensland Museum geosciences collection is vast, with over five million individual items, in... more The Queensland Museum geosciences collection is vast, with over five million individual items, intriguing, and of great interest to a wide variety of audiences in Australia and overseas. Recent developments in imaging technologies, the rapid evolution of the Internet, a corresponding increase in 'digital natives' and expectations of greater access to virtual collections are impetuses for museums, worldwide, to digitize their collections. This trend may be considered in a democratic context, as museums strive to provide online access. Their goal, in contrast to the two-dimensional (2D) digitization of collections in Libraries/Art galleries/Herbaria, is to provide access to three-dimensional (3D) digital objects. The Queensland Museum, like most museums, only has a small portion of the collection on display and the most scientifically significant specimens are kept in a secure, environmentally controlled type store. This is one of the essential paradoxes of museums-that in order to protect and conserve natural history collections, physical access has to be restricted. However, we argue that in response to these emerging imaging technologies the traditional, scientific research culture of the museum is evolving and adapting novel research methodologies to enhance access to the most significant specimens held by the museum. As a result, the following artist-scientist-technology collaboration

Increased demand for access to museum collections is driving a trend toward specimen digitisation... more Increased demand for access to museum collections is
driving a trend toward specimen digitisation. Three
dimensional (3D) digital models provide researchers
with rapid on-line access and augment publications.
The availability of accurate 3D digital models reduces
the need for museums to loan specimens, and thus
reduces risk of loss and/or damage. A digital 3D
model also enables multiple researchers to examine
the same specimen simultaneously. This trend has
direct implications for scientific illustrators, as
specimen representation or reconstruction is evolving
from traditional techniques to digital technologies,
and from two-dimensional visualisations to threedimensional
digital models. The following case study
documents the production of 3D digital models
of palæobotanical specimens at the Queensland
museum using a digital single lens reflex camera
(DSLR) and Agisoft PhotoScan photogrammetric
software. The resulting models can be shared online,
viewed using a commonly available format, and
tactually manipulated using a touchscreen.

In 2014, the professional society of physicists in Australia themed their national conference “Th... more In 2014, the professional society of physicists in Australia themed their national conference “The Art of Physics” (Canberra, 7-11 December, 2014). The aim was to “stimulate diverse and creative participation in the Congress” and delegates were encouraged to be “adventurous” (“Australian
Institute of Physics”). Wegener, a physicist with a deep interest in the arts, invited Milroy, an artist with a deep interest in science, to collaborate to produce a body of artistic work addressing the Congress theme. Their shared experiences as metalsmiths led to the idea to transform physics relics into wearable art and small sculptural objects. Wegener’s respect for the artefacts of physics research had resulted in a collection of lab “junk.” Making use of this variety of oddments stretched the knowledge and skill of the metalsmiths, who were forced in some cases to handle unfamiliar materials and to try new processes. The term “Labpunk” was coined to describe the
resulting works of art and science. In addition to an exhibition of approximately 50 works during the Congress, individual pieces were commissioned as gifts for each of the nine plenary speakers (Figure 1). Each gift was inspired by the research interests of the speaker. Throughout the collaboration the pair followed a fourfold aspiration: to create by making wearable works of art and small sculptural objects; to reflect on their practice with special attention to recording a dialogue between the science of physics and the art of metalsmithing and jewellery-making; to interact, by networking and engaging in discourse that spans cultural divides; and to address the
finite through repurposing materials (Wegener & Milroy).
For this article, Wegener and Milroy invited creative practice researcher, Holmes, to extend the collaboration. Initially Holmes was actively engaged “in conversation” with photographs and several physical Labpunk works, without any prior explanation by the duo. Once Holmes had
made his observations, the artists added more information about each work, in terms of inspiration, technique, process, materials, recipient’s reactions and so on. Holmes took on the role of provocateur, subsequently extending the discussion to incorporate an in-depth critique of some of the assumptions behind their aspirations, and to speculate on those works that aim to interpret and be inspired by physics as wearable art. The conversations were recorded and subsequently transcribed, edited and built on over multiple drafts, circulated by email and collaboratively negotiated. Specifically, the intent was to tease out issues of process, practice and knowledge making.

The Queensland Museum geosciences collection is vast, with over five million individual items, in... more The Queensland Museum geosciences collection is vast, with over five million individual items, intriguing, and of great interest to a wide variety of audiences in Australia and overseas. Recent developments in imaging technologies, the rapid evolution of the Internet, a corresponding increase in ‘digital natives’ and expectations of greater access to virtual collections are impetuses for museums, worldwide,
to digitize their collections. This trend may be considered in a democratic context, as museums strive to provide online access. Their goal, in contrast to the two-dimensional
(2D) digitization of collections in Libraries/Art galleries/Herbaria, is to provide access to three-dimensional (3D) digital objects. The Queensland Museum, like most museums, only has a small portion of the collection on display and the most scientifically significant specimens are kept in a secure, environmentally controlled type store. This is one of the essential paradoxes of museums – that in order to protect and conserve natural history collections, physical access has to be restricted.
However, we argue that in response to these emerging imaging technologies the traditional, scientific research culture of the museum is evolving and adapting novel research methodologies to enhance access to the most significant specimens held by the museum. As a result, the following artist–scientist–technology collaboration highlights our use of digital imaging techniques; specifically photogrammetry and
medical computed tomography (CT) scanning to create ‘virtual’ type specimens. Two digitized type specimens are presented here as exemplars. We consider these as exciting first steps to democratizing the Museum’s Geosciences collection, as an accessible on-line resource for a diversity of end users.

Laura Bradshaw-Heap hosted a masterclass as part of the 15th Biennial JMGA conference. Over the c... more Laura Bradshaw-Heap hosted a masterclass as part of the 15th Biennial JMGA conference. Over the course of a week Laura and participants worked together with the aim of “developing a variety of critical, analytical and curatorial techniques” (L BH 2013).

The term “node”, from the Latin for “knot”, is used in networking to define an active point – whe... more The term “node”, from the Latin for “knot”, is used in networking to define an active point – where connections, distributions and communications are made. Here it is being used as a metaphor to describe a recent art/science collaboration, in which unique items of jewellery were made for the plenary speakers of the 2014 Australian Institute of Physics Congress. Physicist (MJ Wegener) and artist (AK Milroy); both long-term JMGQ members, collaborated to produce pieces which celebrated both the theme of the conference (The Art of Physics) and the research work of each of the speakers.

Creative Writing as Research III

'Thoughts flow from mind to hands' and 'Coconut damper: a working recipe'

Presentations by Dr A N I T A ( A K ) Milroy

The Australian Synchrotron's Imaging and Medical Beamline (IMBL) is fast becoming one of the most... more The Australian Synchrotron's Imaging and Medical Beamline (IMBL) is fast becoming one of the most advanced instruments for X-ray imaging of matter in the world. The unprecedented strength of the synchrotron light source specifically enables Computed Tomography (CT)an imaging technique that provides non-destructive 3D mapping of the internal structures and properties of objects. These objects can come in a wide range of sample types and sizes. Many fields of science have used IMBL for its CT capabilities, including: biology, geology, palaeontology, architecture, medicine and more.

AOFSRR 2015 in conjunction with USER MEETING 2015

A recent successful trial using the Imaging and Medical (IMBL) at the Melbourne Synchrotron has r... more A recent successful trial using the Imaging and Medical (IMBL) at the Melbourne Synchrotron has revealed the internal anatomy and morphology of rare, three-dimensionally preserved, 30 million year old silicified fruits from Capella, in Central Queensland. These IMBL scans are the first application of this technique to the study of this kind of material. Previous medical CT scanning did not reveal any internal information. During the permineralisation process silicates have replaced the organic material of the fruit and thus biological information (such as DNA) is impossible to obtain. This in turn makes accurate taxonomic classification extremely difficult. Physical sectioning of these rare fossils for visualisation has many risks
as it invariably destroys the specimen and is not guaranteed to produce any additional information. However, the current IMBL scans have provided us with accurate, detailed images of the internal reproductive structures of these enigmatic fruits, enabling, for the first time, a direct physical comparison between internal morphologies of extinct and
extant rainforest fruits. This extra vital information effectively enables researchers to establish or confirm classifications to appropriate family, genus and species. Accurate species
identification will help to advance knowledge of past environments and climates in Australia.
Our collaboration specifically aims at combining art, science and technology to explore various approaches in the visualisation of this material, to drive content not only for scientific publication, but for exhibitions in galleries and museums and thereby attract entirely new
audiences to this research.

Posters by Dr A N I T A ( A K ) Milroy

Creative art-science collaboration, presented at APPC-AIP 2016.

The Art of Physics

Physics can fascinate because of its aesthetics. We see possibilities for art in the artefacts of... more Physics can fascinate because of its aesthetics. We see possibilities for art in the artefacts of physics –
lab equipment, experimental results, theoretical models - in the artistic appeal of observed phenomena, beautiful objects used in doing physics, a pleasing curve that relates parameters ...
A scientist with a passion for art (MJ Wegener) and an artist with a passion for science (AK Milroy), we are collaboratively making original jewellery / art objects by re-purposing physics artefacts.
We call these souvenirs of the work of physicists, transformed into art, Labpunk.

Australasian Journal of Popular Culture, 2015

The Doctoral Experience, 2019

Journal of Natural Scientific Illustration, 2015

Increased demand for access to museum collections is driving a trend toward specimen digitisation... more Increased demand for access to museum collections is driving a trend toward specimen digitisation. Three dimensional (3D) digital models provide researchers with rapid on-line access and augment publications.
The availability of accurate 3D digital models reduces the need for museums to loan specimens, and thus reduces risk of loss and/or damage. A digital 3D model also enables multiple researchers to examine the same specimen simultaneously. This trend has
direct implications for scientific illustrators, as specimen representation or reconstruction is evolving from traditional techniques to digital technologies, and from two-dimensional visualisations to three dimensional digital models. The following case study documents the production of 3D digital models of palæobotanical specimens at the Queensland museum using a digital single lens reflex camera (DSLR) and Agisoft PhotoScan photogrammetric software. The resulting models can be shared online, viewed using a commonly available format, and
tactually manipulated using a touchscreen.

Australasian Journal of Popular Culture, 2015

Increased demand for access to museum collections is driving a trend toward specimen digitisation... more Increased demand for access to museum collections is
driving a trend toward specimen digitisation. Three
dimensional (3D) digital models provide researchers
with rapid on-line access and augment publications.
The availability of accurate 3D digital models reduces
the need for museums to loan specimens, and thus
reduces risk of loss and/or damage. A digital 3D
model also enables multiple researchers to examine
the same specimen simultaneously. This trend has
direct implications for scientific illustrators, as
specimen representation or reconstruction is evolving
from traditional techniques to digital technologies,
and from two-dimensional visualisations to threedimensional
digital models. The following case study
documents the production of 3D digital models
of palæobotanical specimens at the Queensland
museum using a digital single lens reflex camera
(DSLR) and Agisoft PhotoScan photogrammetric
software. The resulting models can be shared online,
viewed using a commonly available format, and
tactually manipulated using a touchscreen.

In 2014, the professional society of physicists in Australia themed their national conference “Th... more In 2014, the professional society of physicists in Australia themed their national conference “The Art of Physics” (Canberra, 7-11 December, 2014). The aim was to “stimulate diverse and creative participation in the Congress” and delegates were encouraged to be “adventurous” (“Australian
Institute of Physics”). Wegener, a physicist with a deep interest in the arts, invited Milroy, an artist with a deep interest in science, to collaborate to produce a body of artistic work addressing the Congress theme. Their shared experiences as metalsmiths led to the idea to transform physics relics into wearable art and small sculptural objects. Wegener’s respect for the artefacts of physics research had resulted in a collection of lab “junk.” Making use of this variety of oddments stretched the knowledge and skill of the metalsmiths, who were forced in some cases to handle unfamiliar materials and to try new processes. The term “Labpunk” was coined to describe the
resulting works of art and science. In addition to an exhibition of approximately 50 works during the Congress, individual pieces were commissioned as gifts for each of the nine plenary speakers (Figure 1). Each gift was inspired by the research interests of the speaker. Throughout the collaboration the pair followed a fourfold aspiration: to create by making wearable works of art and small sculptural objects; to reflect on their practice with special attention to recording a dialogue between the science of physics and the art of metalsmithing and jewellery-making; to interact, by networking and engaging in discourse that spans cultural divides; and to address the
finite through repurposing materials (Wegener & Milroy).
For this article, Wegener and Milroy invited creative practice researcher, Holmes, to extend the collaboration. Initially Holmes was actively engaged “in conversation” with photographs and several physical Labpunk works, without any prior explanation by the duo. Once Holmes had
made his observations, the artists added more information about each work, in terms of inspiration, technique, process, materials, recipient’s reactions and so on. Holmes took on the role of provocateur, subsequently extending the discussion to incorporate an in-depth critique of some of the assumptions behind their aspirations, and to speculate on those works that aim to interpret and be inspired by physics as wearable art. The conversations were recorded and subsequently transcribed, edited and built on over multiple drafts, circulated by email and collaboratively negotiated. Specifically, the intent was to tease out issues of process, practice and knowledge making.

The Queensland Museum geosciences collection is vast, with over five million individual items, in... more The Queensland Museum geosciences collection is vast, with over five million individual items, intriguing, and of great interest to a wide variety of audiences in Australia and overseas. Recent developments in imaging technologies, the rapid evolution of the Internet, a corresponding increase in ‘digital natives’ and expectations of greater access to virtual collections are impetuses for museums, worldwide,
to digitize their collections. This trend may be considered in a democratic context, as museums strive to provide online access. Their goal, in contrast to the two-dimensional
(2D) digitization of collections in Libraries/Art galleries/Herbaria, is to provide access to three-dimensional (3D) digital objects. The Queensland Museum, like most museums, only has a small portion of the collection on display and the most scientifically significant specimens are kept in a secure, environmentally controlled type store. This is one of the essential paradoxes of museums – that in order to protect and conserve natural history collections, physical access has to be restricted.
However, we argue that in response to these emerging imaging technologies the traditional, scientific research culture of the museum is evolving and adapting novel research methodologies to enhance access to the most significant specimens held by the museum. As a result, the following artist–scientist–technology collaboration highlights our use of digital imaging techniques; specifically photogrammetry and
medical computed tomography (CT) scanning to create ‘virtual’ type specimens. Two digitized type specimens are presented here as exemplars. We consider these as exciting first steps to democratizing the Museum’s Geosciences collection, as an accessible on-line resource for a diversity of end users.

Creative Writing as Research III

'Thoughts flow from mind to hands' and 'Coconut damper: a working recipe'

AOFSRR 2015 in conjunction with USER MEETING 2015

Creative art-science collaboration, presented at APPC-AIP 2016.

The Art of Physics

Experimental intra-disciplinary praxis forms the basis of this research, specifically bridging th... more Experimental intra-disciplinary praxis forms the basis of this research, specifically bridging the domains of art-science and utilising innovative imaging technologies. The research addresses the following questions:
In what ways, if any, can the outcomes of a practice-based visual arts researcher significantly contribute to the development and communication of knowledges in scientific practice?
And conversely:
In what ways, if any, can scientific research practices significantly contribute to the development and communication of knowledges in artistic practice?
Significance is measured through contributions to knowledge including, but not limited to, the development of: new concepts, methodologies, inventions and understandings.
Over a period of four years, the researcher, a professional practising artist, documents and creates intra-actively with scientific practitioners in the fields of fine art, palaeontology and physics. This emergent inquiry results in outcomes significant to both art and science domains as it provides a critical examination of each discipline’s standard research practices and knowledge making paradigms. It subsequently proposes
a paradigm shift, as a direct result of working collaboratively within disciplines and sparked by creative and innovative methods of knowledge production.
In responding to the questions posed, the researcher applies a Bohrian philosophy of physics and this is strongly influenced by Karen Barad’s interpretation of it. Quantum theory provides a rich source for rethinking knowledge creation in both artistic and scientific domains. It also suggests the application of a diffractive, rather than reflective,
methodology as the research investigates Bohr’s notion that we are a part of that nature we seek to understand.
The art-science experimental procedures and outcomes are additionally theorised by integrating and supplementing them with ideas about agency, epistemology, ontology, and praxis from theorists such as Donna Haraway, Estelle Barrett, Barbara Bolt, Andrew Pickering and Bruno Latour.
This thesis comprises visual and textual components inspired by the researcher’s scholarly engagement with the palaeobotanic type collection at the Queensland Museum. For the first time ever, the exhibited visual outcomes utilise and interpret type collection
data using state-of-the-art imaging technologies from the Imaging and Medical Beamline (IMBL) at the Australian Synchrotron. The thesis exhibition, Aletheia, provides visualisations of seeds and fruits at a previously unseen evolutionary stage because the technique proposed by the researcher non-destructively reveals detailed internal
morphologies and key taxonomic features of previously unclassifiable fossils. The significance of the research outcomes to date, for communicating in visually creative and innovative ways, to share new artistic and scientific knowledges across and through disciplines and the wider global community have already been recognised
through the research being extended beyond the current candidature period. A competitive, collaborative proposal for future work, scanning at ANSTO’s advanced DINGO neutron beamline at the Lucas Heights facility has been accepted. This technology provides capability for neutron scanning, a complementary technique to the
synchrotron x-ray radiation of the IMBL. It is anticipated that the ongoing work will continue to provide a platform for synergistic national and international intra-disciplinary research linkages.
Documentation of the culminating exhibition, which was held in April 2016, together with evidence of other significant exhibitions, international collaborative artefactual outcomes, and published articles is presented for examination for the award of Doctor of Philosophy.