The number of patients who have undergone some kind of internal fixation or joint replacement is increasing thanks to the development of technology and orthopaedics. All these patients carry metal implants. Magnetic resonance imaging has an advantage over other imaging methods, due to its superior soft tissue contrast and to its sensitivity in detecting the inflammation which is present at infections and malignancies. However metal implants usually deteriorate the image quality and as a result affect the accuracy of the diagnostic procedure. This is the case when the region of interest is in the proximal vicinity of the implant, or the implant is large enough. A number of MRI sequences have been proposed in order to overcome the artifact that comes from metal implants, more formally known as susceptibility artifact. However the most effective of them, are not widely available. The need for optimization of MR imaging at the presence of metal implants presupposes the development of methods capable of quantifying the artifact under various imaging sequences and conditions. Most artifact quantification techniques proposed until now, are usually based on the visual observation (experienced radiologists) or at image segmentation methods. These segmentation methods, segment the image based on arbitrary selected gray values (thresholds). A more objective and precise quantification method relies on the subtraction of images of a zero artifact replica (test object) from those of the real metal implant. The copy is constructed from material with similar values of magnetic susceptibility with its environment (usually water). The images deriving from the copy if we take in consideration the noise differences, have no susceptibility artifact. In this method artifact is quantified as energy differences between the two images [Kolind S et al, 2004]. Since the acquisition conditions are identical except the presence of susceptibility artifact in the image depicting the real metal object, the energy difference is used to quantify the artifact. While the method quantifies the artifact, giving precise values, it does not inform us for its position in space At this thesis we proposed a new, to our knowledge, method of artifact quantification. It is based in the physical cause of the artifact, which are the gradients of the magnetic field, which derive from the presence of the metal implant. The gradients of the magnetic field create corresponding gradients at the gray scale values of the image. These gradients may be detected if we apply suitable filter which detects the amplitude of the gradient. In this way we detect both regions with signal void (low signal intensity) and signal pill ups (high signal intensity). That means that we do not have to apply two different operators to segment two regions of the artifact with so different signal intensity values. Then the image is thresholded using a fully automated algorithm, proposed by [Li & Lee 1993]. This algorithm is available in image analysis environment ImageJ. At the first part of this thesis there are presented the basic principles of nuclear magnetic imaging image formation. The interaction of the most common materials with the magnetic field is also presented. All these are considered necessary to explain the generation of magnetic susceptibility artifact at the image acquired. The theory beyond the magnetic susceptibility artifact generation is then explained in detail. At the experimental part of this thesis, the proposed algorithm is applied to the imaging of two implants (made of titanium and antimagnetic stainless steel) at the sequences which are most commonly used to musculoskeletal MRI. The proposed algorithm is compared with a variation of the method of the image energy differences proposed by [Kolind Sh, 2004]. This method quantifies the artifact as energy difference of image of the real implant from the image of a replica with zero susceptibility artifact (reference image). In the present thesis the image of lower susceptibility artifact (obtained at higher bandwidth) is considered as reference image. In our case it is assumed that the energy difference among different bandwidth acquisitions is negligible in relation to the susceptibility artifact amplitude. This assumption allows as to use instead of energy differences, the differences in the gray scale values of the image instead. Statistical analysis showed moderate to strong positive correlation between the two methods. Possible reasons of not obtaining strong correlation at all measurements is due to the regions of the image that the proposed algorithm quantifies. By segmenting regions of high gradient, we focus mainly at regions where there is high variation at the gray scale values. However, in many cases nearly homogeneous regions of an image, with little or no alteration in gray scale values, may also be considered as artifact. These areas are not segmented as artifact when the proposed algorithm is applied. More over the assumption of considering negligible the noise contribution between the different acquisitions may be an oversimplification. Nevertheless, the proposed algorithm, is an objective repeatable and observer independent method. Moreover it is capable of determining the boundaries of the artifact in image space. It is not intended to be used as a method of absolute quantification of the susceptibility artifact. It should be used as means of comparison of acquisitions concerning the same sequence. Its combination with an additional algorithmic step, such as one which detects image features may result in a powerful tool of image artifact quantification. This more sophisticated version of this proposed algorithm should be adequate enough to quantify the artifact not only at phantom models but even at the everyday clinical practice. / H εξέλιξη της ιατρικής και ειδικότερα της ορθοπαιδικής έχει κάνει ολοένα και περισσότερο συχνή την ύπαρξη ασθενών που φέρουν μεταλλικά εμφυτεύματα. Η απεικόνιση με μαγνητικό συντονισμό πλεονεκτεί σε σχέση με άλλες απεικονιστικές μεθόδους εξαιτίας της καλύτερης αντίθεσης που προσφέρει στους μαλακούς ιστούς και στην ευαισθησία στην ανάδειξη της φλεγμονής που συνοδεύει τις μολύνσεις και τις κακοήθειες. Η ύπαρξη μεταλλικών εμφυτευμάτων συνήθως υποβαθμίζει την ποιότητα της εικόνας και την καθιστά πολλές φορές μη διαγνωστική, ειδικά αν η περιοχή ενδιαφέροντος είναι κοντά στο μεταλλικό εμφύτευμα ή στην περίπτωση που αυτό είναι αρκετά μεγάλο. Μια σειρά από μεθόδους ή ακόμη και ειδικές ακολουθίες έχει προταθεί κατά καιρούς για να αντιμετωπιστεί η ύπαρξη των τεχνημάτων επιδεκτικότητας, όπως ονομάζονται τα artifact που έχουν σαν αιτία τους τις τοπικές στρεβλώσεις στο μαγνητικό πεδίο εξαιτίας μεταλλικών προθέσεων. Οι πιο αποτελεσματικές από αυτές παραμένουν μη διαθέσιμες για το ευρύ κοινό. Η ανάγκη για βελτιστοποίηση των συνθηκών απεικόνισης κάνει επιτακτική την ανάγκη για ποσοτικοποίηση του artifact στις διαφορετικές συνθήκες λήψεις. Οι τεχνικές ποσοτικοποίησης του artifact που έχουν προταθεί μέχρι σήμερα βασίζονται στην ποιοτική ακτινολογική εκτίμηση (οπτική παρατήρηση) είτε σε μεθόδους τμηματοποίησης της περιοχής εικόνας του artifact που συνήθως στηρίζονται στην επιλογή αυθαίρετων τιμών κατωφλίου τόνων του γκρι. Μια πιο αντικειμενική και ακριβής μέθοδος αφορά στην αφαίρεση εικόνων γεωμετρικού αναλόγου (αντικείμενο ελέγχου- ομοίωμα) του εμφυτεύματος από την εικόνα που απεικονίζει το ίδιο το εμφύτευμα. Το ανάλογο είναι κατασκευασμένο από υλικό με παρόμοια μαγνητική επιδεκτικότητα προς το περιβάλλον του εμφυτεύματος. Η απεικόνιση ενός τέτοιου ομοιώματος, λαμβανομένης υπόψη και της συνεισφοράς του θορύβου, παρουσιάζει μηδενικό artifact επιδεκτικότητας σε σχέση με το πραγματικό εμφύτευμα. Το artifact στην περίπτωση αυτή ποσοτικοποιείται ως διαφορά ενέργειας εικόνας στην περιοχή του περιβάλλοντος υλικού [Kolind S et al,2004]. Η τελευταία αυτή μέθοδος ενώ ποσοτικοποιεί με ακρίβεια το artifact δεν παρέχει πληροφορίες για τη θέση του στο χώρο. Στην παρούσα μεταπτυχιακή εργασία, προτείνεται μία νέα, με βάση τα όσα γνωρίζουμε, μέθοδος ποσοτικοποίησης του artifact. Η μέθοδος αυτή βασίζεται στη γενεσιουργό αιτία του artifact, που είναι οι στρεβλώσεις του μαγνητικού πεδίου από την παρουσία του μεταλλικού αντικειμένου. Οι στρεβλώσεις αυτές εκφράζονται ως βαθμιδώσεις του μαγνητικού πεδίου. Οι βαθμιδώσεις του Μ.Π προκαλούν αντίστοιχες βαθμιδώσεις στην ένταση των τόνων του γκρι στην εικόνα. Αυτές οι βαθμιδώσεις μπορούν να αναδειχθούν αν εφαρμόσουμε κατάλληλο φίλτρο στην εικόνα που ανιχνεύει το μέγεθος/ πλάτος της βαθμίδωσης. Με αυτό τον τρόπο θα ανιχνευτούν τόσο περιοχές με υψηλό όσο και περιοχές με χαμηλό σήμα, απλοποιώντας έτσι τη διαδικασία, αφού δε χρειάζεται να ανιχνευτούν με ξεχωριστό αλγόριθμο περιοχές του artifact με πολύ διαφορετικές τιμές τόνων του γκρι. Στη συνέχεια η εικόνα που προκύπτει κατωφλιώνεται με αυτόματή μέθοδο που έχει προταθεί [Li & Lee 1993] και είναι διαθέσιμη στο περιβάλλον ανάλυσης εικόνας Image J. Στο πρώτο τμήμα της παρούσας εργασίας αναπτύσσονται, συνοπτικά βασικές αρχές του πυρηνικού μαγνητικού συντονισμού και του τρόπου με τον οποίο δημιουργείται η δισδιάστατη εικόνα στο MRI. Ακολουθεί επίσης μια σύντομη περιγραφή του τρόπου με τον οποίο συμπεριφέρονται τα πιο κοινά υλικά όταν βρεθούν εντός του μαγνητικού πεδίου. Όλα αυτά είναι αναγκαία για γίνει κατανοητός ο τρόπος που δημιουργείται το artifact μαγνητικής επιδεκτικότητας στην εικόνα που λαμβάνουμε. Στη συνέχεια αναπτύσσεται με λεπτομέρεια ο μηχανισμός και η φυσική που εμπλέκεται στη δημιουργία των artifact μαγνητικής επιδεκτικότητας. Στο πειραματικό μέρος, εφαρμόζεται ο προτεινόμενος αλγόριθμος σε απεικονίσεις δύο εμφυτευμάτων (τιτανίου και αντιμαγνητικού χάλυβα) στις πιο κοινά χρησιμοποιούμενες ακολουθίες του μυοσκελετικού. Ο προτεινόμενος αλγόριθμος ελέγχεται ως προς την ικανότητα του να ποσοτικοποιεί το artifact με μία παραλλαγή της μεθόδου διαφοράς ενεργειών εικόνων [Kolind Sh,2004]. H μέθοδος αυτή ποσοτικοποιεί το artifact ως διαφορά ενέργειας της εικόνας του πραγματικού εμφυτεύματος από εικόνα γεωμετρικού αναλόγου με μηδενικό artifact (εικόνα αναφοράς). Στην περίπτωση μας χρησιμοποιήσαμε ως εικόνα αναφοράς την εικόνα με το ελάχιστο artifact (η οποία βάσει θεωρίας αντιστοιχεί στη λήψη με το υψηλότερο bandwindth). Επίσης θεωρήσαμε τη διαφορά θορύβου των διαφορετικών λήψεων αμελητέα ως προς τις τιμές έντασης (τόνοι του γκρι) του artifact, ώστε να μπορούμε να αξιοποιήσουμε το πεδίο των τιμών των τόνων του γκρι και όχι αυτό της ενέργειας της εικόνας. Η στατιστική επεξεργασία αναδεικνύει μέτρια ως ισχυρή θετική συσχέτιση των 2 αλγορίθμων. Πιθανοί λόγοι που δεν έχουμε σε όλες τις μετρήσεις ισχυρή ή πολύ ισχυρή συσχέτιση αποδίδονται πρωτίστως στην περιοχή της εικόνας που ποσοτικοποιεί η προτεινόμενη μέθοδος. Τμηματοποιώντας τις βαθμιδώσεις της εικόνας εστιάζουμε σε περιοχές που υπάρχει έντονη μεταβολή των τιμών του γκρι. Παρόλα αυτά το artifact μπορεί κατά περιπτώσεις να περιλαμβάνει και ομοιογενείς περιοχές εικόνας με παραπλήσιες τιμές του γκρι. Αυτές είναι περιοχές που δεν τμηματοποιεί (ανιχνεύει) η προτεινόμενη προσέγγιση. Μια ακόμη αιτία θα μπορούσε να είναι η μη αξιολογήση της συνεισφοράς του θορύβου στις διαφορετικές λήψεις (bandwidths). Η απώλεια τέτοιων περιοχών δεν μειώνει την αξία του αλγορίθμου, αφού αποτελεί μια αντικειμενική μέθοδο, ανεξάρτητη από τον παρατηρητή, επαναλήψιμη και ικανή να οριοθετήσει το artifact στο χώρο. Δεν της επιτρέπει παρόλα αυτά να χρησιμοποιηθεί σαν μέθοδος απόλυτης ποσοτικοποίησης του artifact. Μπορεί να χρησιμοποιηθεί για την πραγματοποίηση συγκρίσεων ιδανικά σε συνθήκες λήψεις που αφορούν την ίδια ακολουθία. Ο συνδυασμός της με ένα επιπλέον αλγοριθμικό βήμα, όπως ένα βήμα που θα ανιχνεύονται χαρακτηριστικά της εικόνας σε συνδυασμό με την οριοθέτηση του artifact που έχει προηγηθεί, μπορεί να δώσει ένα ισχυρό εργαλείο τμηματοποίησης της εικόνας με εφαρμογές που θα μπορούν να επεκταθούν από τη χρήση σε ομοιωμάτων ως εργαλείων για την ποσοτικοποίηση του artifact και στην καθημερινή κλινική πρακτική.

Contrast-enhanced mammography (CEM) relies on visualizing the growth of new blood vessels (i.e. tumor angiogenesis) to provide sufficient materials for cell proliferation during the development of cancer. Since cancers will accumulate an injected contrast agent more than other tissues, it is possible to use one of several methods to enhance the area of lesions in the x-ray image and remove the contrast of normal tissue. Large area flat panel detectors may be used for CEM wherein the subtraction of two acquired images is used to create the resulting enhanced image. There exist several methods to acquire the images to be subtracted, which include temporal subtraction (pre- and post-contrast images) and dual-energy subtraction (low- and high-energy images), however these methods suffer from artifacts due to patient motion between image acquisitions. In this research the use of a multilayer flat panel detector is examined for CEM that is designed to acquire both (low- and high-energy) images simultaneously, thus avoiding motion artifacts in the resulting subtracted image. For comparison, a dual-energy technique prone to motion artifacts that uses a single-layer detector is also investigated. Both detectors are evaluated and optimized using amorphous selenium as the x-ray to charge conversion material, however the theoretical analysis could be extended to other conversion materials. Experimental results of single pixel prototypes of both multilayer and single-layer detectors are also discussed and compared to theoretical results. For a more comprehensive analysis, the motion artifacts present in dual-exposure techniques are modeled and the performance degradation due to motion artifacts is estimated. The effects of noise reduction techniques are also evaluated to determine potential image quality improvements in CEM images.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.

Taking my own personal history as a starting point this paper will look at how we inherit culture and in turn shape it through the stories and objects that drive its formation. This extends into how these objects proliferate within our culture and the way in which the passing of History impacts on the way we view them and as a consequence ourselves as individuals and as a group. Identity is then passed on through generations through the act of storytelling, and this process is integral to this research paper. This is also a personal journey, taking place in varying sites, from a rusting car hulk in a back yard in North Canterbury, to a University in Wellington and another rusted car, which has gone through a strange restoration. The Morris Minor has been embraced as a narcissistic object that I have chosen to double in order to explore my individual and wider national cultural history and identity. One of the key themes of this inherited identity is largely based around Nostalgia for an ideal past. This ideal is a fiction, a layering of intended futures as well as a selective past. This works in the same way as the modern artistic preoccupation with gothic histories, but instead of a positive ideal we have the creation of a basement of horrors that lurks beneath the surface. Be it positivist idealism or Gothic inversion, one way of focusing on the way these fictions differ markedly from the reality of the objects existence, is to show the artifice of the stories told by enhancing the components of the story that are already exaggerated, for the Morris Minor this means getting as far away from its existence as a rusting hulk in the backyard as possible. The longing for a past that may or may not exist, is less important as existing in reality but instead for what these fictions supply in their retelling. The concept of the Uncanny is integral to this retelling of memory, in that through a memories reanimation it can only approximate the original event leaving gaps for circumspection and invention. This retelling necessitates a reorientation in the relationship between the teller of the tale and the listener and between the viewer and the object viewed. The research culminates in the alteration of a Morris Minor to appear as one continuous surface. The intention of which is to engage with the differing versions of the objects past through taking an active part in its reconstruction as artwork with the aim of reassessment not only of my individual approach to the object but also the viewers.