No description available.

No description available.

This thesis discusses Samuel Beckett's non-verbal language, as observed in his novel, The Unnamable, his film, Film, and his pieces for television, Quadrat I + II. Beckett's sensory focus is nascent in The Unnamable, as Beckett explores the disintegration of verbal language in order to prepare ground for imagery. Imagery, here, is considered to arise from an art that is able to communicate directly with the sensory capacities of its audience. This is in contrast to artworks that primarily utilise verbal language expression, and thus communicate sensory information indirectly. Film succeeds The Unnamable by eleven years and is, effectively, a silent work. Rather than existing as an image in its own right, however, Film is primarily involved in a discussion of the nature of imagery, as the subject matter of Film is a debate with Berkeley’s statement “Esse est percipi”, that is, “to be is to be perceived”. In this film, the reader is encouraged to think about sensory engagement, rather than actively being engaged in a sensory way. Quadrat I + II were first broadcast in 1982 and are both speechless, though sound remains. These two works represent the culmination of Beckett's visual explorations as they engage with the senses directly. This thesis posits that the unique openness of Beckett’s texts demands a particular creativity of its readers, in that the texts may be considered incomplete without reader/viewer contribution to meaning. Beckett’s sensory focus means that readers’ creative understanding of texts is often imagistic in its own right. In addition, the openness of Beckett’s texts invites readers to share the experience of his protagonists. As protagonists are also presented as being involved in acts of creation, and are concerned with the nature of perception, this means that the experience of the reader is, effectively, one of making images. Thus, Beckett works to indirectly, as well as directly, to give the reader a sensory experience. This thesis primarily utilises the theories of Gilles Deleuze, Jacques Derrida, and the theory of Phenomenology to defend this position.

The aim of the experiments reported here was to examine the effectiveness of motion perspective to provide sufficient proximal information for subjects to discriminate between various types of stimulus presentations presented at brief exposure durations. Throughout, the duration of presentation was limited to under one second - the duration of simulated movement ranging from one space-time transformation to fifteen space-time transformations. With the exception of Experiment 1, the technique of stimulus generation made use of random-dot patterns. The stimulus patterns were complex, in general consisting of 11,112 spots randomly distributed in an array of 796 (horizontal) by 770 (vertical) possible spot locations. In addition to 'signal' dots which were transformed to new positions according to the rules of perspective, individual frames in the film displays also contained a large amount of visual 'noise' in the form of dots which appeared randomly in the array.

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There is no abstract available for this dissertation.

This creative project dealt with the development of pattern as it relates to composition. A variety of methods of developing pattern were utilized: stenciling, transfer, and Macromedia Freehand. This assortment of applications provided for a broad exploration of pattern making. The artist also conducted in-depth research of artists who incorporated pattern into their work.As a result of the project, the artist increased his comprehension of the capabilities of pattern in picture making. An additional insight about the disappearance of the pattern format was also attained through research of the pattern movement. The writer identified an under-utilized method of depiction that is likely to be resurrected and developed. This research is artistically relevant in that it recognizes a compositional method that was prematurely abandoned and is worthy of re-exploration. / Department of Art

Vigabatrin (VGB) is an antiepileptic drug approved for pediatric patients with infantile spasms. VGB is associated with visual field reductions in 30-50% of adults taking the drug. The amplitude of the 30-Hz flicker electroretinogram (ERG) is recommended for screening young children on VGB treatment. To determine if standard ERG tests for VGB toxicity are correlated with visual field reductions, 22 individuals who were previously on VGB underwent visual assessment. This study also validated the use of high-resolution OCT for detecting structural changes associated with VGB toxicity. This study demonstrates that the ERG was associated with visual field loss, as measured along the temporal meridian. The retinal nerve fibre layer (RNFL) was attenuated in all children who showed a reduction in the visual fields indicating that RNFL attenuation may be a sensitive marker for VGB toxicity. We recommend using serial OCTs to monitor VGB toxicity since it is fast and non-invasive.

Vigabatrin (VGB) is an antiepileptic drug approved for pediatric patients with infantile spasms. VGB is associated with visual field reductions in 30-50% of adults taking the drug. The amplitude of the 30-Hz flicker electroretinogram (ERG) is recommended for screening young children on VGB treatment. To determine if standard ERG tests for VGB toxicity are correlated with visual field reductions, 22 individuals who were previously on VGB underwent visual assessment. This study also validated the use of high-resolution OCT for detecting structural changes associated with VGB toxicity. This study demonstrates that the ERG was associated with visual field loss, as measured along the temporal meridian. The retinal nerve fibre layer (RNFL) was attenuated in all children who showed a reduction in the visual fields indicating that RNFL attenuation may be a sensitive marker for VGB toxicity. We recommend using serial OCTs to monitor VGB toxicity since it is fast and non-invasive.

No description available.