title: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran.

authors: Nourmohammadi, Neda

abstract: Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

text: Revitalising the representation of Iranian women: A critical and creative exploration of gendered identity in the contemporary art of Iran. Iranian women have been at the centre of many socio-political changes and challenges during the long history of their country. During those changes, the actualisation of their roles has nevertheless been constrained by religiously-based traditions: both ancient and recently-developed. The representation of women’s lives, whether carried out by artists within or outside Iran, has also been a factor that mis-represents what the lives and aspirations of Iranian women, particularly contemporary Iranian women, are like. They have frequently been depicted in stereotypical ways, covered with ‘the veil’, evoking connotations of oppression, segregation, and victimisation. The global media’s circulation of a small range of images of Iranian society, coupled with Iranian artistic and cultural producers choosing to represent Iranian women by using the same motifs as Islamic propagandists, arguably produces the impression of a lack of subjectivity and dynamicity in female identities in particular. These burdensome representational practices frustrate many Iranians but can only be discussed explicitly once an individual, such as myself, is outside the context of Iran. 
This qualitative research project includes a creative practice component and is set out within the theoretical and methodological framework of an autoethnographic approach. This approach draws on my personal experiences and points of view on different subjects raised from the research data. The practical component of this research involves an exhibition of my art-making practice engaging with the themes that emerged from my research data. Theoretically and practically, my research project is inspired by real events in the everyday life of Iranian society and my own life experience. I hoped to revitalise the representations of Iranian women with dynamic and subjective aspects of identities. 
The data in this research were collected in four stages. Firstly, I interviewed a number of Iranian women artists based inside and outside Iran to understand the main influences on my participant artists’ productions, and the ways in which these artists engage with social, political, ethnic, and gendered themes. Secondly, I asked the artists to provide me with one of their works they thought best exemplified their practice. I analysed these works using a Social Semiotic approach to understand how the participant artists represented identities in Iranian society, particularly those of women. Thirdly, I showed my participant artists’ works to different focus-groups to understand how they developed narratives about them that were sometimes similar to mine and sometimes different. And finally, I created a series of artworks to explore ways to associate expressions of a diasporic Iranian female identity with a more of subjective sense of ‘self’. 
The interview data revealed that the artists in my research sample and I share similar viewpoints about Iranian women’s identities in relation to social and political subjects; however, our strategies in approaching these subjects through art differ in some cases. Using Social Semiotics, my analysis of the visual data showed the complexity of the ways in which artists in my sample approached female subjects through their works; subsequently, the focus-group data also revealed complex interpretations of the artworks of my research sample among the members of different groups. Nevertheless, the combined findings from these stages showed significant parallels between the veil as an Islamic religious sign and discourses around ‘Muslim Women’ as being oppressed and obedient in patriarchal societies.  
By critically reviewing the analysis of my research data and relating them to my theoretical framework, I build the conceptual structure of my autoethnographic practice. Inspired by the works of artists in my sample, in my practice, I explored progressive ways to construct female subjects as having agency in relation to political themes and alternative positions. Ultimately, this research project suggests that the logical framework of an academic context offers a ground for conceptualising progressive strategies for representing gendered Iranian identity.

year: 2019

title: Sharp generalization error bounds for randomly-projected classifiers

authors: Durrant, Robert J.

subjects: Machine learning

abstract: We derive sharp bounds on the generalization error of a generic linear classifier trained by empirical risk minimization on randomly projected data. We make no restrictive assumptions (such as sparsity or separability) on the data: Instead we use the fact that, in a classification setting, the question of interest is really ‘what is the effect of random projection on the predicted class labels?’ and we therefore derive the exact probability of ‘label flipping’ under Gaussian random projection in order to quantify this effect precisely in our bounds .

text: Sharp generalization error bounds for randomly-projected classifiers We derive sharp bounds on the generalization error of a generic linear classifier trained by empirical risk minimization on randomly projected data. We make no restrictive assumptions (such as sparsity or separability) on the data: Instead we use the fact that, in a classification setting, the question of interest is really ‘what is the effect of random projection on the predicted class labels?’ and we therefore derive the exact probability of ‘label flipping’ under Gaussian random projection in order to quantify this effect precisely in our bounds .

year: 2013

title: He raraunga inamata, he toronga ānamata, he huanga āke tonu atu: A multifaceted approach to improving quality of life for upper limb amputees

authors: August, Luke

subjects: Prosthesis

abstract: This thesis investigates innovative approaches to enhance the quality of life for upper limb amputees, integrating advanced prosthetic design, neurocontrol systems, and Māori knowledge systems. With the prevalence of prosthetic rejection and limitations in current designs affecting amputees' daily functionality and psychological well-being, a multifaceted strategy is essential. This research aims to address these challenges by improving prosthetic functionality, user control mechanisms, and incorporating cultural perspectives into prosthetic development.
The study first focuses on the design, development, and evaluation of four low-cost prosthetic hands. Assessing their Degrees of Freedom (DoF), Range of Motion (RoM), and Kapandji scores. The research proposes a novel hybrid coupled-tendon system. This system aims to combine the adaptability of underactuated designs with the precision control of coupled mechanisms, enhancing the prosthetic hands' functionality and grasp versatility.
In exploring control mechanisms, an EEG-based control system was developed to improve the intuitiveness of prosthetic control. Through comparative analysis of motor execution and action observation training regimes, facilitated by a digital twin, the study evaluates the efficacy of these methods in enhancing users' control over the prosthetics. The research identifies limitations in the classification of multiple active grasps and suggests potential improvements through augmented and virtual reality training environments. 
This thesis incorporates Māori perspectives by examining how mātauranga Māori can inform and enrich prosthetic design and usage. Through the analysis of pūrākau Māori, this work highlights the importance of considering the mauri, whakapapa of materials in prosthetic manufacturing and the implications of tapu on control systems. This inclusion aims to create culturally resonant devices that acknowledge and integrate the spiritual and cultural dimensions of the user's identity, offering a holistic approach to prosthetic development.
This interdisciplinary research contributes to the field by proposing a comprehensive framework that not only advances prosthetic technology but also aligns with cultural values and practices. By addressing the technical, psychological, and cultural needs of upper limb amputees, the project underscores the potential of combining engineering innovation with cultural wisdom to significantly improve amputees' autonomy and well-being. The findings advocate for a more inclusive and holistic approach to prosthetic development, emphasizing the importance of user-centric design and cultural competency in enhancing the quality of life for individuals with limb loss.

text: He raraunga inamata, he toronga ānamata, he huanga āke tonu atu: A multifaceted approach to improving quality of life for upper limb amputees This thesis investigates innovative approaches to enhance the quality of life for upper limb amputees, integrating advanced prosthetic design, neurocontrol systems, and Māori knowledge systems. With the prevalence of prosthetic rejection and limitations in current designs affecting amputees' daily functionality and psychological well-being, a multifaceted strategy is essential. This research aims to address these challenges by improving prosthetic functionality, user control mechanisms, and incorporating cultural perspectives into prosthetic development.
The study first focuses on the design, development, and evaluation of four low-cost prosthetic hands. Assessing their Degrees of Freedom (DoF), Range of Motion (RoM), and Kapandji scores. The research proposes a novel hybrid coupled-tendon system. This system aims to combine the adaptability of underactuated designs with the precision control of coupled mechanisms, enhancing the prosthetic hands' functionality and grasp versatility.
In exploring control mechanisms, an EEG-based control system was developed to improve the intuitiveness of prosthetic control. Through comparative analysis of motor execution and action observation training regimes, facilitated by a digital twin, the study evaluates the efficacy of these methods in enhancing users' control over the prosthetics. The research identifies limitations in the classification of multiple active grasps and suggests potential improvements through augmented and virtual reality training environments. 
This thesis incorporates Māori perspectives by examining how mātauranga Māori can inform and enrich prosthetic design and usage. Through the analysis of pūrākau Māori, this work highlights the importance of considering the mauri, whakapapa of materials in prosthetic manufacturing and the implications of tapu on control systems. This inclusion aims to create culturally resonant devices that acknowledge and integrate the spiritual and cultural dimensions of the user's identity, offering a holistic approach to prosthetic development.
This interdisciplinary research contributes to the field by proposing a comprehensive framework that not only advances prosthetic technology but also aligns with cultural values and practices. By addressing the technical, psychological, and cultural needs of upper limb amputees, the project underscores the potential of combining engineering innovation with cultural wisdom to significantly improve amputees' autonomy and well-being. The findings advocate for a more inclusive and holistic approach to prosthetic development, emphasizing the importance of user-centric design and cultural competency in enhancing the quality of life for individuals with limb loss.

year: 2024