Minerva Elements Records
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ItemCo-optimization of Frequency Regulation Capacity and Performance Offered by Microgrid under Uncertainty( 2023-04)With the increasing penetration of renewable energy sources (RESs), frequency regulation resources such as conventional generators are being replaced by distributed energy resources (DERs), which brings a challenge in providing frequency regulation with guaranteed performance under the uncertain RES generation and also under the potential uncoordinated response of resources with different regulation capabilities. However, the requirement for a minimum 1 MW capacity for participation in the wholesale market for demand-side frequency regulation service may pose a barrier for individual renewable energy sources RESs that lack the necessary generation capacity. To address this limitation, the global energy market is evolving with the involvement of independent demand response (DR) aggregators in the frequency regulation market. The existing studies have extensively examined the utilization of demand-side management of electricity consumption by aggregating various types of end-users, e.g., energy storage systems (ESSs), hydro pumps, and rooftop solar to provide ancillary services. However, the literature lacks consideration for minimizing real-time performance errors embedded in day-ahead and potential intraday optimization to maximize regulation performance payment according to market dynamics. Additionally, the uncertainty generated by RESs can significantly impact frequency regulation performance and pose challenges to coordinating ESSs. To fill those gaps, this study proposes a day-ahead scheduling model for demand-side frequency regulation service offered by microgrids (MGs) with resources belonging to different performance groups. The MG aims at maximizing both performance and capacity payment while minimizing operational costs. The model is based on a scenario-based chance-constrained formulation which determines the hourly baseline and frequency regulation capacity for the next day as well as the real-time control strategies for the resources. Extensive simulations and comparative studies are conducted, and the numerical results show that the proposed mechanism can increase the revenue of the MG by 9%, achieved through providing the frequency regulation service to the utility grid. This improvement is realized while ensuring the security of the power supply under 10000 scenarios of solar power generation and regulation signal conditions. Besides, the case studies also show that the proposed reserve provision mechanism results in a 4% reduction in overall costs compared to the current setup in the Pennsylvania, New Jersey, and Maryland (PJM) market which is based on a proportional reserve allocation method.
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Itemfor a conversation, now, sometimes, oops- oh no... sorry, i mean, somewhere… for a conversation, somewhere( 2023-11)This practice-led research asks: is it possible to hold a conversation in space forever? It suggests we can find and hold the materialisation of a conversation once it’s left the people that have had it. Over the course of this research, an important strategy became attempting to think not in time, but rather, in space. Thinking in space allowed the ability to wonder not when something was but where it is. In this project conversation has been utilised as inspiration, methodology and material. The exhibition at the Fiona and Sidney Myer Gallery builds a space for a conversation to happen and a space where the remains of those conversations can stay. The project focuses on divine conversation, where the content and outcomes are not important, what is important is that two people share the desire to talk to each other. The space holds two performative representations of conversations. They are: (i) a continuous conversation, where over 50 participants take part to help hold a constant conversation over the duration of the exhibition. (ii) what you are doing, where two actors sporadically perform a scripted dialogue of the narration of their conversation, told through the other. Being inspired by thinking in space - the gallery turns into a piazza consisting of several elements holding these conversations: performance furniture which are structures for the performers and participants to engage with, being designed around places where the vibrations of a conversation might linger, like a horizon or a corner constructed from steel, paint and plywood. Object/Sculpture Characters, which are two operated neon lights, simulating day and night, and a water fountain constructed from steel concrete and water flowing help hold the particles of saliva from the conversations spoken. The dissertation shifts through poetry, comparisons to other artists and theorists, personal accounts and stories. It discusses the process of making this artwork, from its muses to the conversations had during the two years it took to realise the project and the materials used. The writing brings the artwork into conversation with: theorist Carlo Rovelli; writer bell hooks; playwright Caryl Churchill; artists Sophie Calle, Ragnar Kjartansson, Lisa Radford, Damiano Bertoli, and Gian Lorenzo Bernini; choreographers Simone Forti and Pina Bausch; performances by Forced Entertainment, Tino Seghal, Aphids, and Back to Back Theatre company; comedians Andy Kaufmam, Kurt Braunohler, and Kristen Schaal; and poet-artist Madeline Ginns and artist- architect Arakawa.
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ItemThree Act Plays( 2021)Three Act Plays is a practice-led Master of Fine Arts (Visual Art) research project that considers how sculpture and performance combine to act as metaphor for audience/viewer relations. The research explores what it might mean to subjectivise or flatten these relationships within an interdisciplinary practice, and incorporates analysis of works that use cross disciplinary moments to further interrogate the discussion. Through sculptural and performance video works created throughout the research, the project seeks to elaborate upon definitions of the ‘backstage’, the ‘prop’, the ‘rehearsal’, and ‘the audience’ as a way to explore a space of inter-subjectivity. The dissertation addresses these tropes via a re-reading of Michael Fried’s influential 1967 essay ‘Art and Objecthood’, prompting a critical re-evaluation of the relationships between sculpture and performance.
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ItemThe embodied imagination: choreographic practice and dancing our way into being( 2016)‘The Embodied Imagination: choreographic practice and dancing our way into being’ is a practice led research project completed between 2013 – 2016 at the Victorian College of the Arts. The thesis comprises a performance outcome and a dissertation. This dissertation examines the scope of the imagination and looks at the way we imagine which includes image making but is not exclusive to the realm of mental images. The premise is that the imagination is a vital synthesizing force that animates the world and which can be appropriated in choreographic practice. A wider definition is proposed that attempts to capture the totality of the imaginary as a continuously emerging potential. I will build towards a discussion on the interplay between the real and the imaginary and develop the idea that through performance we open the possibility of perceiving and imagining in new ways. Through this we create the possibility for tiny shifts in how we can be in the world.
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ItemHurdy-gurdy: new articulations( 2016)The purpose of this thesis is to expand existing literature concerning the hurdy-gurdy as a contemporary musical instrument. Notably, it addresses the lack of hurdy-gurdy literature in the context of contemporary composition and performance. Research into this subject has been triggered by the author’s experience as a hurdy-gurdy performer and composer and the importance of investigating and documenting the hurdy-gurdy as an instrument capable of performing well outside the idioms of traditional music. This thesis consists of a collection of new works for hurdy-gurdy and investigation of existing literature including reference to the author’s personal experience as a hurdy-gurdy composer and performer. It will catalogue and systematically document a selection of hurdy-gurdy techniques and extended performance techniques, and demonstrate these within the practical context of new music compositions created by the author. This creative work and technique investigation and documentation is a valuable resource for those seeking deeper practical and academic understanding of the hurdy-gurdy within the context of contemporary music making.
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ItemCircuits, computers, cassettes, correspondence: the Clifton Hill Community Music Centre 1976 - 1984( 2016)This thesis examines the production and presentation of experimental music, art, performance and installation by a group of musicians, visual artists, writers, performers and film makers who were involved in the activities taking place at the Clifton Hill Community Music Centre, Melbourne from 1976 until 1984. This thesis will investigate the musical influence of the generation of practitioners who founded the Clifton Hill and taught at the La Trobe University Music Department. It will examine their influence upon the younger generation, with focus on the close relationships both generations had with the broader music and visual art scenes of Melbourne and Australia. This thesis traces a transitional moment in artistic production between the older and younger generations, which was an illustration of the broader shift in Australian artistic culture from modernism to postmodernism. I will document the artistic work of a younger generation at the Music Centre as a symptom of a new postmodern mode of engagement in order to determine what place the Clifton Hill occupies within a history of emergent postmodern theories in Australian art.
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ItemAchieving sustainability goals through environmental, health and safety management systems in manufacturing plants( 2015)This study focuses on how manufacturing plants can achieve sustainability goals through installation and use of environmental management system (EMS) and occupational, health and safety (OHS) system. The study proposes that the installation and usage of EMS and OHS systems lead not only to direct outcomes in their respective domains, but also exhibit spillover and crossover effects such that EMS practices affect OHS outcomes and vice versa. In addition, an argument is made that contextual factors such as plant size and age could be differentially affecting the proposed effects. Empirical data from the Global Manufacturing Research Group (GMRG) survey study was used to test a set of hypotheses based on these contentions. Practice, performance and contextual data from 525 manufacturing plants located in 14 different countries was analysed with structural equation modelling technique. Results showed support for both the direct effects as well as for the spillover and crossover effects. Results also showed that the proposed effects were stronger in larger and older plants when compared to smaller and newer plants, suggesting support for both the plant size and age acting as significant contextual factors. The study makes several theoretical contributions and offers managerial implications. It shows that manufacturing plants can achieve sustainability through installation and use of formal EMS and OHS systems. The way that they work is not just directly, but through each other as suggested by the spillover-crossover model. The findings also suggest that contextual factors have a role to play, indicating that there may not be universal applicability to EMS and OHS systems. Together, the results of the study contribute to a better understanding of how manufacturing plants can achieve sustainability related outcomes through the installation and use of formal environmental, occupational, health and safety management programs and systems.
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ItemReperformance: a dedication( 2015)This research explores the relationship between reenactment, performance art, and the document. Seminal performance artworks from history can now only be accessed through their documentation; this paper explores the effect this may have on reperformance, as well as how it can be utilised, particularly through a discussion centred around my own practice, and Marina Abramovic’s Seven Easy Pieces. This conversation takes place through the lens of a number of prominent performance art theorists, such as Peggy Phelan, Amelia Jones, Philip Auslander, and Christopher Bedford. In this thesis and through my practice, I also use and adapt Jacques Derrida’s theory of the archive of the body proper, which can be found in his paper ‘Archive Fever: A Freudian Impression’. My paper extends Derrida’s writings on the archive of the body proper, and explores the ways in which performance art, and reperformance encompasses them, putting forward that within performance artworks, the wound can also operate as a document. My thesis accompanies five video works, each of which reperforms a performance artwork from history; Chris Burden’s Shoot (1971), Marina Abramovic’s Rhythm 10 (1973), VALIE EXPORT’s Action Pants: Genital Panic (1969), and Mike Parr’s Drip Blood from Your Finger onto the Lens of a Camera... Until the Lens is Filled with Blood (1972) and Have a Burning Match Dropped onto Your Bare Chest (1973). Through this process of reperformance, I explore the ways that documentation can function within performance art, and the myriad ways it might be accessed and continually appropriated by contemporary artists.
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ItemObjects that generate performance and performance that generates objects( 2014)Unfolding from a series of succinct studio experiments that use objects as scores for action, this thesis addresses the use value of objects and the effects of brevity as an artistic strategy. The written component grounds this practice — which has a background in experimental music — in a field of practices that are directly and indirectly indebted to John Cage treating them as a shared body of knowledge between art and music. Cage’s written score for 4’33”, his silent work, is explored in the writing as a direct influence on the development of the Fluxus ‘event score’ – a short written instruction for creating artworks – and it is this type of score that is the starting point for my own studio experiments. The Works<30s is a diaristic series of short videos that explores simple, succinct actions allowing them to exist as discrete, singular events. As with the ‘event score’, the series imposes a simple constraint on its subject matter (a 30 second time limit) that rather than restricting the outcome results in a variety of effects on content, structure and narrative. The Works<30s series proved pivotal to the development of other works particularly through the evolution of my thinking on the object as score and the elaboration of strategies that hold coalescence at bay – two concepts shared by the works explored in this research thesis. The two other main works detailed in this thesis are Species of Spaces a five-channel audio/video work and Things That Fit Together a sculptural installation, developing from the Works<30s series they document small simple actions, but collate them into larger collections. These works attempt to allow their elements to remain discrete in order to emphasize the relationship between each object and the performance it generates. This written component reflects the concerns of the studio-based research in its form and structure and is comprised of observations that move back and forth between historical and material research.
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ItemPuppy love: understanding identity and emotion through the dog/human bond( 2015)The central research focus is an exploration of identity, my childhood and my mother, told through the story of Irma-Dream, my dog. It examines the symbiotic relationship between dogs and humans; the banality and comforts of home life; and the ubiquity of amateur aesthetics. The works are informed by photography, with varying manifestations including photographic books, videos and images brought together in installation. The studio practice is contextualised with reference to contemporary artists and contemporary research.