Wireless Power Transfer (WPT) for electric vehicles (EVs) - present and future trends

100 year old gasoline engine technology vehicles have now become one of the major contributors of greenhouse gases. Plug-in Electric Vehicles (PEVs) have been proposed to achieve environmental friendly transportation. Even though the PEV usage is currently increasing, a technology breakthrough would be required to overcome battery related drawbacks. Although battery technology is evolving, drawbacks inherited with batteries such as; cost, size, weight, slower charging characteristic and low energy density would still be dominating constrains for development of EVs. Furthermore, PEVs have not been accepted as preferred choice by many consumers due to charging related issues. To address battery related limitations, the concept of dynamic Wireless Power Transfer (WPT) enabled EVs have been proposed in which EV is being charged while it is in motion. WPT enabled infrastructure has to be employed to achieve dynamic EV charging concept. The weight of the battery pack can be reduced as the required energy storage is lower if the vehicle can be powered wirelessly while driving. Stationary WPT charging where EV is charged wirelessly when it is stopped, is simpler than dynamic WPT in terms of design complexity. However, stationary WPT does not increase vehicle range compared to wired-PEVs. State-of-art WPT technology for future transportation is discussed in this chapter. Analysis of the WPT system and its performance indices are introduced. Modelling the WPT system using different methods such as equivalent circuit theory, two port network theory and coupled mode theory is described illustrating their own merits in Sect. 2.3. Both stationary and dynamic WPT for EV applications are illustrated in Sect. 2.4. Design challenges and optimization directions are analysed in Sect. 2.5. Adaptive tuning techniques such as adaptive impedance matching and frequency tuning are also discussed. A case study for optimizing resonator design is presented in Sect. 2.6. Achievements by the research community is introduced highlighting directions for future research.

Photography & Fictions: Locating Dynamics of Practice

What happens to photographic truth when it is thwarted, subverted, stretched and even outwitted? The photography presented in this book provides a range of responses and practices- from the blatant to the exquisitely subtle- and all in the name of fiction. With full-colour images, Photography & Fiction: locating dynamics of practice illustrates and explains the latest issues and ingenious creativity involved in making pictures. The book is the consequence of a significant gathering of photographers, curators, and academics during the 5th Queensland Festival of Photography. Its themes include Fiction-as-Truth, deceptive photography, technology’s fictive potential, as well as the highly personal and inner worlds of human experience.

When Japanese law goes pop

Japanese law is going ‘pop’. Since the turn of the century, Japanese popular culture, especially prime-time television, has dedicated more time to legal themes, characters and settings. Lawyers, overwhelmingly women, are the heroes in both dramatic and comedic television series (Nakamura, 2007). Courtroom battles are the scene for plot developments (Ishikawa, 2004). Practising lawyers are the new celebrities, joining actors and singers on the light entertainment talk show circuit. To be sure, law is not a new thematic preoccupation on Japanese network television. Nor is it one that has become so dominant that it overshadows more traditional genres such as workplace romantic comedies, coming-of-age dramas or family soap operas (eg, Dissanayake, 2012, p._194). But, its growing presence on the silver screen in twenty-first-century Japan is a trend that merits analysis. The purpose of this chapter is to explore that socio-legal significance. This presents theoretical and empirical challenges. Theoretically, is there explanatory potential in the link between law and popular culture in Japan? Empirically, does the greater embrace of law-related characters, plots and scenes in prime-time television series since 2001 provide compelling evidence of changing popular attitudes to law and legal process among Japanese viewers? The inspiration for both the title and theme of this chapter comes from Sherwin’s When Law Goes Pop (2000). But it departs from Sherwin in how it defines and analyses the issues. For Sherwin, ‘pop’ means ‘implosion’.

An anticipative reactive control strategy to deal with unforeseen obstacles during a multi-sensor-based navigation task

We address the problem of the rangefinder-based avoidance of unforeseen static obstacles during a visual navigation task. We extend previous strategies which are efficient in most cases but remain still hampered by some drawbacks (e.g., risks of collisions or of local minima in some particular cases, etc.). The key idea is to complete the control strategy by adding a controller providing the robot some anticipative skills to guarantee non collision and by defining more general transition conditions to deal with local minima. Simulation results show the proposed strategy efficiency.

From users to citizens: Some thoughts on designing for polity and civics

This paper presents an essay aimed at prompting broad discussion crucial in keeping the interaction design discourse fresh, critical, and in motion. We trace the changing role of people who have advanced from consumers to producers, from stationary office workers to mobile urban nomads, from passive members of the plebs to active instigators of change. Yet, interaction designers often still refer to them only as ‘users.’ We follow some of the historic developments from the information superhighway to the smart city in order to provide the backdrop in front of which we critically analyse three core areas. First, the issue of echo chambers and filter bubbles in social media results in a political polarisation that jeopardises the formation of a functioning public sphere. Second, pretty lights and colourful façades in media architecture are increasingly making way for situated installations and interventions fostering community engagement. And third, civic activism is often reduced to forms of slacktivism. We synthesise our discussion to propose ‘citizen-ability’ as an alternative goal for interaction designers to aspire to in order to create new polities and civics for a better quality of life.

Borrowing from the geeks: What can healthcare facility design learn from IT?

People get into healthcare because they want to help society. And when a new hospital is briefed, everyone tries to do their best, but the process is mired by the impossibility of the task. Stakeholders rarely understand the architectural process, nobody can predict the future, and the only thing for certain is that everything will change as the project unfolds, revealing errors in initial assumptions and calculations, shifts in needs, new technologies etc. Yet there’s always pressure to keep to the programme and to press on regardless. This chaos leads eventually to suboptimal results: hospitals the world over are riddled with inefficiencies, idiosyncrasies, incredible wastage and features that lead to poor clinical outcomes. This talk will sketch out the basics of Scrum, the most popular open-source Lean/Agile methodology. It will discuss what healthcare designers can learn from the geeks in Silicon Valley reduce risk, meet deadlines and deliver the highest possible value for the budget despite the uncertainty.

Taken for granted: Material relations between disability and codes/guidelines

This paper provides a critical examination of the taken for granted nature of the codes/guidelines used towards the creation of designed spaces, their social relations with designers, and their agency in designing for people with disabilities. We conducted case studies at three national museums in Canada where we began by questioning societal representations of disability within and through material culture through the potential of actor-network theory where non-human actors have considerable agency. Specifically, our exploration looks into how representations of disability for designing, are interpreted through mediums such as codes, standards and guidelines. We accomplish this through: deep analyses of the museums’ built environments (outdoors and indoors); interviewed curators, architects and designers involved in the creation of the spaces/displays; completed dialoguing while in motion interviews with people who have disabilities within the spaces; and analyzed available documents relating to the creation of the museums. Through analyses of our rich data set involving the mapping of codes/guidelines in their ‘representation’ of disability and their contributions in ‘fixing’ disability, this paper takes an alternative approach to designing for/with disability by aiming to question societal representations of disability within and through material culture.

Arts, gentrification, and planning for creativity

Recent decades have seen an almost obsessive focus on creativity in an urban development context. Yet, creativity has come to be prized not so much for the intrinsic values of imagination, innovation and experimentation as for the possibility to exploit these qualities as a means of urban revitalization and wealth generation. This policy emphasis has both contributed to the misplaced assumption that artistic activity causes gentrification and displacement while, at the same time, often setting in motion programs that are detrimental to the creative environments such policies claim to support. It is time to end the current approach to creative city planning, which treats the arts as amenities to catalyze land development and lure upscale consumption.

Dancing practices from multiple perspectives: the increasingly complex role of the contemporary dancer

This paper will discuss the complexities of the role of contemporary dancer in this current epoch, with a particular focus on the multiple identities dancers embody within dance practice and how these accumulate to form a creative self-in-process or ‘moving identity’. Wider issues, such as training will be explored questioning how technical skills can be imparted alongside autonomous learning approaches to ensure that dancers are prepared to negotiate the entrepreneurial ecology of various dance sectors. Furthermore, the paper will examine the shifting relationship between choreographer and dancer from hierarchical to co-creative including how, in spite of the often collaborative nature of dance creation, the marketplace continues to celebrate the singular authorial position of the choreographer. Each of these elements will reflect back the complex issues of agency and creative self-hood that dancers must negotiate in an increasingly diverse and changeable arts environment.

Superlinear

Superlinear was a group exhibition of 2D and 3D works curated by Jenna Baldock. This exhibition was held at Spiro Grace Art Rooms from June 11 - July 4, 2015. My contribution to the group show was a harmonograph (drawing machine) entitled The Forces of the Earth and two digitally edited drawings (enlarged and printed) that were originally produced on the harmonograph. The work inherently explores the movement and gesture of line independent from the human body, although not abstract from experience. My work discusses the experience of the body, more specifically my body; the pulsing of circulation; the rhythm of breathing; the twitching and trembling of muscles; the sound of the nervous system ringing in my ears. The pendulation of the line in motion corresponds to the body's extension into the world and the constant flow of energy; the weight of gravity, centripetal and centrifugal forces, and orbital oscillations. As the line dances acros the page the harmonograph parallels these peripheral sensations beyond the body.

Salamanca Castanets

The English country dance The Salamanca Castanets was published in Button and Whittaker’s Collection of Country Dances for the Year 1813. It is a captivating tune which utilises country dance figures whilst capturing and maintaining the Spanish exuberance. Its fascinating history still resonates in Tasmania.

Lady Franklin's Reel

Most histories of the Franklins concentrate on Sir John’s explorations and disappearance in the Arctic, supplemented with stories of Lady Jane’s devotion to discovering his fate. Here we present the Franklins’ musical legacy, revealing a genial and cultured presence which inspired local musicians to pay homage to the “universally beloved & respected” 4 Sir John and Lady Jane Franklin.

The silk road project : dance and embodiment in the age of motion capture

The Silk Road Project was a practice-based research project investigating the potential of motion capture technology to inform perceptions of embodiment in dance performance. The project created a multi-disciplinary collaborative performance event using dance performance and real-time motion capture at Deakin University’s Deakin Motion Lab. Several new technological advances in producing real-time motion capture performance were produced, along with a performance event that examined the aesthetic interplay between a dancer’s movement and the precise mappings of its trajectories created by motion capture and real-time motion graphic visualisations.

Motion capture and the future of virtual production

Motion capture continues to be adopted across a range of creative fields including, animation, games, visual effects, dance, live theatre and the visual arts. This panel will discuss and showcase the use of motion capture across these creative fields and consider the future of virtual production in the creative industries.

Made by motion, Series one

“Made by Motion” is a collaboration between digital artist Paul Van Opdenbosch and performer and choreographer Elise May; a series of studies on captured motion data used to generating experimental visual forms that reverberate in space and time. The project investigates the invisible forces generated by and influencing the movement of a dancer. Along with how the forces can be captured and applied to generating visual outcomes that surpass simple data visualisation, projecting the intent of the performer’s movements. The source or ‘seed’ comes from using an Xsens MVN - Inertial Motion Capture system to capture spontaneous dance movements, with the visual generation conducted through a customised dynamics simulation. In this first series the visual investigation focused on manipulating the movement date at the instance of capture, capture been the recording of three-dimensional movement as ‘seen’ by the hardware and ‘understood’ through the calibration of software. By repositioning the capture hardware on the body we can effectively change how the same sequence of movements is ‘seen’ by the motion capture system thus generating a different visual result from effetely identical movement. The outcomes from the experiments clearly demonstrates the effectiveness of using motion capture hardware as a creative tool to manipulate the perception of the capture subject, in this case been a sequence of dance movements. The creative work exhibited is a cross-section of the experiments conducted in practice with the first animated work (Movement A - Control) using the motion capture hardware in its default ‘normal’ configuration. Following this is the lower body moved to the upper body (Lb-Ub), right arm moved onto the left arm (Ra-La), right leg moved onto the left leg (Rl-Ll) and finally the left leg moved onto a object that is then held in the left hand (Ll-Pf (Lh)).