Encapsulation of hydrophobic phthalocyanine with poly(N-isopropylacrylamide)/lipid composite microspheres for thermo-responsive release and photodynamic therapy

Phthalocyanine (Pc) is a type of promising sensitizer molecules for photodynamic therapy (PDT), but its hydrophobicity substantially prevents its applications. In this study, we efficiently encapsulate Pc into poly(N-isopropylacrylamide) (pNIPAM) microgel particles, without or with lipid decoration (i.e., Pc@pNIPAM or Pc@pNIPAM/lipid), to improve its water solubility and prevent aggregation in aqueous medium. The incorporation of lipid molecules significantly enhances the Pc loading efficiency of pNIPAM. These Pc@pNIPAM and Pc@pNIPAM/lipid composite microspheres show thermo-triggered release of Pc and/or lipid due to the phase transition of pNIPAM. Furthermore, in the in vitro experiments, these composite particles work as drug carriers for the hydrophobic Pc to be internalized into HeLa cells. After internalization, the particles show efficient fluorescent imaging and PDT effect. Our work demonstrates promising candidates in promoting the use of hydrophobic drugs including photosensitizers in tumor therapies. © 2014 by the authors.

View of Geelong: ruin and viewin', transpanorama

Eugene von Guerard’s View of Geelong is iconic for a number of reasons, including its detailed interpretation of the landscape and its special place in the imagining of the region. Bishop and Reis seek to honour this by manipulating the science behind the view and at the same time question the viewer’s relationship to the scene and the work. We use the husk of a ruined fireplace to house a camera obscura and stereoscope – pressed concaved metal into which the viewer puts their head and looks through a divided hole into the unit. The camera obscura mimics the mechanics of the eye, and is able to capture the scene perfectly while the stereoscope splits the scene, makes it partial, layered and temporal. In doing this we layer von Guerard’s view with change, acknowledging the effects of European civilization and, peculiar to this historical panorama, suburbanization of the landscape. The creeping suburbs will be seen on the left side of the stereoscope through a camera obscura, which presents a real-time view of the scene from the point at which von Guerard allegedly painted it. On the right side, we again catch the light, but only to light a transparency of von Guerard’s original work. The technologies we draw upon – the camera obscura, stereoscope and landscape painting – create a confluence of images, both real and imagined.

View of Geelong: ruin and viewin', transpanorama

Public Art installation by Cam Bishop and Simon Reis. Eugene von Guerard’s View of Geelong is iconic for a number of reasons, including its detailed interpretation of the landscape and its special place in the imagining of the region. Bishop and Reis seek to honour this by manipulating the science behind the view and at the same time question the viewer’s relationship to the scene and the work. We use the husk of a ruined fireplace to house a camera obscura and stereoscope – pressed concaved metal into which the viewer puts their head and looks through a divided hole into the unit. The camera obscura mimics the mechanics of the eye, and is able to capture the scene perfectly while the stereoscope splits the scene, makes it partial, layered and temporal. In doing this we layer von Guerard’s view with change, acknowledging the effects of European civilization and, peculiar to this historical panorama, suburbanization of the landscape. The creeping suburbs will be seen on the left side of the stereoscope through a camera obscura, which presents a real-time view of the scene from the point at which von Guerard allegedly painted it. On the right side, we again catch the light, but only to light a transparency of von Guerard’s original work. The technologies we draw upon – the camera obscura, stereoscope and landscape painting – create a confluence of images, both real and imagined. The iconic View of Geelong Painting can be seen at the Geelong Gallery.

Chamber music in painting photography film

This exhibition expands upon the history, approaches of experimental film and image making. Through speculative and abstract approaches the artists appropriate images to deal with trauma, confusion and nostalgia. The artists in this exhibition use personal imagery to demonstrate abstract ideals and idiosyncratic perspectives. Work in the show will be made up of photographic prints, collage, 16mm film and video work. Through physical manipulations of the image surface, retrenching of forgotten archives and poetic layerings of time and place, this exhibition aims to examine the de-linear and personal ways artists can experiment with the image.Through incorporating work of long standing artists Dirk De Bruyn and Luigi Fusinato in contrast with the work of young artists Anna Higgins and Beth Caird, the exhibition will examine the relationship between experimental film from a pre-digital context and how it influences, echoes and evolves in a post-digital environment.

Planing a thesis: ways, means and tactics for research through design

"Design is messy and over analysis will stop the flow ... " was the parting line from a colleague after a conversation on design methods. Fo1- many, 'method' is associated with a grim period in a1-chitecture where science held sway. I certainly have no intention of resu1-recting the dogma of that period, but in equal measure I agree with Till (20 12) that painting the design researcher as a heroic genius, marginalises the agency of design research. Despite the various arguments surrounding the value of design as research such as those developed by Downton (2003), van Schaik (2008), or Fraser (2013), there are only a few contempo1-ary resources Uomaka,2008) (Muckenheim and Demel, 2012), which at best provide partial references for students planning a design thesis. If the research emphasis is on designing, then critical knowledge and skills on the ways and means (methods) and tactics for their deployment (methodology) is essential.