Work Plan

Outline of work plan - days may be renegotiated according to timetabling

Design for design: support for creative practice in computer-supported collaborative work (CSCW) in design

This paper describes a novel methodology for observing and analysing collaborative design by using the concepts of cognitive dimensions related to concept-based misfit analysis. The study aims at gaining an insight into support for creative practice of graphical communication in collaborative design processes of designers while sketching within a shared white board and audio conferencing environment. Empirical data on design processes have been obtained from observation of groups of student designers solving an interior space-planning problem of a lounge-diner in a shared virtual environment. The results of the study provide recommendations for the design and development of interactive systems to support such collaborative design activities.

From activity to active learning: drawing and dialogue interaction in virtual learning environments for computer-supported collaborative work in design.

Virtual learning environments (VLEs) would appear to be particular effective in computer-supported collaborative work (CSCW) for active learning. Most research studies looking at computer-supported collaborative design have focused on either synchronous or asynchronous modes of communication, but near-synchronous working has received relatively little attention. Yet it could be argued that near-synchronous communication encourages creative, rhetorical and critical exchanges of ideas, building on each other’s contributions. Furthermore, although many researchers have carried out studies on collaborative design protocol, argumentation and constructive interaction, little is known about the interaction between drawing and dialogue in near-synchronous collaborative design. The paper reports the first stage of an investigation into the requirements for the design and development of interactive systems to support the learning of collaborative design activities. The aim of the study is to understand the collaborative design processes while sketching in a shared white board and audio conferencing media. Empirical data on design processes have been obtained from observation of seven sessions with groups of design students solving an interior space-planning problem of a lounge-diner in a virtual learning environment, Lyceum, an in-house software developed by the Open University to support its students in collaborative learning.

Flowering intensity in white yam (Dioscorea rotundata)

White or Guinea yam (Dioscorea rotundata), grown for its underground tubers, is an important food in West Africa. Progress in yam breeding is constrained by variable flowering behaviour, making hybridization difficult. Yam clones may be dioecious, monoecious or hermaphrodite with variable sex ratios. The proportion of plants that flower and the flowering intensity also vary with season and location. The objective of the present work was to investigate whether variation in flowering behaviour was related to factors determining rate of development (photoperiod and temperature through sowing date, location and year) or growth (cumulative solar radiation and temperature). Sex ratios, the proportion of plants that had flower buds and open flowers, and the number of flowers or spikes was recorded in one male (TDr 131) and one female (TDr 99-9) clone of white yam grown in the field in Nigeria at three locations and at different sowing dates. Clone TDr 131 was uniformly male flowering, while clone TDr 99-9 exhibited a number of sex types with gynoecious, monoecious and trimonoecious plants observed. The proportion of flowering plants was low in both clones, averaging 0.34 in clone TDr 131 and 0.13 in clone TDr 99-9. Day of vine emergence had a significant and contrasting effect on the proportion of flowering plants and on flowering intensity in the two clones. In clone TDr 131, the proportion of flowering plants and flowering intensity declined with later vine emergence at all locations (r=0.43-0.53, P<0.05), whereas in clone TDr 99-9 the proportion of flowering plants increased with later emergence (r=0.46, P<0.01). In clone TDr 131, this response was strongly associated with warmer temperatures (r=0.49-0.50; P<0.05) and greater cumulative radiation (r=0.85-0.93; P<0.001) between vine emergence and flowering, rather than photoperiod at vine emergence. This suggests that flowering behaviour in the male clone TDr 131 is strongly influenced by factors that affect growth rather than development. Clone TDr 99-9, on the other hand, exhibited no clear relations between flowering and growth or developmental factors, though the proportion of flowering plants and flowering intensity was greatest at planting dates close to the longest day and at temperatures of 25-26 degrees C. This might suggest that flowering behaviour in clone TDr 99-9 is controlled by photothermal responses.

Comparison of white metal and resin socket terminations for wire ropes

Previously the authors have presented both theoretical and experimental work discussing the operating mechanism of a wire rope held in a tapered socket by means of a cast resin cone. The work reported here extends the investigation to address the question of whether the same socket fabricated with white metal operates in the same manner. To date, previous investigations have compared the operational efficiency of resin and white metal in terms of both strength and/or fatigue endurance. Some other work has analysed the operation of resin sockets or specific cast metal terminations. This paper seeks to draw the results from this work together, and, in addition to a theoretical analysis, presents experimental data obtained from a direct comparison of the operation mechanism for the same sockets filled with resin or white metal. Results show that white metal terminations have a very different distribution of stresses along the length of the socket basket from resin terminations, and a smaller but still significant amount of socket draw. For both types of termination the socket draw develops high frictional gripping forces which can transfer the load from the rope to the socket. The different stress distributions mean that the consequences of termination fabrication defects may not be the same for resin and white metal terminations.

The eMinerals project: developing the concept of the virtual organisation to support collaborative work on molecular-scale environmental simulations

The eMinerals project has established an integrated compute and data minigrid infrastructure together with a set of collaborative tools,. The infrastructure is designed to support molecular simulation scientists working together as a virtual organisation aiming to understand a number of strategic processes in environmental science. The eMinerals virtual organisation is now working towards applying this infrastructure to tackle a new generation of scientific problems. This paper describes the achievements of the eMinerals virtual organisation to date, and describes ongoing applications of the virtual organisation infrastructure.

The child in wolf’s clothing: the meanings of the ‘wolf’ and questions of identity in Jack London’s White Fang

The criticism of Jack London’s work has been dominated by a reliance upon ideas of the ‘real’, the ‘authentic’ and the ‘archetypal’. One of the figures in London’s work around which these ideas crystallize is that of the ‘wolf’. This article will examine the way the wolf is mobilized both in the criticism of Jack London’s work and in an example of the work: the novel White Fang (1906). This novel, though it has often been read as clearly delimiting and demarcating the realms of nature and culture, can be read conversely as unpicking the deceptive simplicity of such categories, as troubling essentialist notions of identity (human/animal, male/female, white/Indian) and as engaging with the complexity of the journey in which a ‘small animal … becomes human-sexual by crossing the infinite divide that separates life from humanity, the biological from the historical, “nature” from “culture” ’ (Althusser 1971: 206).

Public Art Commission, Where is Heidenheim? Tina O'Connell and Neal White

Research undertaken through significant public art commission. The researchers were both artists were selected separately by Dr Penelope Curtis of Tate and then the shortlist was awarded through competition (peer reviewed by Critics and Artist in Germany) part of the Heidenheim Sculpture Biennial, Germany (€18K). The work was realised by two companies in Heidenheim. Where is Heidenheim? was based within the Heidenheim Zietung newspaper[HZ] and drew together a site of a local paper in a small town in Germany with other local International papers; Wendover Times – Utah, USA;, Limerick Leader, Ireland; Free Imphal Press, Manipur, India; Hibr, Lebanon; Namibia Times, Namibia and The Countryman, Tasmania, Australia. Each of these papers ran a story showing a sign erected onto HZ in Heidenheim, which was subsequently printed inside HZ itself – linking together sites and local voices. Project research identifying global partners was conducted through the management of a PhD research student from the BU Media School - Venkata Vermuri. The work for both artists expands the context of their research into the impact of global networks on public art, and the traditions and norms of public art being confined to single ‘geographical’ sites. This research indicates the potential for media as a common public space that can also be used.

Playing with history: negotiating subjectivity in contemporary lens based work

Contemporary artists exploring Jewish identity in the UK are caught between two exclusions, broadly speaking: an art community that that sees itself as ‘post –identity’ and a ‘black’ art scene that revolves around the organizations that emerged out of the Identity debates of the 1980s and 1990s, namely Iniva, Third Text, Autograph. These organizations and those debates, don’t usually include Jewish identity within their remit as Jewish artists are considered to be well represented in the British art scene and, in any case, white. Out of these assumptions, questions arise in relation to the position of Jews in Britain and what is at stake for an artist in exploring Jewish Identity in their work. There is considerable scholarship, relatively speaking on art and Jewish Identity in the US (such as Lisa Bloom; Norman Kleeblatt; Catherine Sousslouf), which inform the debates on visual culture and Jews. In this chapter, I will be drawing out some of the distinctions between the US and the UK debates within my analysis, building on my own writing over the last ten years as well as the work of Juliet Steyn, Jon Stratton and Griselda Pollock. In short, this chapter aims to explore the problematic of what Jewish Identity can offer the viewer as art; what place such art inhabits within a wider artistic context and how, if at all, it is received. There is a predominance of lens based work that explores Identity arising out of the provenance of feminist practices and the politics of documentary that will be important in the framing of the work. I do not aim to consider what constitutes a Jewish artist, that has been done elsewhere and is an inadequate and somewhat spurious conversation . I will also not be focusing on artists whose intention is to celebrate an unproblematised Jewishness (however that is constituted in any given work). Recent artworks and scholarship has in any case rendered the trumpeting of attachment to any singular identity anachronistic at best. I will focus on artists working in the UK who incorporate questions of Jewishness into a larger visual enquiry that build on Judith Butler’s notion of identity as process or performative as well as the more recent debates and artwork that consider the intersectionality of identifications that co-constitute provisional identities (Jones, Modood, Sara Ahmed, Braidotti/Nikki S Lee, Glenn Ligon). The case studies to think through these questions of identity, will be artworks by Susan Hiller, Doug Fishbone and Suzanne Triester. In thinking through works by these artists, I will also serve to contextualise them, situating them briefly within the history of the landmark exhibition in the UK, Rubies and Rebels and the work of Ruth Novaczek, Lily Markewitz, Oreet Ashery and myself.

Motor Winding Students at Work

This photo shows a classroom of students working on motors. Photograph is black and white.

Painting Students at Work

Two students learning painting at the New York Trade School are shown here working on decorative designs. Black and white photograph.

Students at work in the Air Conditioning and Refrigeration Department of the New York Trade School

Students in the Air Conditioning/Refrigeration Dept. of the New York Trade School are shown hard at work in the classroom. Notice the sign at the rear of the room that reads "Watch Out for Pipes on Floor." Black and white photograph.

Carpentry Students at Work

Carpentry students from the New York Trade School at work during a class. Black and white photograph.

Student at work with closed-circuit TV

A student in the Closed-circuit TV Dept. at the New York Trade School is shown working. Black and white photograph.