The original Plymouth pulpit.

Vols. 5-8 lack copyright date.

Lives of the governors of New Plymouth, and Massachusetts bay.

Mode of access: Internet.

Issues in EU and US Foreign Policy, edited by M. Cebeci (Plymouth: Lexington Books, 2011, ISBN 9780739147177); vii+394pp., £51.95 hb.

Book review

Phase I Environmental Site Assessment of the Proposed State Highway 60 Bypass Around Le Mars, Iowa, Plymouth County, Abridged Phase I, 2001

This report serves as a record of the Assessment activities, which consisted of a review of local, county, state, and federal records, interviews, and site reconnaissance. Sections 2 through 4 of this report document information gathered. during the records search and site visits for the Assessment. Section 5 presents the findings and conclusions of the Assessment.

1885 north Abington, Plymouth County, Mass., looking west.

Relief shown pictorially.

Manual del conductor de South Carolina : automóviles, camiones, motocicletas

This manual explains the rules of the road in South Carolina and what the law expects of you as a driver. The purpose is to help you learn traffic control devices, signs and pavement markings, which you must know before you get on the highway.

Caracterización y propuesta de mejora en las prácticas de gestión logística en alistamiento y distribución de automóviles nuevos en Colombia

59 p.

Relación entre las condiciones de higiene y seguridad y la exposición ambiental a solventes orgánicos en pintores de automóviles de la localidad de barrios unidos, Bogotá 2015

Introducción. Los trabajadores de los talleres de reparación de automóviles conviven diariamente con la exposición a los solventes orgánicos, exposición que se convierte en un riesgo para su salud que generalmente en el corto plazo se presenta como déficits de concentración, memoria y tiempo de reacción y en el largo plazo produciendo graves repercusiones clínicas como efectos mutagénicos y carcinogénicos. Objetivo. Caracterizar las condiciones higiénicas y de seguridad de trabajadores ocupacionalmente expuestos a solventes orgánicos y determinar los niveles ambientales de benceno, tolueno y xileno (BTX) en talleres de lámina y pintura automotriz de la ciudad de Bogotá. Materiales y métodos. Se hizo un estudio de corte transversal en 60 trabajadores que laboran expuestos a solventes orgánicos en talleres de reparación automotriz en Bogotá. Se realizó una encuesta con variables sociodemográficas, laborales y se determinaron los niveles en aire de benceno, tolueno y xileno. Para los muestreos ambientales, las bombas se colocaron en una posición fija representativa del ambiente general, con el objeto de conocer la distribución de los solventes en el área de trabajo. Se realizó un análisis descriptivo por conteos de frecuencia, medidas de tendencia central y dispersión. Se utilizó prueba de bondad de ajuste para distribución normal (Kolmogorov-Smirnov o Shapiro Wilk), prueba t Student para comparación de medias, o en su defecto prueba U de Mann Whitney para comparación de medianas. Para identificar la relación entre las características sociodemográficas y ocupacionales con la exposición a BTX, se utilizaron pruebas de asociación Chi cuadrado o análisis de correlación según la naturaleza de las variables. El nivel de significancia para cada prueba fue 0.05. Resultados. La edad promedio de los trabajadores fue de 43 años y un tiempo total de exposición a solventes de 20 años. Respecto al uso de protección corporal, 45 (75%) de los trabajadores manifestaron que usaban uniforme, mientras que 14 (23,3%) usaban ropa de calle durante la jornada laboral. El 46,7% manifestaron usar protección respiratoria. La concentración de benceno en aire fue entre 0,1 y 0,45 mg/l (mediana de 0,31 mg/l; DE 0,13 mg/l); la de tolueno estuvo entre 8,25 y 27,22 mg/l (mediana de 14,5 mg/l; DE 6.99 mg/l) y la de xileno entre 19,34 y 150,15 mg/l (mediana de 70,12 mg/l; DE 40,82 mg/l). Conclusión. Los pintores de automóviles están expuestos a niveles elevados de solventes en los lugares de trabajo y no cuentan con condiciones de higiene y seguridad industrial adecuados. Un gran número de pintores son informales lo que les impide el acceso a los beneficios del Sistema de Seguridad Social Integral.

Directing for the 360 degree frame : developing a directorial approach to performance capture

What happens when the traditional framing mechanisms of our performance environments are removed and we are forced as directors to work with actors in digital environments that capture performance in 360 degrees? As directors contend with the challenges of interactive performance, the emergence of the online audience and the powerful influence of the games industry, how can we approach the challenges of directing work that is performance captured and presented in real time using motion capture and associated 3D imaging software? The 360 degree real time capture of performance, while allowing for an unlimited amount of framing potential, demands a unique and uncompromisingly disciplined style of direction and performance that has thus far remained unstudied and unquantified. By a close analysis of the groundbreaking work of artists like Robert Zemeckis and the Wetta Digital studio it is possible to begin to quantify what the technical requirements and challenges of 360 degree direction might be, but little has been discovered about the challenges of communicating the unlimited potential of framing and focus to the actors who work with these directors within these systems. It cannot be argued that the potential of theatrical space has evolved beyond the physical and moved into a more accessible virtual and digitised form, so how then can we direct for this unlimited potential and where do we place the focus of our directed (and captured) performance?

Identifying rural disadvantage using a multiday travel diary

This paper identifies transport disadvantage using a 7 day activity-travel diary data from two rural case study areas. A composite participation index (PI) measure was developed for this study based on six indices measuring elements of travel and activity participation. Using the index the paper then goes on to compare these results, with the results obtained from other more traditional indicators used to identify transport disadvantage. These indicators are related to the size of activity space such as unique network distance travelled, number of unique locations visited, activity space area, activity duration, and fullness (shape) of activity spaces. The weaknesses of these indicator based measures are that: firstly, they do not take into account the relativity of the measure between different areas i.e. travel distance in terms of the wider context of available activities within an area; and secondly, these indicators are multi-dimensional and each represents a different qualitative aspect of travel and activity participation. As a result, six individual indices were developed to overcome these problems. These include: participation count index, participation length index, participation area index, participation duration index, participation type index, and participation frequency index. These are then aggregated to assess the relative performance in terms of these different indices and identify the nature of transport disadvantage. GIS was used to visualise individual travel patterns and to derive scores for both the indicator based measures and the index based measures. Factor analysis was conducted to derive weights of the individual indices to form the composite index measure. From this analysis, two intermediate indices were also derived using the underlying factors of the data related to these indices. Using the scores of all these measures, multiple regression analyses were conducted to identify patterns of transport disadvantage.

Understanding graphicacy : students’ making sense of graphics in mathematics assessment tasks

The ability to decode graphics is an increasingly important component of mathematics assessment and curricula. This study examined 50, 9- to 10-year-old students (23 male, 27 female), as they solved items from six distinct graphical languages (e.g., maps) that are commonly used to convey mathematical information. The results of the study revealed: 1) factors which contribute to success or hinder performance on tasks with various graphical representations; and 2) how the literacy and graphical demands of tasks influence the mathematical sense making of students. The outcomes of this study highlight the changing nature of assessment in school mathematics and identify the function and influence of graphics in the design of assessment tasks.

The Stitchery collective : fashion in an expanded field

This practice-based presentation explores the role of fashion as an agent for social inclusion and ethical design practice in communities. The Stitchery Collective is an artist-run initiative based in Brisbane, Australia. Operating at the intersection of craft and design, the fashion-based initiative challenges the assumption that fashion is designed, produced and consumed exclusively in the commercial sector. As a not-for-profit cooperative, the stitchery collective is the first and only fashion organisation in Australia to attract funding under the national and state artist-run-initiative scheme. The collective approach extends to the stitchery design practice, facilitated by individual practitioners working within the organisation who devise programs in the context of collaborative and socially engaged design. Working under the banner of a question, Can fashion be more than pretty clothes for pretty people? the stitchery works to extend the cultural field of fashion practice in the 21st century. The premise of dress as a ‘significant creative or cultural expression’ has informed the expanded definition of fashion practice, as adopted by the stitchery. This alternative classification has fostered partnerships with numerous community groups, including those marginalised in the contemporary fashion context such as recent migrants and refugees. Community engagement programs span design, sewing and up-cycling workshops, sustainability lectures, clothing swaps and public education seminars, supported by partnerships with various cultural, government and educational institutions. In 2011, the stitchery travelled to the Venice Biennale’s 3rd International Children’s Carnival, hosting a workshop series and installation to promote design for sustainability. The proven potential for design to connect community members has motivated the stitchery to question the opportunity for fashion practice to, perhaps uncharacteristically, operate under the banner of ‘design for social good’. Acknowledging craft and design as relational fields, this presentation expands fashion as a tool for social innovation and sustainable practice. The stitchery dislocates the consumer status of fashion with small-scale, localised projects; moving beyond fashion as a dictum of social class to an alternative model that is accessible, conscious, flexible, connected and sustainable. As an undefined post-industrial future approaches, the non-commercial status of the stitchery practice might work to present an image of the active post-consumer. How can the stitchery propose a resilient model of design for the future?

Silk purse, sow’s ear : transforming second-Hand clothing into luxury fashion through craft practice

There is more apparel being created than ever before in history. The unsustainable production of materials and the clothing and textile waste that contributes annually to landfill, an estimated 500 000 tonnes of clothing per year in the UK (Gray, 2012) are significant issues inspiring the practice of Australian fashion designers, Carla van Lunn and Carla Binotto. While the contemporary fashion industry is built upon a production and consumption model that is younger than the industrial revolution, the traditions of costume, craft, and bodily adornment are ancient practices. Binotto and van Lunn believe that the potential for sustainable fashion practice lies outside the current industrial manufacturing model. This case study will discuss their fashion label, Maison Briz Vegas, and examine how recycling and traditional craft practices can be used to address the problem of clothing waste and offer an alternative idea of value in fashion and materials, addressing the indicative conference theme, Craft as Sustainability Activism in Practice. “Maison Briz Vegas”, a play on the notion of French luxury and the designers’ new world and sub-tropical home town, Brisbane, is an experimental and craft-based fashion label that uses second-hand cotton T-shirts and wool sweaters as primary materials to create designer fashion. The first collection, titled “The Wasteland”, was conceived and created in Paris in 2011, where designer Carla van Lunn had been living and working for several years. The collection was inspired by the precariousness of the global economy and concerns about climate change. The mountains of discarded clothing found at flea markets provided a textile resource from which van Lunn created a recycled hand-crafted fashion collection with an activist message and was shown to buyers and press during Paris Fashion Week. The label has since become a collaboration with fellow Australian designer Carla Binotto. The craft processes employed in Maison Briz Vegas’ up-cycled fashion collections include original hand block-printing, hand embroidery, quilting and patchwork. Taking an artisanal and slow approach, the designers work to create a hand touched imperfect style in a fashion market flooded with digital printing and fast mass-produced garments. The recycling extends to garment fastenings and embellishments, with discarded jar lids and bottle tops being used as buttons and within embroidery. This process transforms the material and aesthetic value of cheap and generic second-hand clothing and household waste. Maison Briz Vegas demonstrates the potential for craft and design to be an interface for environmental activism within the world of fashion. Presenting garments that are both high-design and thoughtfully recycled in a significant fashion context, such as Paris Fashion Week, Maison Briz Vegas has been able to engage a high-profile luxury fashion audience which has not traditionally considered sustainable or eco practices as relevant or desirable in themselves. The designers are studying how to apply their production model on a greater scale in order to fill commercial orders and reach a wider audience whilst maintaining the element of bespoke, limited edition, and slow hand-craft within their work.

Gender, sexuality, and rurality in the mining industry

Sexuality is a subject that has been, at best, marginal in the significant body of literature that has examined gender and mining in contemporary Western nations. This is despite the fact that academics have circled, if not almost bumped into the topic in closely related discussions of hegemonic masculinity and mining work, and of patriarchal familial relations and mining communities. This scholarship has documented what has been and remains women’s primary relationship to mining—that is, as a “mining wife.” How patriarchal relations are manifest in and emerge from this state of affairs has been critiqued with research on the gendered implications of housing arrangements in mining towns, the division of household labor, changing shift-work mining rosters, and the gendered consequences of strikes and mine closures (Williams 1981; Gibson 1992; Gibson-Graham 1996; Rhodes 2005; McDonald, Mayes, and Pini 2012). Despite the centrality of the heterosexual relationship—and indeed heteronormativity—to these discussions, scholars of gender and mining have had little to say on the subject of sexuality. In response to this lacuna, this chapter takes an exploratory lens to the subject of sexuality and the mining industry. We approach the task from the perspective that the mining industry is gendered as masculine. That is, definitions of mining mobilize around masculinized notions of physicality, technical competence with machinery, and strength, as well as emphasize the harshness and dirtiness of the work (Mayes and Pini 2010).

Defining the InstaBooth: Facilitating debate and content creation from situated users

Through ubiquitous computing and location-based social media, information is spreading outside the traditional domains of home and work into the urban environment. Digital technologies have changed the way people relate to the urban form supporting discussion on multiple levels, allowing more citizens to be heard in new ways (Fredericks et al. 2013; Houghton et al. 2014; Caldwell et al. 2013). Face-to-face and digitally mediated discussions, facilitated by tangible and hybrid interaction, such as multi-touch screens and media façades, are initiated through a telephone booth inspired portable structure: The InstaBooth. The InstaBooth prototype employs a multidisciplinary approach to engage local communities in a situated debate on the future of their urban environment. With it, we capture citizens’ past stories and opinions on the use and design of public places. The way public consultations are currently done often engages only a section of the population involved in a proposed development; the more vocal citizens are not necessarily the more representative of the communities (Jenkins 2006). Alternative ways to engage urban dwellers in the debate about the built environment are explored at the moment, including the use of social media or online tools (Foth 2009). This project fosters innovation by providing pathways for communities to participate in the decision making process that informs the urban form. The InstaBooth promotes dialogue and mediation between a bottom-up and a top-down approach to urban design, with the aim of promoting community connectedness with the urban environment. The InstaBooth provides an engagement and discussion platform that leverages a number of locally developed display and interaction technologies in order to facilitate a dialogue of ideas and commentary. The InstaBooth combines multiple interaction techniques into a hybrid (digital and analogue) media space. Through the InstaBooth, urban design and architectural proposals are displayed encouraging commentary from visitors. Inside the InstaBooth, visitors can activate a multi-touch screen in order to browse media, write a note, or draw a picture to provide feedback. The purpose of the InstaBooth is to engage with a broader section of society, including those who are often marginalised. The specific design of the internal and external interfaces, the mutual relationship between these interfaces with regards to information display and interaction, and the question how visitors can engage with the system, are part of the research agenda of the project.