Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

Sensory objects at the British Museum

The Sensory Objects project creates multisensory interactive artworks that respond to museum collections and generate alternative ideas for museum interpretation.

Seminar: sensory objects

Seminar exploring the Sensory Objects Project at the British Museum for 65 delegates.

Seminar: access all areas

Sensory Objects presented their research and their Sensory Labels for the British Museum at a seminar called Access All Areas organised by the Visitor Users Group.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

I killed my father, I ate human flesh, I quiver with joy: an obsession with Pier Paolo Pasolini

Group show, curated by Invisible Exports Gallery. Featuring work by Michael Bilsborough, Lizzi Bougatsos, BREYER P-ORRIDGE, Asger Carlsen, Troels Carlsen, Walt Cassidy, Andy Coolquitt, Vaginal Davis, Carlton DeWoody, Joey Frank, Paul Gabrielli, Ludovica Gioscia, Luis Gispert, Terence Hannum, Karen Heagle, Timothy Hull, Doug Ischar, Brian Kenny, Jeremy Kost, Aaron Krach, Yeni Mao, Leigha Mason, Mark McCoy, Robert Melee, Lucas Michael, Jennifer Needleman, Brent Owens, Paul P., Paolo Di Paolo, Franklin Preston, John Russell, Xaviera Simmons, Duston Spear, Scott Treleaven, Ramon Vega, Jordan Wolfson, Dustin Yellin

Plague of diagrams

Group exhibition curated by Plastique Fantastique. Organised by David Burrows and Dean Kenning in collaboration with Ami Clarke, Andrew Conio, John Cussans and David Osbaldeston. Contributors: David Burrows, Rachel Cattle & Jenna Collins, Neil Chapman & Gillian Wylde, Ami Clarke, Richard Cochrane, Andrew Conio, John Cussans, David Burrows, Benedict Drew, English Heretic, Nikolaus Gansterer, Joey Holder, Dean Kenning, Christoph Lueder, Stine Llungdalh, Adelheid Mers, Mike Nelson, Paul O'Kane, David Osbaldeston, Plastique Fantastique, Patricia Reed, John Russell, Erica Scourti, Andy Sharp, Kamini Vellodi, Martin Westwood and Carey Young.

Selective environmental stress caused by magmatic sulfur emissions from continental flood basalt eruptions

Several biotic crises during the past 300 million years have been linked to episodes of continental flood basalt volcanism, and in particular to the release of massive quantities of magmatic sulphur gas species. Flood basalt provinces were typically formed by numerous individual eruptions, each lasting years to decades. However, the environmental impact of these eruptions may have been limited by the occurrence of quiescent periods that lasted hundreds to thousands of years. Here we use a global aerosol model to quantify the sulphur-induced environmental effects of individual, decade-long flood basalt eruptions representative of the Columbia River Basalt Group, 16.5–14.5 million years ago, and the Deccan Traps, 65 million years ago. For a decade-long eruption of Deccan scale, we calculate a decadal-mean reduction in global surface temperature of 4.5 K, which would recover within 50 years after an eruption ceased unless climate feedbacks were very different in deep-time climates. Acid mists and fogs could have caused immediate damage to vegetation in some regions, but acid-sensitive land and marine ecosystems were well-buffered against volcanic sulphur deposition effects even during century-long eruptions. We conclude that magmatic sulphur from flood basalt eruptions would have caused a biotic crisis only if eruption frequencies and lava discharge rates had been high and sustained for several centuries at a time.

New use of global warming potentials to compare cumulative and short-lived climate pollutants

Parties to the United Nations Framework Convention on Climate Change (UNFCCC) have requested guidance on common greenhouse gas metrics in accounting for Nationally determined contributions (NDCs) to emission reductions1. Metric choice can affect the relative emphasis placed on reductions of ‘cumulative climate pollutants’ such as carbon dioxide versus ‘short-lived climate pollutants’ (SLCPs), including methane and black carbon2, 3, 4, 5, 6. Here we show that the widely used 100-year global warming potential (GWP100) effectively measures the relative impact of both cumulative pollutants and SLCPs on realized warming 20–40 years after the time of emission. If the overall goal of climate policy is to limit peak warming, GWP100 therefore overstates the importance of current SLCP emissions unless stringent and immediate reductions of all climate pollutants result in temperatures nearing their peak soon after mid-century7, 8, 9, 10, which may be necessary to limit warming to “well below 2 °C” (ref. 1). The GWP100 can be used to approximately equate a one-off pulse emission of a cumulative pollutant and an indefinitely sustained change in the rate of emission of an SLCP11, 12, 13. The climate implications of traditional CO2-equivalent targets are ambiguous unless contributions from cumulative pollutants and SLCPs are specified separately.

Energy Transfer in Nanostructured Films Containing Poly(p-phenylene vinylene) and Acceptor Species

The combination of luminescent polymers and suitable energy-accepting materials may lead to a molecular-level control of luminescence in nanostructured films. In this study, the properties of layer-by-layer (LbL) films of polyp-phenylene vinylene) (PPV) were investigated with steady-state and time-resolved fluorescence spectroscopies, where fluorescence quenching was controlled by interposing inert polyelectrolyte layers between the PPV donor and acceptor layers made with either Congo Red (CR) or nickel tetrasulfonated phthalocyanine (NiTsPc). The dynamics of the excited state of PPV was affected by the energy-accepting layers, thus confirming the presence of resonant energy transfer mechanisms. Owing to the layered structured of both energy donor and acceptor units, energy transfer varied with the distance between layers, r, according to 1/r(n) with n = 2 or 3, rather than with 1/r(6) predicted by the Forster theory for interacting point dipoles.

Cell Phone Tower Location and Size in Maine

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POSSIBLE MIGRATION ROUTES THROUGH MAINE BY VERNAL MIGRANTS

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