Attenuating mutations in the influenza virus genome which may increase the safety of vaccine production

Influenza virus epidemics occur on an annual basis and cause severe disease in the very young and old. The vaccine administered to high-risk groups is generated by amplifying reassortant viruses, with chronologically relevant viral surface antigens, in eggs. Every 20 years or so, influenza pandemics occur causing widespread fatality in all age groups. These viruses display novel viral surface antigens acquired from a zoonotic source, and vaccination against them poses new issues since production of large amounts of a respiratory virus containing novel surface antigens could be dangerous for those involved in manufacture. To minimise risks, it is advisable to use a virus whose genetic backbone is highly attenuated in man. Traditionally, the A/PR/8/34 strain of virus is used, however, the genetic basis of its attenuation is unclear. Cold-adapted (CA) strains of the influenza virus are all based on the H2N2 subtype, itself a virus with pandemic potential, and again the genetic basis of temperature sensitivity is not yet established. Reverse genetics technology allows us to engineer designer influenza viruses to order. Using this technology, we have been investigating mutations in several different gene segments to effectively attenuate potential vaccine strains allowing the safe production of vaccine to protect against the next pandemic. (C) 2003 Elsevier B.V. All rights reserved.

Educational value of different types of exhibits in an interactive science and technology center

This study analyzes the short-term consequences of visitors' use of different types of exhibits (i.e., "exemplars of phenomena" and "analogy based") together with the factors affecting visitors' understanding of and their evaluation of the use of such exhibits. One hundred and twenty five visitors (either alone or in groups) were observed during their interaction and interviewed immediately afterwards. Findings suggest that the type of exhibit constrains the nature of the understanding achieved. The use of analogical reasoning may lead to an intended causal explanation of an exhibit that is an exemplar of a phenomenon, but visitors often express misconceptions as a consequence of using this type of exhibit. Analogy-based exhibits are often not used as intended by the designer. This may be because visitors do not access the source domain intended; are unaware of the use of analogy per se (in particular, when the exhibit is of the subtype "only showing similarities between relationships"); only acquire fragmentary knowledge about the target; or fail to use analogical reasoning of which they were capable. Furthermore, exhibits related to everyday world situations are recognized to have an immediate educative value for visitors. Suggestions for enhancing the educative value of exhibits are proposed.

Example uses of a learning object

A self study course for learning to program using the C programming language has been developed. A Learning Object approach was used in the design of the course. One of the benefits of the Learning Object approach is that the learning material can be reused for different purposes. 'Me course developed is designed so that learners can choose the pedagogical approach most suited to their personal learning requirements. For all learning approaches a set of common Assessment Learning Objects (ALOs or tests) have been created. The design of formative assessments with ALOs can be carried out by the Instructional Designer grouping ALOs to correspond to a specific assessment intention. The course is non-credit earning, so there is no summative assessment, all assessment is formative. In this paper examples of ALOs and their uses is presented together with their uses as decided by the Instructional Designer and learner. Personalisation of the formative assessment of skills can be decided by the Instructional Designer or the learner using a repository of pre-designed ALOs. The process of combining ALOs can be carried out manually or in a semi-automated way using metadata that describes the ALO and the skill it is designed to assess.

Integrating constructive feedback in personalised e-learning

When using e-learning material some students progress readily, others have difficulties. In a traditional classroom the teacher would identify those with difficulties and direct them to additional resources. This support is not easily available within e-learning. A new approach to providing constructive feedback is developed that will enable an e-learning system to identify areas of weakness and provide guidance on further study. The approach is based on the tagging of learning material with appropriate keywords that indicate the contents. Thus if a student performs poorly on an assessment on topic X, there is a need to suggest further study of X and participation in activities related to X such as forums. As well as supporting the learner this type of constructive feedback can also inform other stakeholders. For example a tutor can monitor the progress of a cohort; an instructional designer can monitor the quality of learning objects in facilitating the appropriate knowledge across many learners.

An improved reliability Cuk based solar inverter with sliding mode control

Many photovoltaic inverter designs make use of a buck based switched mode power supply (SMPS) to produce a rectified sinusoidal waveform. This waveform is then unfolded by a low frequency switching structure to produce a fully sinusoidal waveform. The Cuk SMPS could offer advantages over the buck in such applications. Unfortunately the Cuk converter is considered to be difficult to control using classical methods. Correct closed loop design is essential for stable operation of Cuk converters. Due to these stability issues, Cuk converter based designs often require stiff low bandwidth control loops. In order to achieve this stable closed loop performance, traditional designs invariably need large, unreliable electrolytic capacitors. In this paper, an inverter with a sliding mode control approach is presented which enables the designer to make use of the Cuk converters advantages, while ameliorating control difficulties. This control method allows the selection of passive components based predominantly on ripple and reliability specifications while requiring only one state reference signal. This allows much smaller, more reliable non-electrolytic capacitors to be used. A prototype inverter has been constructed and results obtained which demonstrate the design flexibility of the Cuk topology when coupled with sliding mode control.

A Design for Generating Personalised Feedback in Knowledge Construction

As the learning paradigm shifts to a more personalised learning process, users need dynamic feedback from their knowledge path. Learning Management Systems (LMS) offer customised feedback dependent on questions and the answers given. However these LMSs are not designed to generate personalised feedback for an individual learner, tutor and instructional designer. This paper presents an approach for generating constructive feedback for all stakeholders during a personalised learning process. The dynamic personalised feedback model generates feedback based on the learning objectives for the Learning Object. Feedback can be generated at Learning Object level and the Information Object level for both the individual learner and the group. The group feedback is meant for the tutors and instructional designer to improve the learning process.

Ashanti

This was a theatre performance of the first English translation of Aszantka (Ashanti), written by Polish playwright Wlodzimierz Perzynski in 1906. Dr Teresa Murjas is the translator, designer and director. The performance took place in Bob Kayley Studio, University of Reading and at the Polish Theatre in Hammersmith, London.

Pil and Galia Kollectiv: solo exhibition at Te Tuhi Art Centre, Auckland, New Zealand.

The exhibition presents the full Future Trilogy which was completed in 2009. The trilogy is based on the opening of a new IKEA store in Edmonton, London in November 2005. IKEA celebrated with a twenty-four hour launch accompanied by significant price reductions on leather sofas. But when six thousand people arrived to compete for the discount a riot ensued which injured sixteen shoppers and required the store to be closed after just thirty minutes. The Future Trilogy takes this event as the starting point to speculate on a future where the popular fascination with modern designer furniture has morphed into state religions underpinned by the ideals of the early twentieth century avant-garde. The exhibition also presents their 2010 work Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management which narrates a fictional story of a company that adopts highly experimental approaches to achieving worker productivity. The project investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment. The Kollectiv's pseudo documentary creates a careful blend of fact and fiction through the combination of a distinctive BBC narrator's voice with imagery sourced from an online photographic archive for an early computing company. The story becomes increasingly provocative as more and more of the bizarre antics of the company employees are revealed, leading to the members of the company eventually forming a religious cult.

Studying the effect of systemisation on design activity

It is considered that systemisation, the use of standard systems of components and design solutions, has an effect on the activities of the designer. This paper draws on many areas of knowledge; design movements, economic theory, quality evaluation and organisation theory to substantiate the view that systemisation will reduce the designer's discretion at the point of design. A methodology to test this hypothesis is described which will be of use to other researchers studying the social processes of construction organisations.

Frozen tears II

Russell, J. [Ed. & designer]. Including texts by Kathy Acker, Dominique Auch, Dennis Cooper, Trinie Dalton, Sue De Beer, Felix Ensslin, Dan Fox, Matthew Greene, Pierre Guyotat, Rachel Howe, Kevin Killian, Christopher Knowles, Gean Moreno, J.P. Munro, Paulina Olowska, Damon Packard, Allison Smith, Banks Violette, Benjamin Weissman, & Thom Wolf. 832 pages.

Frozen tears I

Russell, J. [Ed., designer & authored chapter]. Including texts by Georges Bataille, Art & Language, Fabienne Audéoud, Dave Beech, Paul Buck, David Burrows, Ccru, Jake Chapman, John Cussans, johnny golding, Inventory, Martin Mcgeown, Lucy Mckenzie, Esther Planas, Graham Ramsay, John Russell, Clara Ursitti and Andrew Williamson. 800 pages.

Everything and nothing project

An EPRSC ‘Partnerships for Public Engagement’ scheme 2010. FEC 122,545.56/UoR 10K everything and nothing is a performance and workshop which engages the public creatively with mathematical concepts: the Poincare conjecture, the shape of the universe, topology, and the nature of infinity are explored through an original, thought provoking piece of music theatre. Jorge Luis Borges' short story 'The Library of Babel' and the aviator Amelia Earhart’s attempt to circumnavigate the globe combine to communicate to audience key mathematical concepts of Poincare’s conjecture. The project builds on a 2008 EPSRC early development project (EP/G001650/1) and is led by an interdisciplinary team the19thstep consisting of composer Dorothy Ker, sculptor Kate Allen and mathematician Marcus du Sautoy. everything and nothing has been devised by Dorothy Ker and Kate Allen, is performed by percussionist Chris Brannick, mezzo soprano Lucy Stevens and sound designer Kelcey Swain. The UK tour targets arts-going audiences, from the Green Man Festival to the British Science Festival. Each performance is accompanied with a workshop led by Topologist Katie Steckles. Alongside the performances and workshops is a website, http://www.everythingandnothingproject.com/ The Public engagement evaluation and monitoring for the project are carried out by evaluator Bea Jefferson. The project is significant in its timely relation to contemporary mathematics and arts-science themes delivering an extensive programme of public engagement.

Start where you are: Graphic ordering influences improvisational dance

This article is an analysis and reflection on the role of lists and diagrams in Start where you are, a multimedia improvisational piece performed as part of square zero independent dance festival: the second edition/la deuxième édition. This interdisciplinary festival was organised by collective (gulp) dance projects and took place in Ottawa, Canada, in August 2005. Start where you are was the result of a collaboration between the authors: two dance artists (Andrew and MacKinnon, the principals of (gulp)) and a visual communication designer (Gillieson). A sound artist and a lighting technician also participated in the work. This is a post-performance retrospective meant to analyze more closely the experience that meshed the evidentiary weight of words and graphics with the ephemerality and subjectivity of movement-based live performance. It contextualizes some of the work of collective (gulp) within a larger tradition of improvisation in modern dance. It also looks at how choice-making processes are central to improvisation, how they relate to Start, and how linguistic material can intersect with and support improvisational performance. Lastly, it examines some characteristics of lists and diagrams, unique forms of visual language that are potentially rich sources of material for improvisation.

Polymer therapeutics designed for a combination therapy of hormone-dependent cancer

Designer drug: A polymer therapeutic was designed for a combination therapy of breast cancer. N-(2-Hydroxypropyl)methacrylamide was used as the model polymer platform to prepare a unimolecular polymer conjugate (see picture, radius of gyration: 12.8 nm) that combines an endocrine (the aromatase inhibitor aminoglutethimide, blue) and a chemotherapeutic agent (the anthraxcycline antibiotic doxorubicin, red).

Choosing the most suitable analogue redesign method for forward-type digital power converters

This work proposes a method to objectively determine the most suitable analogue redesign method for forward type converters under digital voltage mode control. Particular emphasis is placed on determining the method which allows the highest phase margin at the particular switching and crossover frequencies chosen by the designer. It is shown that at high crossover frequencies with respect to switching frequency, controllers designed using backward integration have the largest phase margin; whereas at low crossover frequencies with respect to switching frequency, controllers designed using bilinear integration have the largest phase margins. An accurate model of the power stage is used for simulation, and experimental results from a Buck converter are collected. The performance of the digital controllers is compared to that of the equivalent analogue controller both in simulation and experiment. Excellent correlation between the simulation and experimental results is presented. This work will allow designers to confidently choose the analogue redesign method which yields the greater phase margin for their application.