Patrick and Susan Matthiesen playing chess at Aenny Catzenstein nee Gottschalk's 80th birthday; London Portraits Family

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Aenny Catzenstein nee Gottschalk at her 80th birthday party with Patrick Matthiesen and Serge Donabedian; London.

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“Come in and look around.” Professional development of student teachers through public pedagogy in a library exhibition

This paper describes a public pedagogy project embedded into "The Global Teacher", a subject within the Bachelor of Education program for student teachers at an Australian university. The subject provides a global perspective on socio-political issues that shape education. In 2013, The Global Teacher introduced an approach that asked student teachers to create a museum-style exhibition depicting six global education themes. This exhibition was displayed in the State Library and the public were invited to engage with the installations and the student teachers who created them. Our paper describes how the project was implemented by means of close collaboration between the QUT teacher educators, curators at the State Library of Queensland (SLQ), and student groups working on visually translating their understandings of global educational issues into a public exhibition. We discuss what was learned by our students and ourselves, as teacher educators, by engaging in this public pedagogy.

Ticket to an exhibition

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headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

IASDR 2015 Interplay Exhibition 2-5 NOV 2015

It has been said that we are living in a golden age of innovation. New products, systems and services aimed to enable a better future, have emerged from novel interconnections between design and design research with science, technology and the arts. These intersections are now, more than ever, catalysts that enrich daily activities for health and safety, education, personal computing, entertainment and sustainability, to name a few. Interactive functions made possible by new materials, technology, and emerging manufacturing solutions demonstrate an ongoing interplay between cross-disciplinary knowledge and research. Such interactive interplay bring up questions concerning: (i) how art and design provide a focus for developing design solutions and research in technology; (ii) how theories emerging from the interactions of cross-disciplinary knowledge inform both the practice and research of design and (iii) how research and design work together in a mutually beneficial way. The IASDR2015 INTERPLAY EXHIBITION provides some examples of these interconnections of design research with science, technology and the arts. This is done through the presentation of objects, artefacts and demonstrations that are contextualised into everyday activities across various areas including health, education, safety, furniture, fashion and wearable design. The exhibits provide a setting to explore the various ways in which design research interacts across discipline knowledge and approaches to stimulate innovation. In education, Designing South African Children’s Health Education as Generative Play (A Bennett, F Cassim, M van der Merwe, K van Zijil, and M Ribbens) presents a set of toolkits that resulted from design research entailing generative play. The toolkits are systems that engender pleasure and responsibility, and are aimed at cultivating South African’s youth awareness of nutrition, hygiene, disease awareness and prevention, and social health. In safety, AVAnav: Avalanche Rescue Helmet (Jason Germany) delivers an interactive system as a tool to contribute to reduce the time to locate buried avalanche victims. Helmet-mounted this system responds to the contextual needs of rescuers and has since led to further design research on the interface design of rescuing devices. In apparel design and manufacturing, Shrinking Violets: Fashion design for disassembly (Alice Payne) proposes a design for disassembly through the use of beautiful reversible mono-material garments that interactively responds to the challenges of garment construction in the fashion industry, capturing the metaphor for the interplay between technology and craft in the fashion manufacturing industry. Harvest: A biotextile future (Dean Brough and Alice Payne), explores the interplay of biotechnology, materiality and textile design in the creation of sustainable, biodegradable vegan textile through the process of a symbiotic culture of bacteria and yeast (SCOBY). SCOBY is a pellicle curd that can be harvested, machine washed, dried and cut into a variety of designs and texture combinations. The exploration of smart materials, wearable design and micro-electronics led to creative and aesthetically coherent stimulus-reactive jewellery; Symbiotic Microcosms: Crafting Digital Interaction (K Vones). This creation aims to bridge the gap between craft practitioner and scientific discovery, proposing a move towards the notion of a post-human body, where wearable design is seen as potential ground for new human-computer interactions, affording the development of visually engaging multifunctional enhancements. In furniture design, Smart Assistive chair for older adults (Chao Zhao) demonstrates how cross-disciplinary knowledge interacting with design strategies provide solution that employed new technological developments in older aged care, and the participation of multiple stakeholders: designers, health care system and community based health systems. In health, Molecular diagnosis system for newborns deafness genetic screening (Chao Zhao) presents an ambitious and complex project that includes a medical device aimed at resolving a number of challenges: technical feasibility for city and rural contexts, compatibility with standard laboratory and hospital systems, access to health system, and support the work of different hospital specialists. The interplay between cross-disciplines is evident in this work, demonstrating how design research moves forward through technology developments. These works exemplify the intersection between domains as a means to innovation. Novel design problems are identified as design intersects with the various areas. Research informs this process, and in different ways. We see the background investigation into the contextualising domain (e.g. on-snow studies, garment recycling, South African health concerns, the post human body) to identify gaps in the area and design criteria; the technologies and materials reviews (e.g. AR, biotextiles) to offer plausible technical means to solve these, as well as design criteria. Theoretical reviews can also inform the design (e.g. play, flow). These work together to equip the design practitioner with a robust set of ‘tools’ for design innovation – tools that are based in research. The process identifies innovative opportunity and criteria for design and this, in turn, provides a means for evaluating the success of the design outcomes. Such an approach has the potential to come full circle between research and design – where the design can function as an exemplar, evidencing how the research-articulated problems can be solved. Core to this, however, is the evaluation of the design outcome itself and identifying knowledge outcomes. In some cases, this is fairly straightforward that is, easily measurable. For example the efficacy of Jason Germany’s helmet can be determined by measuring the reduced response time in the rescuer. Similarly the improved ability to recycle Payne’s panel garments can be clearly determined by comparing it to those recycling processes (and her identified criteria of separating textile elements!); while the sustainability and durability of the Brough & Payne’s biotextile can be assessed by documenting the growth and decay processes, or comparative strength studies. There are however situations where knowledge outcomes and insights are not so easily determined. Many of the works here are open-ended in their nature, as they emphasise the holistic experience of one or more designs, in context: “the end result of the art activity that provides the health benefit or outcome but rather, the value lies in the delivery and experience of the activity” (Bennet et al.) Similarly, reconfiguring layers of laser cut silk in Payne’s Shrinking Violets constitutes a customisable, creative process of clothing oneself since it “could be layered to create multiple visual effects”. Symbiotic Microcosms also has room for facilitating experience, as the work is described to facilitate “serendipitous discovery”. These examples show the diverse emphasis of enquiry as on the experience versus the product. Open-ended experiences are ambiguous, multifaceted and differ from person to person and moment to moment (Eco 1962). Determining the success is not always clear or immediately discernible; it may also not be the most useful question to ask. Rather, research that seeks to understand the nature of the experience afforded by the artefact is most useful in these situations. It can inform the design practitioner by helping them with subsequent re-design as well as potentially being generalizable to other designers and design contexts. Bennett et. al exemplify how this may be approached from a theoretical perspective. This work is concerned with facilitating engaging experiences to educate and, ultimately impact on that community. The research is concerned with the nature of that experience as well, and in order to do so the authors have employed theoretical lenses – here these are of flow, pleasure, play. An alternative or complementary approach to using theory, is using qualitative studies such as interviews with users to ask them about what they experienced? Here the user insights become evidence for generalising across, potentially revealing insight into relevant concerns – such as the range of possible ‘playful’ or experiences that may be afforded, or the situation that preceded a ‘serendipitous discovery’. As shown, IASDR2015 INTERPLAY EXHIBITION provides a platform for exploration, discussion and interrogation around the interplay of design research across diverse domains. We look forward with excitement as IASDR continues to bring research and design together, and as our communities of practitioners continue to push the envelope of what is design and how this can be expanded and better understood with research to foster new work and ultimately, stimulate innovation.

Wear Next exhibition: What's next for wearable technology?

There was a time when 'smart attire' was simply a dress code—a happy medium between formal and informal clothes. But as technological advancements continue to change our lives, the clothes and accessories we wear are increasingly embedded with smart technology. Wearable technology is nothing new, if you cast your mind back to the popular calculator watch of the '80s. But as more advanced products like Apple Watch and FitBit become mainstream, a new exhibition in Brisbane asks what's next for wearable technology.

The Mid-Century Showroom: Knoll, Herman Miller and the Retail Exhibition of Modern American Design

Although occasionally illustrated and referenced in contemporary histories of modern furniture and design, there is surprisingly little critical discussion or consideration of the role of the showroom in the promotion and dissemination of modern design during the mid-twentieth century. In these years, when the American lifestyle was popularly articulated and forcefully propagandized, the furniture showroom served as a principle site of professional and public indoctrination. Appropriating display techniques from modern exhibition design to showcase the American lifestyle as an abstracted, spatially integrated art form, the showroom provided an unencumbered landscape ideally suited to camera’s lens and the public’s imagination. Leading modern American furniture manufacturers, such as Herman Miller and Knoll Associates collaborated with major cultural institutions as well as department stores and retailers to maximize exposure and consumer demand for their products. Through such integrated marketing and merchandising strategies, showrooms also contributed to the broader social project to educate American consumers about modern design and the advantages of modern living. Related to the many model home programs and “good design” exhibitions of the 1950s, the furniture showroom occupies a unique place within the history and discourse of the postwar era. The peculiarities of the furniture showroom and its position as a point of intersection between the trade and the consumer, the commercial and the cultural, and the aesthetic and the ideological form the focus of this study.

Traducción y manipulación: el caso de Ezra Pound

Eguíluz, Federico; Merino, Raquel; Olsen, Vickie; Pajares, Eterio; Santamaría, José Miguel (eds.)

Estimating abundances of 0-group western Baltic cod by using pound net fisheries

Nearshore 0-group western Baltic cod are frequently caught as bycatch in the commercial pound net fishery. Pound net fishermen from the Danish Isle of Funen and Lolland and the German Isle of Fehmarn have recorded their catches of small cod between September and December 2008. Abundance patterns were analysed, particularly concerning the influence of abiotic factors (hydrography, meteorology) and the differences between sampling sites. Catch per unit effort (CPUE) differed by site and location, whereas CPUE were highest at Lolland. Correlation between catch and wind/currents were generally weak. However, wind directions and current speeds seem to affect the catch rates. Finally an algorithm was developed to calculate a recruitment index for western Baltic cod recruitment success based on previous analyses.

Evaluation of a Pound Net Leader Designed to Reduce Sea Turtle Bycatch

Offshore pound net leaders in the southern portion of Chesapeake Bay in Virginia waters were documented to incidentally take protected loggerhead, Caretta caretta, and Kemp’s ridley, Lepidochelys kempii, sea turtles. Because of these losses, NOAA’s National Marine Fisheries Service (NMFS) in 2004 closed the area to offshore pound net leaders annually from 6 May to 15 July and initiated a study of an experimental leader design that replaced the top two-thirds of the traditional mesh panel leader with vertical ropes (0.95 cm) spaced 61 cm apart. This experimental leader was tested on four pound net sites on the eastern shore of Chesapeake Bay in 2004 and 2005. During the 2 trial periods, 21 loggerhead and Kemp’s ridley sea turtles were found interacting with the control leader and 1 leatherback turtle, Dermochelys coriacea, was found interacting with the experimental leader. Results of a negative binomial regression analysis comparing the two leader designs found the experimental leader significantly reduced sea turtle interactions (p=0.03). Finfish were sampled from the pound nets in the study to assess finfish catch performance differences between the two leader designs. Although the conclusions from this element of the experiment are not robust, paired t-test and Wilcoxon signed rank test results determined no significant harvest weight difference between the two leaders. Kolmogorov-Smirnov tests did not reveal any substantive size selectivity differences between the two leaders.

Transition from the exhibition to the nonexhibition of negative differential thermal resistance in the two-segment Frenkel-Kontorova model

An extensive study of the one-dimensional two-segment Frenkel-Kontorova FK model reveals a transition from the counterintuitive existence to the ordinary nonexistence of a negative-differential-thermal-resistance NDTR regime, when the system size or the intersegment coupling constant increases to a critical value. A “phase” diagram which depicts the relevant conditions for the exhibition of NDTR was obtained. In the existence of a NDTR regime, the link at the segment interface is weak and therefore the corresponding exhibition of NDTR can be explained in terms of effective phonon-band shifts. In the case where such a regime does not exist, the theory of phonon-band mismatch is not applicable due to sufficiently strong coupling between the FK segments. The findings suggest that the behavior of a thermal transistor will depend critically on the properties of the interface and the system size.

Quantitatively distinguishing sediments from the Yangtze River and the Yellow River using delta Eu-N-I REEs pound plot

Sediment samples were collected from the lower channel of the Yangtze River and the Yellow River and the contents of rare earth elements (REEs) were measured. In addition, some historical REEs data were collected from published literatures. Based on the delta Eu-N-I REEs pound plot, a clear boundary was found between the sediments from the two rivers. The boundary can be described as an orthogonal polynomial equation by ordinary linear regression with sediments from the Yangtze River located above the curve and sediments from the Yellow River located below the curve. To validate this method, the REEs contents of sediments collected from the estuaries of the Yangtze River and the Yellow River were measured. In addition, the REEs data of sediment Core 255 from the Yangtze River and Core YA01 from the Yellow River were collected. Results show that the samples from the Yangtze River estuary and Core 255 almost are above the curve and most samples from the Yellow River estuary and Core YA01 are below the curve in the delta Eu-N-I REEs pound plot. The plot and the regression equation can be used to distinguish sediments from the Yangtze River and the Yellow River intuitively and quantitatively, and to trace the sediment provenance of the eastern seas of China. The difference between the sediments from two rivers in the delta Eu-N-I REEs pound plot is caused by different mineral compositions and regional climate patterns of the source areas. The relationship between delta Eu-N and I REEs pound is changed little during the transport from the source area to the river, and from river to the sea. Thus the original information on mineral compositions and climate of the source area was preserved.