Managing the emerging presbyopic contact lens wearer

The article deals with a study that examined the performance of a new silicone hydrogel multifocal contact lens for emerging presbyopes compared to other forms of correction. Study participants were asked to wear a different lens design for a week at a time. They were divided into the asymptomatic group and the symptomatic group. Results of the study showed that 24 participants had no difficulties with near vision tasks. It also found similar ghosting between the multifocal and habitual corrections for the near tasks under low illumination.

Mohair research update 17 : wearer comfort of mohair textiles - does mohair have an allergy problem?

Many aspects of textiles affect the comfort or discomfort experienced by people. The effects of variations in thermal, moisture transmission, air permeability, size, fit, aesthetics and static electrical properties on textiles have been known for many years (Slater, 1977). Problems experienced with wearer comfort, both sensory and functional, have increased in commercial importance for all animal fibres. Surveys have shown that consumers report that prickle discomfort from wearing wool next to the skin is a negative market attribute for wool (IWS, 1993; Millard Brown, 2007).

Relationship between wearer prickle response with fibre and garment properties and Wool ComfortMeter assessment

The prickle evoked by 48 knitted fabrics was assessed by wearers under a defined evaluation protocol. The relationship between the average wearer prickle score and known properties of constituent fibre, yarns and fabrics and fabric evaluation using the Wool ComfortMeter (WCM) was determined using linear modelling. After log transformation, the best model accounted for 87.7% of the variance. The major share of variation could be attributed to differences between mean fibre diameter (MFD) and WCM values. Low prickle scores were linearly associated with lower MFD, lower WCM and lower yarn linear density. There was an indication that yarn twist affected prickle scores and that fabrics composed of cotton evoked less prickle. Measures of fibre diameter distribution or coarse fibre incidence and other fabric properties were not significant. The analysis indicates that wool garments can be constructed to keep wearer assessed prickle to barely detectable levels and textile designers can manipulate a range of parameters to achieve similar wearer comfort responses.

Relationships between sleeve trial and wearer trial assessment of discomfort and objective measurements

The relationships were investigated between the prickle discomfort scores, assessed by human response from wearer trial garment assessment, and sleeve trial, Wool ComfortMeter (WCM) and Wool HandleMeter (WHM) assessments of fabrics, and fiber diameter characteristics including mean fiber diameter (MFD). Sleeve trial assessment followed exercise, the use of a control sleeve to reduce participant variance and four sensory traits. WHM provides eight handle parameters calibrated against a panel of experts. Four scenarios were evaluated: sleeve trial assessment with MFD; sleeve trial assessment with MFD and WCM; sleeve trial assessment with MFD, WCM and WHM parameters; and sleeve trial assessment with WCM and WHM parameters. Data were analyzed using correlation and forward stepwise general linear modeling. There was no evidence that the incidence of fibers coarser than 30 µm aided the prediction of prickle discomfort once MFD had been accounted for in the models. There were significant correlations between the WCM measurement and each sleeve trial attribute. There was no significant correlation between WHM parameters and sleeve trial assessments. The sleeve trial attribute of ‘skin feel’ offers potential to improve the predictions made of wearer trial prickle discomfort when used in association of the WCM with or without data on fabric MFD. There was little evidence to support using WHM parameters with or without the WCM in predicting wearer assessed prickle discomfort of fabrics. These results indicate that the rapid evaluation of fabrics using sleeve trial assessment can provide cost effective ranking of consumer preferences.

Relationships between wearer assessment and the instrumental measurement of the handle and prickle of knitted wool fabrics

The relationships between wearer-assessed comfort and objectively measured comfort and handle parameters were investigated using 19 pure wool single jersey garments made of single ply yarns. Wearer trials were used to determine prickle discomfort, and whether wearers “liked” the garments. Fabrics then were objectively evaluated using the Wool HandleMeter, which measures seven primary handle attributes; and the Wool ComfortMeter (WCM), to predict a wearer's perception of fabric-evoked prickle. Wearer responses and the relationships within and between objective measurements and the effect of fibre, yarn and fabrics attributes were analysed by general linear modelling. Mean fibre diameter, fibre diameter coefficient of variation, yarn count, fabric thickness, fabric density, fabric mass per unit area and decatising affected one or more handle parameters. The best model for predicting wearer prickle discomfort accounted for 90.9% of the variance and included only terms for the WCM and WCM2. The WCM was a good predictor whereas mean fibre diameter was a poor predictor of whether wearers “liked” garments. Wearer assessment of prickle and whether or not wearers “liked” fabrics were independent of fabric handle assessment. The results indicate that the handle and comfort properties of lightweight, wool jersey fabrics can be quantified accurately using the Wool HandleMeter and the Wool ComfortMeter. For fabric handle, fibre and yarn characteristics were less important than changes in the properties of the fabric.

"Her lively Looks a sprightly Mind disclose, Quick as her Eyes, and as unfix'd as those." - looking, fashion media, and risk culture

This chapter investigates the phenomenon of fashion from the perspective of ‘the look.’ This is achieved by the wearer (as opposed to the designer) and also forms the basis of fashion media, where it represents the ‘decisive moment’ of photography. The chapter argues that the evolving ‘look’ of fashion can be analysed to identify tensions between novelty and emulation, the unique and the universal, in contemporary consumer culture and status-based social-network markets. It explores the work of fashion photographer Corinne Day and artist Olga Tobreluts to identify the theme of ‘risk culture.’

Central and peripheral oxygen transmissibility thresholds to avoid corneal swelling during open eye soft contact lens wear

This study was designed to derive central and peripheral oxygen transmissibility (Dk/t) thresholds for soft contact lenses to avoid hypoxia-induced corneal swelling (increased corneal thickness) during open eye wear. Central and peripheral corneal thicknesses were measured in a masked and randomized fashion for the left eye of each of seven subjects before and after 3 h of afternoon wear of five conventional hydrogel and silicone hydrogel contact lens types offering a range of Dk/t from 2.4 units to 115.3 units. Curve fitting for plots of change in corneal thickness versus central and peripheral Dk/t found threshold values of 19.8 and 32.6 units to avoid corneal swelling during open eye contact lens wear for a typical wearer. Although some conventional hydrogel soft lenses are able to achieve this criterion for either central or peripheral lens areas (depending on lens power), in general, no conventional hydrogel soft lenses meet both the central and peripheral thresholds. Silicone hydrogel contact lenses typically meet both the central and peripheral thresholds and use of these lenses therefore avoids swelling in all regions of the cornea. ' 2009 Wiley Periodicals, Inc. J Biomed Mater Res Part B: Appl Biomater 92B: 361–365, 2010

The bondage of an imposed visual discourse : understanding the built environment's influence on the 'oldest-old' aged care residents' sense of peace

This study investigates the influence of the built environment upon residents' sense of familiarity, concept of self and thus, their facilitation of place through the theory of "The Bondage of Imposed Visual Discourse". Simone de Beauvoir's theory "The Bondage of Feminine Elegance" provides the conceptual understanding of the visual discourse between the physicality of clothing and the wearer's personal identity. This fashion theory is transposed to explore the influence of the built environment's physicality upon aged care residents' personal identity. This paper presents findings from a study of professionals' opinions in reference to the built environment of permanent residential aged care for the 'oldest-old' of Australia. The researcher conducted qualitative interviews with four participants: an architect, occupational therapist, nursing home facility manager and an aged care lobbyist in the South-East Queensland. This study is structured towards proposing "place-focused" qualitative design principles to encourage residents' sense of place through the built environment. These proposed principles are addressed with reference to existing Standards and Principles outlined by the Australian Government.

Badge : Brisbane Office

This two-storey office building and upper floor interior fit-out, completed for the 25th anniversary of Adelaide-based construction firm, Badge Constructions, is a signature building for the client, and its recently established Brisbane-based operations, and a showpiece for their commercial and industrial construction prowess and dynamic, collaborative and transparent work ethic. Situated in the industrial precinct of Bulimba’s Oxford Street, the building is a continuation of the street’s nearby commercial heart, whilst its architectural language references the adjacent industrial structures. The building’s shed-like skillion roof and western wall have been considered as a folded plane, allowing space to be considered as the inhabitation of the inner surface of this plane. The analogy of a lined garment, tailored to suit its wearer, clarifies the relationship between the western façade plane’s unadorned, monochromatic outer surface and the coloured and patterned inner surface, celebrating inhabitation. The use of typically external construction materials are re-positioned as an integral part of the building’s interior fit-out, alluding to Badge’s construction repertoire, and weakening traditional barriers between interior and exterior commercial space. In reference to its Queensland context, the external glazed line of the building is pulled back from the street, providing an eastern verandah edge and a northern court, as a part of the public realm. The upper floor office incorporates a cantilevered outdoor mezzanine within the northern court, whilst the adjacent reception area and stairwell utilises clear glazing in order to visually connect to the street. The building is designed to take advantage of natural light to the east, whilst shading habitable spaces from the north, a building strategy that reduces solar heat gain and energy consumption. Placement of the building’s amenities core to the west provides substantial bracing and allows maximum activation of the north and east street edge. A collaborative design process has resulted in an affordable commercial building with a high level of design resolution and relationship to its Brisbane context, while also challenging the traditional relationships between exterior and interior commercial space, and informed client and consultant team of allied disciplines.

The grow-shrink-and-turncoat

This reversible garment, the grow-shrink-and-turncoat, is constructed in modules which allow it to be extended or tightened depending on the wearer. Later, it can be disassembled and then reassembled to form a new garment. The laser-cut holes allow for layers of cloth to be added or removed. The design was developed in part from a brainstorming activity with first and second year QUT students – their ideas included a garment which can be taken apart, a garment to fit many people, and most intriguingly, a garment that can open and ‘grow’ like a flower, swelling up in cold weather to warm the body. Taking these ideas, I developed a garment which can be disassembled, with layers added or subtracted by the wearer according to aesthetics and / or comfort. The shell is constructed from six squares of laser cut cloth, draped together with six smaller laser-cut rectangles, held in place with removable stitching. Additional squares and rectangles of cloth can be added / subtracted with ties knotted through the laser-cut holes. The laser cutting becomes a patterning device as well as integral to the construction of the garment. Conceptually, the garment is grounded in the notion of fabric as a precious resource – the pieces are designed to be disassembled at end-of-life, and then reconfigured into a fresh design.

Engaging Noemi Lakmeier's living installations : the ethics of embarrassment

In Exercise in Losing Control (2007) and We Are for You Because We are Against Them (2010), Austrian-born artist Noemi Lakmaier represents Otherness – and, in particular, the experience of Otherness as one of being vulnerable, dependent or visibly different from everyone else in a social situation – by placing first herself then a group of participants in big circular balls she calls ‘Weebles’. In doing so, Lakmaier depicts Otherness as an absurd, ambiguous or illegible element in otherwise everyday ‘living installations’ in which people meet, converse, dine and connect with spectators and passersby on the street. In this paper I analyse the way spectators and passersby respond to the weeble-wearers. Not surprisingly, responses vary – from people who hurry away, to people who try to talk to the weeble-wearer, to people who try to kick or tip the weeble to test its reality. The not-quite-normal situation, and the visibility of the spectators in the situation, asks spectators to rehearse their response to corporeal differences that might be encountered in day-to-day life. As the range of comments, confrontations and struggles show, the situation transfers the ill-at-ease, embarrassed and awkward aspects of dealing with corporeal difference from the disabled performer to the able spectator-become-performer. In this paper, I theorise some of the self-conscious spectatorial responses this sort of work can provoke in terms of an ethics of embarrassment. As the Latin roots of the word attest, embarrassment is born of a block, barrier or obstacle to move smoothly through a social or communicative encounter. In Lakmaier’s work, a range of potential blocks present themselves. The spectators’ responses – from ignoring the weeble, to querying the weeble, to asking visual, verbal or physical questions about how the weeble works, and so on – are ways of managing the interruption and moving forward. They are, I argue, strategies for moving from confusion to comprehension, or from what Emmanuel Levinas would call an encounter with the unknown to back into the horizon of the known, classified and classifiable. They flag the potential for what Levinas would call an ethical face-to-face encounter with the Other in which spectators and passersby may unexpectedly find themselves in a vulnerable position.

Pulse Gauntlets

To feel another person’s pulse is an intimate and physical interaction. In these prototypes we use near field communications to extend the tangible reach of our heart beat, so another person can feel our heart beat at a distance. The work is an initial experiment in near field haptic interaction, and is used to explore the quality of interactions resulting from feeling another persons pulse. The work takes the form of two feathered white gauntlets, to be worn on the fore arm. Each of the gauntlets contain a pulse sensor, radio transmitter and vibrator. The pulse of the wearer is transmitted to the other feathered gauntlet and transformed into haptic feedback. When there are two wearers, their heart beats are exchanged. To be felt by of each other without physical contact.

Physiological tolerance times while wearing explosive ordnance disposal protective clothing in simulated environmental extremes

Explosive ordnance disposal (EOD) technicians are required to wear protective clothing to protect themselves from the threat of overpressure, fragmentation, impact and heat. The engineering requirements to minimise these threats results in an extremely heavy and cumbersome clothing ensemble that increases the internal heat generation of the wearer, while the clothing’s thermal properties reduce heat dissipation. This study aimed to evaluate the heat strain encountered wearing EOD protective clothing in simulated environmental extremes across a range of differing work intensities. Eight healthy males [age 25±6 years (mean ± sd), height 180±7 cm, body mass 79±9 kg, V˙O2max 57±6 ml.kg−1.min−1] undertook nine trials while wearing an EOD9 suit (weighing 33.4 kg). The trials involved walking on a treadmill at 2.5, 4 and 5.5 km⋅h−1 at each of the following environmental conditions, 21, 30 and 37°C wet bulb globe temperature (WBGT) in a randomised controlled crossover design. The trials were ceased if the participants’ core temperature reached 39°C, if heart rate exceeded 90% of maximum, if walking time reached 60 minutes or due to fatigue/nausea. Tolerance times ranged from 10–60 minutes and were significantly reduced in the higher walking speeds and environmental conditions. In a total of 15 trials (21%) participants completed 60 minutes of walking; however, this was predominantly at the slower walking speeds in the 21°C WBGT environment. Of the remaining 57 trials, 50 were ceased, due to attainment of 90% maximal heart rate. These near maximal heart rates resulted in moderate-high levels of physiological strain in all trials, despite core temperature only reaching 39°C in one of the 72 trials.

Lifesaver

Lifesaver is an installed object as well as a performance aid. A re-contextualised life jacket has been adapted to include soothing sounds of a beach landscape. The work aims to provide a reprieve from the stresses of everyday life to the wearer and their surrounds. It explores the relationship between the outside world and the gallery, the performer and the viewer and the role of art in contemporary society. This work was included in the group exhibitions 'Conversation Pieces' at Boxcopy Contemporary Art Space (2014) and 'Extended Conversation Pieces' curated by Boxcopy as part of the Melbourne Art Fair (2014).