Design and Development of Alternative Vectorthotic Insole: Technical Report

This CVF funded product design and development project for orthotic range aspires to be as effective as a functional foot orthotic. It is adaptable and customisable to meet the needs of the busy clinical environment as an off the shelf solution. Healthy Step has a successful foot orthotics and rehabilitation range. There is a growing area of business in the private market and internet sales. There is a perceived opportunity to develop a new brand of devices based upon the existing range that: • Exude quality and performance – and would therefore carry a higher price point • Are only available to clinics and clinicians – allowing clinics to set their own prices and be unaffected by Healthy Step’s direct to patient internet sales. • Are not available direct to the patients. • Focus on the business aspirations of the clinician and/or their practice. • Allowing them to realise greater profit by “selling”/prescribing quality, branded, performance devices that deliver adaptable clinical treatments with a quality retail feel and offering. Heel, ball and arch orthotic components of the existing vectorthotic were improved during the this project. Completion was a great live experience for the team although some issue with the printing tolerances as it had an impact on the first phase of iterations especially the snap fit parts of the orthotic but with product testing and feedback from the client these were overcome. The project resulted the company investing in a mid range 3D printing device and relevant software & hardware,an a placement student. They also start offering customized products and bespoke 3D printing services to their customers

3D documentation and digital heritage

This Doctor of Philosophy by Published Work (Route 2) examines the cultural, theoretical and technical considerations in place when Cultural Heritage (CH) also becomes digital heritage. These aspects have ended up neglected or misunderstood because they lie between the competences of the technical and cultural worlds. The aims of best practice and long-term data considerations run across all publications; as do the objectives of examining human to human-object interactions with digital technologies, exploring workflows for long term data retrieval and digital technologies to document artefacts and landscapes. They are manifested through all publications with some of the obvious examples being: a) theoretical considerations, in particular Immanuel Kant’s Empirical Provenance and the concepts of cultural memory and data narrative b) the marriage between theoretical and applied science c) recognising that 3D imaging does not operate within a vacuum and is tethered to a broader ecosystem of information and communication technologies (ICT) d) the idea of cultural memory, and how the long-term survival of digital or non-tangible information is reliant upon, in this case, human-computer interactions. e) the way in which hardware and software feed into material culture and cultural memory. These considerations are necessary in order to give data a coherent and long-term narrative. It is clearly outlined in the IEEE Computer Graphics and Applications article and is also explained in broader theoretical context via the book chapter Digital Heritage, Industrial Memory and Memorialisation. User community-led developments and workflows are strong themes running across all publications. Digital workflows and associated material cultures have become distributed. They can no longer be solely defined by centralised or otherwise grounded means of production. This is especially so in the wake of big data or crowdsourced data. Prior to these conditions, linear workflows and Fordist modes of production regulated information flow and development. These are also examined and challenged across the publications submitted

IKUWA6. Shared Heritage

Celebrating the theme ‘Shared heritage’, IKUWA6 (the 6th International Congress for Underwater Archaeology), was the first such major conference to be held in the Asia-Pacific region, and the first IKUWA meeting hosted outside Europe since the organisation’s inception in Germany in the 1990s. A primary objective of holding IKUWA6 in Australia was to give greater voice to practitioners and emerging researchers across the Asia and Pacific regions who are often not well represented in northern hemisphere scientific gatherings of this scale; and, to focus on the areas of overlap in our mutual heritage, techniques and technology. Drawing together peer-reviewed presentations by delegates from across the world who converged in Fremantle in 2016 to participate, this volume covers a stimulating diversity of themes and niche topics of value to maritime archaeology practitioners, researchers, students, historians and museum professionals across the world

Older and Younger Adults' Interactions with 3D Digital Cultural Heritage Artefacts

The availability of advanced software allows museums to preserve and share artefacts digitally, and as a result, museums are frequently making their collections accessible online as interactive, 3D models. Since this could lead to the unique situation of viewing the digital artefact before the physical artefact, more research is needed concerning how viewing and interacting with artefacts outside of a museum affects emotional connections to artefacts and how meaning is given to them. Furthermore, users may have varying degrees of technology skills, which could also influence the way they make emotional connections and meaning from interactions with digital artefacts. This study contributes to existing research by exploring the way older adults (65 years and older) and young adults (18-21 years), two groups of users with diverse technology skills and museum experience, emotionally connect and give meaning to digital artefacts. Interaction with digital artefacts will be through two digital modalities: an Augmented Reality app (AR) on a tablet and 3D models on a website using a laptop. Their subsequent viewing of the physical artefacts will also be examined. Video recordings and questionnaire data, including enjoyment and emotional responses, were analysed quantitatively. Utilising the think-aloud method, participants verbalised their thoughts and feelings while interacting with the artefacts. These comments were analysed both qualitatively and quantitatively to understand how participants construct meaning from their interactions with artefacts. Results revealed that regardless of age and digital modality, participants made emotional connections with the digital artefacts, and meaning emerged from their interactions. Seeing the physical artefacts after the digital ones still prompted participants to experience emotions; they were not passive when giving meaning to physical artefacts. The results aim to provide insight into how older and younger adults experience two important aspects of a museum artefact experience, emotion and meaning, when first interacting with 3D artefacts on devices outside of a museum

Bowdoin Orient v.133, no.1-24 (2003-2004)

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