Playgrounds

Playgrounds defies the idea of singularity and control through a practice of design aiming to offer generous universes3 for one to explore freely. Building blocks of cognition such as modular thinking, hyper-linking, recursion, repetition, self-referencing and self-representation are utilized for designing honest and slightly uncomfortable experiences in order to keep the reader awake and aware

Reducing the environmental impact of surgery on a global scale: systematic review and co-prioritization with healthcare workers in 132 countries

Abstract Background Healthcare cannot achieve net-zero carbon without addressing operating theatres. The aim of this study was to prioritize feasible interventions to reduce the environmental impact of operating theatres. Methods This study adopted a four-phase Delphi consensus co-prioritization methodology. In phase 1, a systematic review of published interventions and global consultation of perioperative healthcare professionals were used to longlist interventions. In phase 2, iterative thematic analysis consolidated comparable interventions into a shortlist. In phase 3, the shortlist was co-prioritized based on patient and clinician views on acceptability, feasibility, and safety. In phase 4, ranked lists of interventions were presented by their relevance to high-income countries and low–middle-income countries. Results In phase 1, 43 interventions were identified, which had low uptake in practice according to 3042 professionals globally. In phase 2, a shortlist of 15 intervention domains was generated. In phase 3, interventions were deemed acceptable for more than 90 per cent of patients except for reducing general anaesthesia (84 per cent) and re-sterilization of ‘single-use’ consumables (86 per cent). In phase 4, the top three shortlisted interventions for high-income countries were: introducing recycling; reducing use of anaesthetic gases; and appropriate clinical waste processing. In phase 4, the top three shortlisted interventions for low–middle-income countries were: introducing reusable surgical devices; reducing use of consumables; and reducing the use of general anaesthesia. Conclusion This is a step toward environmentally sustainable operating environments with actionable interventions applicable to both high– and low–middle–income countries

Vernacular Spectacular\u3csup\u3eTM\u3c/sup\u3e

Art that borrows and appropriates from commercial culture and mass-media is a relatively new phenomenon. What began in the 1950s as Pop Art has since evolved and diversified into more crude and disorienting interpretations of an exponentially growing consumer culture. These new practitioners hijack and co-opt contemporary commercial languages - that of the internet, computers, advertising, video games, and everyday objects - in order to subvert their original intentions and deconstruct their cultural ramifications. They also celebrate the beauty therein. This method of critique is noteworthy for its ability to be both visually alluring and eerily familiar, thus disorienting. By speaking a familiar language, the work\u27s message reaches a potentially unassuming audience, one that might be confused at the site of commercial imagery in an art context. Blurring the line between the languages of art and commerce, these works provide a medium for viewers to re-examine the quotidian, and to question the images being sold to them. This exhibition seeks to catalogue these various cultural critiques as they appear in the work of RISD students, showcasing a breadth of unique perspectives on a wide-range of existing visual languages across consumer culture. December 2-January 29, 2017Curated by: Cem Eskinazi MFA 17 GD and Drew Litowitz MFA 17 GDhttps://digitalcommons.risd.edu/gelmangallery_posters/1002/thumbnail.jp

Vernacular Spectacular\u3csup\u3eTM\u3c/sup\u3e

Art that borrows and appropriates from commercial culture and mass-media is a relatively new phenomenon. What began in the 1950s as Pop Art has since evolved and diversified into more crude and disorienting interpretations of an exponentially growing consumer culture. These new practitioners hijack and co-opt contemporary commercial languages - that of the internet, computers, advertising, video games, and everyday objects - in order to subvert their original intentions and deconstruct their cultural ramifications. They also celebrate the beauty therein. This method of critique is noteworthy for its ability to be both visually alluring and eerily familiar, thus disorienting. By speaking a familiar language, the work\u27s message reaches a potentially unassuming audience, one that might be confused at the site of commercial imagery in an art context. Blurring the line between the languages of art and commerce, these works provide a medium for viewers to re-examine the quotidian, and to question the images being sold to them. This exhibition seeks to catalogue these various cultural critiques as they appear in the work of RISD students, showcasing a breadth of unique perspectives on a wide-range of existing visual languages across consumer culture. December 2-January 29, 2017Curated by: Cem Eskinazi MFA 17 GD and Drew Litowitz MFA 17 GDhttps://digitalcommons.risd.edu/gelmangallery_posters/1000/thumbnail.jp

Vernacular Spectacular\u3csup\u3eTM\u3c/sup\u3e

Art that borrows and appropriates from commercial culture and mass-media is a relatively new phenomenon. What began in the 1950s as Pop Art has since evolved and diversified into more crude and disorienting interpretations of an exponentially growing consumer culture. These new practitioners hijack and co-opt contemporary commercial languages - that of the internet, computers, advertising, video games, and everyday objects - in order to subvert their original intentions and deconstruct their cultural ramifications. They also celebrate the beauty therein. This method of critique is noteworthy for its ability to be both visually alluring and eerily familiar, thus disorienting. By speaking a familiar language, the work\u27s message reaches a potentially unassuming audience, one that might be confused at the site of commercial imagery in an art context. Blurring the line between the languages of art and commerce, these works provide a medium for viewers to re-examine the quotidian, and to question the images being sold to them. This exhibition seeks to catalogue these various cultural critiques as they appear in the work of RISD students, showcasing a breadth of unique perspectives on a wide-range of existing visual languages across consumer culture. December 2-January 29, 2017Curated by: Cem Eskinazi MFA 17 GD and Drew Litowitz MFA 17 GDhttps://digitalcommons.risd.edu/gelmangallery_posters/1000/thumbnail.jp

Signature Sandwiches

Graduate students. Year of Graduation: 2018 & 2016. Major: Graphic Design. Class: Book Structures Workshop. Faculty: Jan Baker.https://digitalcommons.risd.edu/bookcontest1st2015/1086/thumbnail.jp

Signature Sandwiches

Graduate students. Year of Graduation: 2018 & 2016. Major: Graphic Design. Class: Book Structures Workshop. Faculty: Jan Baker.https://digitalcommons.risd.edu/bookcontest1st2015/1085/thumbnail.jp

Signature Sandwiches

Graduate students. Year of Graduation: 2018 & 2016. Major: Graphic Design. Class: Book Structures Workshop. Faculty: Jan Baker.https://digitalcommons.risd.edu/bookcontest1st2015/1087/thumbnail.jp