Preparation of silver-activated zinc sulfide thin films

Silver improves luminescence and reduces contamination of zinc sulfide phosphors. The silver is added after the zinc sulfide phosphors are deposited in thin films by vapor evaporation, but before calcining, by immersion in a solution of silver salt

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

Sculptural Thinking in Fashion

Human thinking in relation to the body is conditioned by an understanding of the body as a three-dimensional form. The fashion designer Madame Gres said ‘I wanted to be a sculptor — for me it is just the same to work with fabric or stone.’ Sculpture and fashion both adopt figurative formations, a default position of representing human form in space, motion and time: both an art form receptive to the senses of sight, touch and gravitational pull. This research questions whether the thinking processes in fashion design are common with thinking in sculptural practices within fine art. The question emerged through conversations between a fashion designer and a contemporary artist and centered upon the use of language, thinking and reflective practices, and the articulation and application of material processes. To address these questions we focused upon two approaches: whether thought and its articulation in the lexicon of creative practice is common and whether there is a two way flow of visual, material and technical influences. The initial conversation centered upon the art historian, Rowan Bailey’s essay ‘Herder’s Sculptural Thinking.’ Our interpretations of this work identified that thought itself evolves in the experience of three-dimensions and sharing our experiences of touch. The idea of the sculptural therefore becomes social; a shared phenomena. We became interested in how thinking begins to take shape in material forms, or the notion of working creatively in three-dimensionality is in itself a structure of the emotions that connect to a line of thought. The first section of the paper establishes a platform for the second section by investigating the significance of touch and mimicry, and the philosophies behind thinking sculpturally. The second section considers the effects of influence between the two disciplines, noting an interaction between the creative processes in sculpture and fashion design, such as: modeling, draping, molding, stacking, casting, shaping and carving. The paper concludes by drawing together the two sections

“The hope – the one hope – is that your generation will prove wiser and more responsible than mine.” Constructions of guilt in a selection of disaster texts for young adults

This paper explores a range of definitions of guilt, and argues that fiction for young adults which is set after a major disaster that has been caused by humans has surprisingly little emphasis on guilt. Focusing on Brother in the Land by Robert Swindells, Nuclear War Diary by James E. Sanford (Jr), The Last Children by Gudrun Pausewang, The Carbon Diaries 2015 by Saci Lloyd and its sequel, The Carbon Diaries 2017, and Days Like This by Alison Stewart, the paper argues that in post-nuclear texts for young adults the emphasis tends to be on the perceived responsibility of the young adult reader&amp;apos;s generation to work towards preventing the disaster from becoming reality, rather than on the guilt of the adult generation that caused the disaster. However, in texts dealing with environmental disaster, the young adult reader&amp;apos;s generation can be seen to have some measure of culpability, and so the issues of guilt and responsibility become more complex<br /

ROTOЯ Review

The ROTOЯ partnership between Huddersfield Art Gallery and the University of Huddersfield was established in 2011. ROTOЯ I and II was a programme of eight exhibitions and accompanying events that commenced in 2012 and was completed in 2013. ROTOЯ continues into 2014 and the programme for 2015 and 2016 is already firmly underway. In brief, the aim of ROTOЯ is to improve the cultural vitality of Kirklees, expand audiences, and provide new ways for people to engage with and understand academic research in contemporary art and design. Why ROTOЯ , Why Now? As Vice Chancellors position their institutions’ identities and future trajectories in context to national and international league tables, Professor John Goddard1 proposes the notion of the ‘civic’ university as a ‘place embedded’ institution; one that is committed to ‘place making’ and which recognises its responsibility to engaging with the public. The civic university has deep institutional connections to different social, cultural and economic spheres within its locality and beyond. A fundamental question for both the university sector and cultural organisations alike, including local authority, is how the many different articulations of public engagement and cultural leadership which exist can be brought together to form one coherent, common language. It is critical that we reach out and engage the community so we can participate in local issues, impact upon society, help to forge well-being and maintain a robust cultural economy. Within the lexicon of public centered objectives sits the Arts Council England’s strategic goals, and those of the Arts and Humanities Research Council – in particular its current Cultural Value initiative. What these developments reveal is that art and design education and professional practice, its projected oeuvre as well as its relationship to cultural life and public funding, is now challenged with having to comprehensively audit its usefulness in financially austere times. It was in the wake of these concerns coming to light, and of the 2010 Government Spending Review that ROTOЯ was conceived. These issues and the discussions surrounding them are not completely new. Research into the social benefits of the arts, for both the individual and the community, was championed by the Community Arts Movement in the 1960s. During the 1980s and ‘90s, John Myerscough and Janet Wolff, amongst others, provided significant debate on the role and value of the arts in the public domain. What these discussions demonstrated was a growing concern that the cultural sector could not, and should not, be understood in terms of economic benefit alone. Thankfully, the value of the relationships between art, education, culture and society is now recognised as being far more complex than the reductive quantification of their market and GDP benefits. Writing in ‘Art School (Propositions for the 21st Century)’, Ernesto Pujol proposes:‘…it is absolutely crucial that art schools consider their institutional role in support of democracy. The history of creative expression is linked to the history of freedom. There is a link between the state of artistic expression and the state of democracy.’ When we were approached by Huddersfield Art Gallery to work collaboratively on an exhibition programme that could showcase academic staff research, one of our first concerns was to ask the question, how can we really contribute to cultural leadership within the town?’ The many soundbite examples of public engagement that we might underline within our annual reports or website news are one thing, but what really makes a difference to a town’s cultural identity, and what affects people in their daily lives? With these questions in mind we sought a distinctive programme within the muncipal gallery space, that would introduce academic research in art, design and architecture beyond the university in innovative ways

Shaping attitude toward Christianity among year seven pupils : the influence of sex, church, home and primary school

This study set out to examine the differences in attitude toward Christianity among year seven secondary school pupils who had undertaken their primary education either in a Church of England voluntary aided school or a non-denominational state-maintained school. Data were provided by 492 year-seven pupils attending three Church of England voluntary secondary schools and comparison is made between 288 pupils who had transferred from Anglican voluntary aided primary schools and 164 from non-denominational state-maintained schools. After taking into account the effects of sex, pupil church attendance, paternal church attendance, and maternal church attendance, the data found no effect from attending a Church of England voluntary aided primary school

The stag and hound

The second phase of Dutton and Swindells collaborative The Institute of Beasts project consisted of an installation/exhibition and a book-work. The large (7 adjoining gallery spaces) installation/exhibition at Project Space Leeds was open to the public for 12 weeks (from 20 January, 2011) and included a six-week open residency period during which time the artists were present. The exhibition continued to explore themes of ‘animality’ – previously developed in The Institute of Beasts – but this time in a more expansive physical environment using large-scale neon and sound. The Stag and Hound focused more on disturbing taxonomies by providing an elaborate ‘forest’ of signs, approaches, methods and materials, deliberately tripping up linear narratives and interpretations. The exhibition was open to the public for 12 weeks, including a six week open residency period during which time one or both artists, Dutton and Swindells, were present. During the exhibition the artists launched their book ‘The Institute of Beasts’, published by Site Gallery and distributed by Cornerhouse books ISBN 978 1 899926 13

Histopathological analysis and in situ localisation of Australian tiger snake venom in two clinically envenomed domestic animals

Objective: To assess histopathological changes in clinically envenomed tiger snake patients and identify tissue specific localisation of venom toxins using immunohistochemistry. Samples: One feline and one canine patient admitted to the Murdoch Pet Emergency Centre (MPEC), Murdoch University with tiger snake (Notechis sp.) envenoming. Both patients died as a result of envenomation. Non-envenomed tissue was also collected and used for comparison. Methodology: Biopsy samples (heart, lung, kidney andskeletal muscle tissue) were retrieved 1-2 h post death and processed for histopathological examination using Haemotoxylin and Eosin, Martius Scarlet Blue and Periodic Acid Schiff staining. Tissues were examined by light microscopy and tissue sections subjected to immunohistochemical staining using in-house generated monoclonal and polyclonal antibodies against Notechis venoms. Results: Venom-induced pathological changes were observed in the lungs, kidneys and muscle tissue of both patients. Evidence, not previously noted, of procoagulant venom effects were apparent, with formed thrombi in the heart, lungs (small fibrillar aggregates and larger, discrete thrombi) and kidneys. Immunohistochemical assays revealed venom present in the pulmonary tissue, in and around the glomerular capsule and surrounding tubules in renal tissue and scattered throughout the Gastrocnemius muscle tissue. Conclusion: This work has shown pathological evidence of procoagulant venom activity supporting previous suggestions that an initial thrombotic state occurs in envenomed patients. We have shown that venom toxins are able to be localised to specific tissues, in this case, venom was detected in the lung, kidney and muscle tissues of clinically envenomed animals. Future work will examine specific toxin localisation using monoclonal antibodies and identify if antivenom molecules are able to reach their target tissues

Exploring affective design for physical controls

Physical controls such as knobs, sliders, and buttons are experiencing a revival as many computing systems progress from personal computing architectures towards ubiquitous computing architectures. We demonstrate a process for measuring and comparing visceral emotional responses of a physical control to performance results of a target acquisition task. In our user study, participants experienced mechanical and rendered friction, inertia, and detent dynamics as they turned a haptic knob towards graphical targets of two different widths and amplitudes. Together, this process and user study provide novel affect- and performance-based design guidance to developers of physical controls for emerging ubiquitous computing environments. Our work bridges extensive human factors work in mechanical systems that peaked in the 1960’s, to contemporary trends, with a goal of integrating mechatronic controls into emerging ubiquitous computing systems. Author Keywords Haptic display, physical control, design process, affect

An ultralong CDRH2 in HCV neutralizing antibody demonstrates structural plasticity of antibodies against E2 glycoprotein

A vaccine protective against diverse HCV variants is needed to control the HCV epidemic. Structures of E2 complexes with front layer-specific broadly neutralizing antibodies (bNAbs) isolated from HCV-infected individuals, revealed a disulfide bond-containing CDRH3 that adopts straight (individuals who clear infection) or bent (individuals with chronic infection) conformation. To investigate whether a straight versus bent disulfide bond-containing CDRH3 is specific to particular HCV-infected individuals, we solved a crystal structure of the HCV E2 ectodomain in complex with AR3X, a bNAb with an unusually long CDRH2 that was isolated from the chronically-infected individual from whom the bent CDRH3 bNAbs were derived. The structure revealed that AR3X utilizes both its ultralong CDRH2 and a disulfide motif-containing straight CDRH3 to recognize the E2 front layer. These results demonstrate that both the straight and bent CDRH3 classes of HCV bNAb can be elicited in a single individual, revealing a structural plasticity of VH1-69-derived bNAbs