Why OBOE? The gerundive Nature of Artworks

The introduction to OBOE’s first issue aims to illustrate how a certain method of studying exhibitions is directly linked with the study of contemporary art history. Mirroring contemporary art’s gerundive nature the journal’s periodicity becomes the ideal space to write an inclusive history of biennials, but also of the many avenues for art’s manifestation

Reconsidering the forgotten 'shoddy' industry and concepts of authenticity through 3D printed, repurposed selvedge waste.

Sustainability, biodegradability and circularity are important issues in the textile and fashion industry, with very few tangible solutions that have the potential to make an impact. The research team’s project, which utilises waste from the Scottish textile industry and, in combination with PLA bioplastic, has made a 3D printable filament that has the ability to be mass produced in the future. The process of 3D printing, the materials used and 3D printed objects are increasing and many believe that digital rapid prototyping has the ability to revolutionise how we manufacture and consume. In this way, the waste textiles used in this project can be utilised in bulk and are not down-cycled, particularly if the filaments and 3D printed objects are branded and identified with the same narrative as the textile brands that they originated from.Utilising waste wool, in particular, into a democratically available product is not a new concept. The ‘shoddy’ industry in Britain and America in the 19th and early 20th century and then in Prato in Italy exploited waste wool to create a ‘new’ textile. In Britain and America, this textile was always known to be inferior and ‘inauthentic’. Harris Tweed as a brand was developed in a particular way that actively shunned the use of shoddy fibres. In Prato in Northern Italy shoddy was produced and sold quite covertly until recently when it has started to be actively sold as a sustainable material.The development of 3D printing utilising specific Scottish textile waste in many ways mirrors the process of shoddy production. However this process and output has the ability, in the current climate, not only to expound its sustainable credentials, impart the story of authenticity, provenance and heritage of Scottish textiles but also to develop both of these aspects in a way that reflects the revolutionary changes that digital craft and material science offer. In an odd reversal, the processes, materials and perception of shoddy is reversed in this project, where the use of waste and clarity on the provenance of the original sources adds to the brand image, perceived ‘luxuriousness’ and authenticity of the 3D printed materials and potential products.While the process of shoddy did not immediately inspire this project, many of the processes and concepts are unexpectedly similar and some early machinery involved in its production could have been used. With laboratory conditions, the scrap materials were not dangerous for the Research Assistant to work with. ‘Waste’ materials were mixed with biodegradable ‘virgin’ PLA pellets (although potentially this could have worked with recycled PLA).This paper will give a historical contextualisation of this project, look at the meaning of authenticity, provenance and luxury in this instance and outline the relationship between this information and what happened in the labs and with the industrial partners. The paper will conclude with a discussion on how this 3D printable material related to ideas on the heritage of Scottish Textiles and perceptions of it

Reconsidering the forgotten 'shoddy' industry and concepts of authenticity through 3D printed, repurposed selvedge waste.

Sustainability, biodegradability and circularity are important issues in the textile and fashion industry, with very few tangible solutions that have the potential to make an impact. The research team’s project, which utilises waste from the Scottish textile industry and, in combination with PLA bioplastic, has made a 3D printable filament that has the ability to be mass produced in the future. The process of 3D printing, the materials used and 3D printed objects are increasing and many believe that digital rapid prototyping has the ability to revolutionise how we manufacture and consume. In this way, the waste textiles used in this project can be utilised in bulk and are not down-cycled, particularly if the filaments and 3D printed objects are branded and identified with the same narrative as the textile brands that they originated from.Utilising waste wool, in particular, into a democratically available product is not a new concept. The ‘shoddy’ industry in Britain and America in the 19th and early 20th century and then in Prato in Italy exploited waste wool to create a ‘new’ textile. In Britain and America, this textile was always known to be inferior and ‘inauthentic’. Harris Tweed as a brand was developed in a particular way that actively shunned the use of shoddy fibres. In Prato in Northern Italy shoddy was produced and sold quite covertly until recently when it has started to be actively sold as a sustainable material.The development of 3D printing utilising specific Scottish textile waste in many ways mirrors the process of shoddy production. However this process and output has the ability, in the current climate, not only to expound its sustainable credentials, impart the story of authenticity, provenance and heritage of Scottish textiles but also to develop both of these aspects in a way that reflects the revolutionary changes that digital craft and material science offer. In an odd reversal, the processes, materials and perception of shoddy is reversed in this project, where the use of waste and clarity on the provenance of the original sources adds to the brand image, perceived ‘luxuriousness’ and authenticity of the 3D printed materials and potential products.While the process of shoddy did not immediately inspire this project, many of the processes and concepts are unexpectedly similar and some early machinery involved in its production could have been used. With laboratory conditions, the scrap materials were not dangerous for the Research Assistant to work with. ‘Waste’ materials were mixed with biodegradable ‘virgin’ PLA pellets (although potentially this could have worked with recycled PLA).This paper will give a historical contextualisation of this project, look at the meaning of authenticity, provenance and luxury in this instance and outline the relationship between this information and what happened in the labs and with the industrial partners. The paper will conclude with a discussion on how this 3D printable material related to ideas on the heritage of Scottish Textiles and perceptions of it

Contro la malinconia

IL testo è tratto da un libro dell'autrice e adattato alla redazione di un articolo, considerando i temi della rinnovata identità veneziana contro coloro che ritengono, riesumando un topos ottocentesco, che Venezia muoia. L'immaginario simbolico che circonda e descrive la città è stato rinnovato dalle ultime generazioni, che la affollano come mai prima in quanto città della ricerca e dell'università. Dai video musicali alla grafica, dalla nuova architettura alla infuenza sul modo di lavorare e convivere operato dalla tecnologia, che ha trasformato la città in una smart city nel senso di Carlo Ratti, Il sito è sempre meno statico e più ricco di interazioni grazie soprattutto agli investitori nel campo delle arti, e delle arti contemporanee nello specifico

Symptom management care pathway adaptation process and specific adaptation decisions

BACKGROUND: There is substantial heterogeneity in symptom management provided to pediatric patients with cancer. The primary objective was to describe the adaptation process and specific adaptation decisions related to symptom management care pathways based on clinical practice guidelines. The secondary objective evaluated if institutional factors were associated with adaptation decisions. METHODS: Fourteen previously developed symptom management care pathway templates were reviewed by an institutional adaptation team composed of two clinicians at each of 10 institutions. They worked through each statement for all care pathway templates sequentially. The institutional adaptation team made the decision to adopt, adapt or reject each statement, resulting in institution-specific symptom management care pathway drafts. Institutional adaption teams distributed the 14 care pathway drafts to their respective teams; their feedback led to care pathway modifications. RESULTS: Initial care pathway adaptation decision making was completed over a median of 4.2 (interquartile range 2.0-5.3) weeks per institution. Across all institutions and among 1350 statements, 551 (40.8%) were adopted, 657 (48.7%) were adapted, 86 (6.4%) were rejected and 56 (4.1%) were no longer applicable because of a previous decision. Most commonly, the reason for rejection was not agreeing with the statement (70/86, 81.4%). Institutional-level factors were not significantly associated with statement rejection. CONCLUSIONS: Acceptability of the 14 care pathways was evident by most statements being adopted or adapted. The adaptation process was accomplished over a relatively short timeframe. Future work should focus on evaluation of care pathway compliance and determination of the impact of care pathway-consistent care on patient outcomes. TRIAL REGISTRATION: clinicaltrials.gov, NCT04614662. Registered 04/11/2020, https://clinicaltrials.gov/ct2/show/NCT04614662?term=NCT04614662&draw=2&rank=1

In Situ, 3D Printed Heritage Souvenirs: Challenging Conventional Spaces and Culture

This paper outlines an Arts and Humanities Research Council (AHRC) funded Design Innovation Development Award project titled ' Enhancing the Authenticity and Sustainability of the Visitor Heritage Experience through 3D Printing Technology', undertaken in collaboration with the heritage organisation Historic Scotland at Stirling Castle, between academics in the Schools of Tourism and Design at Edinburgh Napier University. In this study, the research team produced a collection of 3D printed souvenirs in a variety of materials and scales on an Ultimaker 2 3D printer. It was set up within the castle next to one of the halls that formed part of a tour as a small 'pop p' maker space and gift shop