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Staying with the trouble, a rhizomatic approach to posthuman methods: Assemblages and becoming in the Posthuman Walking Project.
No full textPersistent pain is the leading cause of years lived with disability worldwide. Research into pain experiences often adopts a humanistic perspective, predominantly relying on interview data and rarely engaging with real-world contexts. The Posthuman Walking Project brought together a transdisciplinary network of individuals with lived experiences of pain alongside academics and clinicians from five countries to collectively explore how posthuman philosophies might challenge human-centered paradigms. Specifically, we used mobile phone video footage to investigate the more-than-human entanglements of walking in the landscape when experiencing pain. This paper reflects on our engagement with the uncertainty and multifaceted nature of exploratory methods and how the process of “becoming posthuman” did not follow a pre-determined path. We outline our rhizomatic methodological approach, emphasizing the contributions of walker-partners, project development meetings, and the value of allowing methods to remain responsive and emergent. Finally, we discuss the complexities of studying the assemblage of humans, walking, pain, and landscape, illuminating the transformative potential of posthuman frameworks in understanding lived experiences of pain.</p
Widespread Media Coverage: VI Swim and Wellbeing Session:Inclusive public engagement and sensory-led research in blue space accessibility
No full textThis media contribution records the widespread coverage of the VI Swim and Wellbeing Session organised. Media attention spanned regional television (ITV Meridian, BBC Breakfast bulletins), radio (BBC Sussex), national news platforms (BBC News, Yahoo News), and local press (The Argus, Sussex Express). Disability advocacy publications such as Living With Disability and Crip Life also covered the session, reflecting its wider relevance to equity and inclusive design. Broadcast segments, interviews, and articles highlighted the research-informed, participatory nature of the event and its importance for access to blue spaces for blind and partially sighted individual
Myth and Matter
No full textIf we deny enlightenment narratives, instead embrace and fully inhabit an intwined relational understanding of space, unveiling a temporal conception of ourselves as process not object, and in this tear down the linguistic support of subject-object dualism, how might we begin to design? The Myth & Matter research project has been exploring this question through multiple pathways, and an exploration of disruptive practice is shared here. All architecture is fiction at its inception and as such holds within the potential of constructing alternative futures. Design starts before pen is put to paper, its outline pre-scripted by pre-cognitive thought sculpted by the stories we inhabit as reality. Whether examined or not our stories are an active tool in sculpting our future. Key drivers of design, they literally build their myths around us, playing them back to us. This is of particular concern when seen in the light of the problematic consequences of dominant stories of the global north that undermine ambitions for sustainable futures. My work begins with the premise that if we are to address these global challenges a radical rethinking of design is required that begins with its ontological foundation. This element of the Myth and Matter research project explores disruptive practice as a means to interrupt stayed thought patterns, through experimenting with processes that might rewrite my mind. The process enacts a relational perspective; a page understood as an extension of the mind, a pencil a tool to think through. All items shown here are relics of an ongoing process rather than ends in themselves. A daily experimental practice explored the question of how might I draw if I abandon the notion of boundaries and fixed objects. Here drawing is understood as a verb, an ongoing process I stepped into and then away from. Drawing the glass I was drinking from enabled reflection, furthering understanding from the inside. The method was then applied to contemplating the wider space. Displaying the drawings here furthers this practice as this space gently writes itself into them. The pencil crayon is not lightfast and the paper is not acid free. They are subject to ongoing change and enforce an acceptance of this reality. Dry point was trialled as a means to share authorship with the time and place. These drawings of light, a phenomenon not understood as fixed form, reflect on the absurdity of boundaries.Escobar neatly writes we live in a world of many worlds. The second mode of disruptive practice shared here searches for other stories hidden within plain site. A daily collage practice using only found material in its found form sort previously unseen connections that might hold silent significance. These Maps to the Relational speak of other stories hidden and overlooked within debris of the day to day. They open other possible readings, questioning the given.These practices aim to offer the affordance of a workspace in the mind for the evolution of speculative design that might open portals to alternative relational futures; full of the wonder of the indeterminate, ambiguous, impermanent and temporal. <br/
Narratives between Culture and Nature.:Cultural Facilitation/ Education in the Anthropocene.
No full textRisky Views:The Future in Postcards
No full textRisky views is a project, which invites to reflect upon potential futures and the influence of artificial intelligence. For this purpose the communication tool of the postcard meets AI-generated image production and hereby combines future imaginations of local population of Salzkammergut with artistic approaches of international mail-art artists. The results are exhibited at the Museum of Writing Bartlhaus in Pettenbach from the 29. June 2025 from 14.00am.The project developed from various initiatives, whose connection was facilitated by the association Kulturvision Salzkammergut. During the celebration of the European Capital of Culture in the Salzkammergut-Region in 2024, the researcher Barbara Grabher (University of Brighton) collected statements by 50 passengers on the local train line regarding their imagination of the future of the region. Multimedia artist Elza Grimm translated selected interview statements with the help of artificial intelligence in a series of six postcards.In order to think these risky views further, the curator of the Museum of Writing Bartlhaus, Angelika Doppelbauer, sent the postcard through her established network of Mail-Art artists, who since the European Capital of Culture celebrations are in contact with the Museum. In an exchange between global and local future imagination, these Mail-Art artists are asked to react to the postcards. The artistic responses are presented in the exhibition
Deposition of gold nanoparticles is varied by different scales of various surface patterns on 3D printed electrodes
Get PDFFused Filament Fabrication (FFF) has provided the unique ability make electrochemical sensors with creative design. When commercial conductive filaments are 3D printed, the resultant electrodes often possess high contact resistance, and thus post-printing surface modifications are widely used. Deposition of gold nanoparticles (AuNPs) are one of the most widely used electrode modifiers for making electrochemical sensors, however it is not known how the creative design of the electrode surface can influence the electrodeposition of AuNPs and overall electrochemical performance. We explored how the electrodeposition of AuNPs would vary on the surface of electrodes with varying scales and patterns (knurl, revolve and straight). The presence of AuNPs on the electrodes was verified using contact angle and electrochemical impedance spectroscopy. Using scanning electron microscopy, there was a varied distribution of AuNPs on the different scales of surface patterned 3D printed electrodes. This resulted in variations in the current and differences between the anodic and cathodic peak potential (ΔE) for potassium ferrocyanide. The large patterned knurl electrode was effective on monitoring a decrease in nitrite levels with age from feacal pellets. These findings highlight that the scales of surface patterning on a 3D printed electrodes can have a significant influence on the surface modification of the electrode and thus can be used as an effective strategy to enhance electrode performance.</p
wedding presence
No full textThis poem uses material found in chapter 2, “China and Pyrex: The Practices of Preservation” in The Wedding Present: Domestic Life Beyond Consumption by Louise PurbrickThe poem was crafted using a method of drafting then gathering feedback from Claude.AI 3.5 Sonnet.<br/
Performance of fiber reinforced low-carbon concrete:role of corn cob ash and corn husk fiber
No full textThis study investigates the mechanical, rheological, and micro-structural properties of corn cob ash (CCA) and corn husk fiber-reinforced concrete to reduce cement dependency and the carbon footprint of concrete. It incorporated corn husk fiber (0.5%, 1%, and 1.5%) as a volume percentage of cement, alongside 10% CCA as a cement replacement. Compared to the control specimen, a combination of 10% CCA and 1% corn husk fiber increased compressive strength by 7.54%. Splitting tensile and flexural strength improved by 25.55% at 1.5% fiber and 26.58% at 1% fiber, respectively, compared to the control mix. Scanning electron microscopy revealed good bonding between the cement matrix and fibers. In contrast, Energy dispersive X-ray spectroscopy confirmed the presence of more biodegradable carbon elements and an effective pozzolanic reaction in the fiber-reinforced concrete. Furthermore, the study showed that using natural corn husk fiber reduced fabrication costs by nearly 4% and CO2 emissions by 2.5%