111 research outputs found
Light and the Manifestation of Performance Place: The Experience of Spaces and Places through a Different Light
No full textThrough the practice-based lens of the “Night in the Garden” at the Royal Botanic Garden Edinburgh (2014) this paper explores how environments, both built and green, can become something powerfully augmented in the regeneration of cities and towns, and introduces the human experience of unexpected events as an affordance of access and belonging. In the last two decades the explosion of the light festival as a global phenomenon has created a new night-time language of temporary performance. Our urban environments are straining to develop unique visual representations that have driven a new kind of tourism. The alien performances that play out across our urban centres bring a return to the joy of the unique and the carnivalesque and are situated within the environments that we recognise so differently during the day. This creative practice-led perspective supported exploration of audience engagement and asked questions of how personal and shared experiences are generated and broadcast, while recognising this approach as part of a wider place-making phenomena, where visual culture awakens sleeping spaces. The urban domain is a canvas for storytelling open to change each time the festival rolls into town, where physical structures remain unaltered, but our perceptions of them become reanimated
Efficiency of Exciton and Charge Carrier Photogeneration in a Semiconducting Polymer
No full textEuan Hendry, Juleon M. Schins, L. P. Candeias, L. D. A. Siebbeles, and Mischa Bonn, Physical Review Letters, Vol. 92, article 196601 (2004). "Copyright © 2004 by the American Physical Society."We determine the efficiencies for the formation of excitons and charge carriers following ultrafast photoexcitation of a semiconducting polymer (MEH-PPV). The simultaneous, quantitative determination of exciton and charge photoyields is achieved through subpicosecond studies of both the real and the imaginary components of the complex conductivity over a wide frequency range. Predominantly excitons, with near-unity quantum efficiency, are generated on excitation, while only a very small fraction (<10-2) of free charges are initially excited, consistent with rapid (∼100 fs) hot exciton dissociation. These initial charges are very short lived, decaying on subpicosecond time scales
Ultrafast charge generation in a semiconducting polymer studied with THz emission spectroscopy
No full textEuan Hendry, Mattijs Koeberg, Juleon M. Schins, L. D. A. Siebbeles, and Mischa Bonn, Physical Review B, Vol. 70, article 033202 (2004). "Copyright © 2004 by the American Physical Society."We study the ultrafast charge generation in a semiconducting polymer (MEH-PPV) by measuring the radiated THz field after photoexciting the biased polymer with a femtosecond visible pulse. The subpicosecond temporal characteristics of the emitted wave reflects the ultrafast photoconductivity dynamics and sets an upper limit for charge generation of 200 fs following photoexcitation, and reveals the dispersive nature of charge transport in MEH-PPV. A comparison of the fields radiated from MEH-PPV and the well-characterized model semiconductor system (GaAs) allows for an accurate estimate of the quantum efficiency for charge generation in the polymer, found to be less than 1% . Both observations are consistent with ultrafast charge generation in semiconducting polymers through hot exciton dissociation
Project website www.blue-action.eu (D8.3)
No full textAbout this document
Deliverable: D8.3
Work package in charge: WP8 Communication, Dissemination, Engagement and Exploitation
Actual delivery date for this deliverable: Project-month 2
Dissemination level: The general public (PU)
Lead author(s)
Danish Meteorological Institute: Chiara Bearzotti
Other contributing author(s)
SAMS: Euan Paterson
Summary
The website www.blue-action.eu has been set up in December 2016 for ensuring that we “promote the action and its results, by providing targeted information to multiple audiences (including the media and the public) in a strategic and effective manner” (Art. 38.1 of the Grant Agreement).
The website has been set up by the Project Office at DMI, with tools made available by MPI-M. During the lifetime of the project, the website will be populated with additional sections related to the presentation of the project tools and results.We support the Blue Growth!
Visit us on: www.blue-action.eu
Follow us on Twitter: @BG10Blueactio
Photography At Edinburgh Napier University : A Retrospective 2012.
Full text linkEdinburgh Napier University is delighted to host a reunion of alumni, to celebrate more than 35 years of its Photography and Film programmes.Photography has a long history at Edinburgh Napier that parallels the development and progress of the institution. From the City & Guilds qualifications offered in 1964 when it was simply Napier Technical College, to the Napier College of Science and Technology years, from 1974 to 1988, when it offered ONC and HND qualifications. We first offered degrees in 1984 and the college became a Polytechnic in 1988. A further Honours year was added in 1992 when Edinburgh Napier became a University, and our first cohort graduated in 1994.Like the institution itself, Photography and Film has gone from strength to strength. Since the late 80’s it has benefitted from a truly international reputation, welcoming students from all over the world.Inevitably the last 35 years have seen several developments in the teaching of Photography and Film at Edinburgh Napier. Higher education in the Arts and Creative Industries cannot remain static; it must move with the demands and expectations of contemporary practice. The next stage of development for our programme is its division into two distinct, specialist programmes – BA (Hons) Film and BA (Hons) Photography
Designed with DeMEntia : building long-lasting collaborative care
Full text linkDementia strips people of the unique attributes that form a person’s identity, but it is suggested that how we relate to the world emotionally is one of the last things to escape us (Evans, 2001). Therefore, it is imperative to work within models of care that recognise and engage with how people living with dementia feel about things they are engaging with. In terms of emotional well-being, a diagnosis of dementia is also often accompanied by a sense of loss, a loss of purpose, a loss of value, and the loss of societal usefulness diminishing self-worth (Batsch and Mittelman, 2012). It is commonly recognised that people with a diagnosis of dementia are often written off by society long before their time (Katsuno, 2005). In addition to this, all too frequently people living with dementia underestimate themselves further contributing to a lack of self-belief, capacity, and esteem (Kinnaird, 2012). This research rejects those widely held assumptions and pre-conceived ideas surrounding people living with dementia. Instead, it focuses on the positive aspects people living with dementia possess, such as the ability to learn new things, develop new knowledge and skills, and participate in new creative ventures. In particular, this work explores how design as an interventionist tool and method can empower people and support the reinforcement of their personhood (Kitwood, 1998). The work presented in this paper looks to develop an individual’s capabilities above and beyond his or her existing personal experiences and does not dwell on incapability. As such, the way design is used unlocks latent skills, explores personal knowledge and tastes, and promotes personal opinions within collaborative practices. Through developing projects, products, and events, the inclusive social activities in Designed with DeMEntia unpick these themes. In this work, multiple media, techniques, and tools, all seen as part of the designer’s toolkit are utilised and have been adopted by people living with dementia. Through the design-driven projects described in this paper, the act of conducting real-world research leading to the formulation of ideas plays out within groups of people who desire to make some sort of impact in their own lived experience. In their production of very real and impactful outcomes, which have been purchased by the general population, people living with dementia have taught themselves new ways of looking at the world. Stimulated by engaging with the influences that surround them, people living with dementia have explored their capabilities, and in so doing, promote a genuine sense of value and self empowerment. People living with dementia, through their participation in these projects and abilities to deliver new ideas or by driving new approaches, are recognised throughout this chapter as co-designers
Remodelling Home: engaging the public in architectural and design debate through participatory design
No full textThe “Remodelling Home” project was created for Scotland’s Housing Expo by Claystation, in collaboration with Sustainability, the Scottish Government’s mechanism for promoting sustainable design in the built environment. The Expo was the first event of its kind in Scotland and based upon similar models found in mainland Europe, where historically the housing fair concept has proven successful in stimulating quality design and innovation for housing. Aspiring to bring about a similar effect in the Highlands and throughout the UK, the Expo offered a model for future housing design and development. Remodelling Home gave visitors to the Expo an opportunity to design their own house for inclusive debate. By playfully creating new designs, Remodelling Home raised awareness of our built environment, encouraging those who live and work in Scotland and beyond, to not merely take a closer look at the buildings and spaces around them, but to be active in the rethinking and redesigning. The creative outputs from over 3500 project participants were placed into a historical and cultural context through an accompanying exhibition of Scotland’s housing heritage, with the results being disseminated online, in publication and through a subsequent exhibition at The Lighthouse, Scotland’s Centre for Architecture and Design
Design Thinking – A Critical Analysis
No full textThe latest buzz phrase to enter the world of design research is "Design Thinking". But is this anything new and does it really have any practical or theoretical relevance to the design world? Many sceptics believe the term has more to do with business strategy and little to do with the complex process of designing products, services and systems. Moreover, many view the term as misleading and a cheap attempt to piggyback the world of business management onto design. This paper seeks to ask is design thinking anything new? Several authors have explicitly or implicitly articulated the term "Design Thinking" before, such as Peter Rowe's seminal book "Design Thinking" [1] first published in 1987 and Herbert Simon's "The Sciences of the Artificial" [2] first published in 1969. In Tim Brown's "Change by Design" [3], design thinking is thought of as a system of three overlapping spaces rather than a sequence of orderly steps namely inspiration - the problem or opportunity that motivates the search for solutions; ideation - the process of generating, developing and testing ideas; and implementation - the path that leads from the design studio, lab and factory to the market. This paper seeks to examine and critically analyse the tenets of this new design thinking manifesto set against three case studies of modern design practice. As such, the paper will compare design thinking theory with the reality of design in practice
Light and the Manifestation of Performance Place: The Experience of Spaces and Places Through a Different Light.
Full text linkThrough the practice-based lens of the Night in the Garden at the Royal Botanic Garden Edinburgh (2014) this paper explores how environments, both built and green, can become something powerfully augmented in the regeneration of cities and towns, and introduces the human experience of unexpected events as an affordance of access and belonging. In the last two decades the explosion of the ‘light festival’ as a global phenomenon has created a new night-time language of temporary performance. Our urban environments are straining to develop unique visual representations that have driven a new kind of tourism. The alien performances that play out across our urban centres bring a return to the joy of the unique and the carnivalesque and are situated within the environments that we recognise so differently during the day. This creative practice led perspective, supported exploration of audience engagement and asked questions of how personal and shared experiences are generated and broadcast; whilst recognising this approach as part of a wider place-making phenomena, where visual culture awakens sleeping spaces. The urban domain is a canvas for storytelling open to change each time the festival rolls into town, where physical structures remain unaltered, but our perception of them becomes reanimated
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