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This chapter details a practice-based investigation of a 19th-century astronomical device known as ‘Janssen’s apparatus’. It questions traditional narratives of linear technological advancement and ‘sole inventor’ to reframe the historical artefact as a site which makes visible a network of technological knowledge interconnecting astronomy and visual culture. Approached from this perspective, the Janssen artefact is reframed as an ‘intersite of knowledge’, exploring how the various know-how contained within the device is located across disciplines rather than within a single field. Originally developed to calculate the Astronomical Unit during the 1874 Transit of Venus, Janssen’s apparatus failed in its endeavour as a measuring instrument, but its motion mechanism was successfully adapted into early cinema technologies. This chapter applies praxis through the development of a prototype artwork and the concept of ‘techne’ as speculative means of understanding how this mechanism was transferred from astronomy to the Western cultural realm. It proposes that the development of the apparatus was partially gleaned from moving image techniques already in use within 19th-century visual culture. The development of the prototype artwork is discussed in relation to the specific timing mechanism of the Janssen apparatus and how it establishes its own ‘intersite of knowledge’ relevant to its contemporary context. Finally, this chapter elaborates on how witnessing the Janssen mechanism in motion provided unique insight and how creating a dialogue between historical and contemporary apparatus facilitates a reconsideration of how galleries, libraries, archives, and museums [GLAM] and other host institutions that contain artefacts might share their hidden stories.

The urban environment is perceived through multiple senses in parallel, which means that visual understanding of space is aided and complemented by auditory, basic-orienting, and haptic stimuli – although mainly unconsciously. Sensory conditions are inherent attributes of urban places, but are often overlooked in research. To include these aspects in any way in analysis of the urban landscape, they need to be understood as properties of urban space, to be translated from attributes of the perceiver to attributes of the perceived. Using the relation between a designed garden and its suburban context in Bad Oeynhausen (DE) as an example, I will explore an alternative analytical methodology that takes the first-hand perspective view of the subject moving through the city as the starting point. The human body explores space by moving through it; walking is the most direct way to access, study, and research the physical qualities of the (urban) landscape, involving not only visual experience but also sound, rhythm, kinaesthesia, balance, and so forth. A notation technique that discloses the interrelation between visual qualities and their perception over time is the technique of ‘scoring’. Scores are symbolisations of processes, which extend over time. They can objectively represent non-visual qualities of space, communicating the relation between such processes and their spatial context to others in other places and other moments. These representations of movement expose the qualities of the surroundings that change as one moves through them, thus communicating the experiential aspects of urban landscape.

All of us seek truth via objective inquiry into various human and nonhuman phenomena that nature presents to us on a daily basis. We are empirical (or nonempirical) decision makers who hold that uncertainty is our discipline, and that understanding how to act under conditions of incomplete information is the highest and most urgent human pursuit (Karl Popper, as cited in Taleb, 2010, p. 57). We verify (prove something as right) or falsify (prove something as wrong), and this asymmetry of knowledge enables us to distinguish between science and nonscience. According to Karl Popper (1971), we should be an “open society,” one that relies on skepticism as a modus operandi, refusing and resisting definitive (dogmatic) truths. An open society, maintained Popper, is one in which no permanent truth is held to exist; this would allow counter-ideas to emerge. Hence, any idea of Utopia is necessarily closed since it chokes its own refutations. A good model for society that cannot be left open for falsification is totalitarian and epistemologically arrogant. The difference between an open and a closed society is that between an open and a closed mind (Taleb, 2004, p. 129). Popper accused Plato of closing our minds. Popper's idea was that science has problems of fallibility or falsifiability. In this chapter, we deal with fallibility and falsifiability of human thinking, reasoning, and inferencing as argued by various scholars, as well as the falsifiability of our knowledge and cherished cultures and traditions. Critical thinking helps us cope with both vulnerabilities. In general, we argue for supporting the theory of “open mind and open society” in order to pursue objective truth.

Many autistic students have been struggling with the COVID-19 pandemic situation for years. Special and inclusive education experts collaborated with multi-disciplinary experts to address and solve the problems that have arisen. This chapter presents some examples of using serious games and applications to help autistic students to study and improve their quality of life in a VUCA world. Mobile device platforms are practical for online learning and provide many interactions to support inclusive design. Three serious games showed how to bring interactive content to special education, and two mobile applications demonstrated inclusive designs to solve autism problems.

The growing interest of the scientific community in film marketing research can be discovered by the large scale published writings on the subject. Although, in this field, comprehensive and systematic research is still lacking. The important aim of this article is to merge the latest research results of film marketing through bibliometric research on articles published from 1976 to 2020, and to examine and introduce the research outcome from the view of the growth trend of the field; the most productive and influential countries, authors, articles, institutions, and research journals; keywords, author patterns, and international linkages. Research outcomes show that film marketing research increased gradually from 1976 to 2020, especially in the last five to 10 years. During this period, all 500 scholarly articles were published in 331 journals and listed in Scopus. Comparison is drawn between institutions from developing countries (in terms of number of articles) and developed countries (in terms of citation rate). On the basis of key points and three-factor examination, a conclusion is drawn that in the last 10 years, ‘film marketing’ as a keyword has attracted widespread attention.

This chapter analyzes the campaign against race norming in the 2013 National Football League (NFL) concussion settlement that caregivers of retired players designed, and it considers how their collective action throws new light on activism in sport. While there is a substantial literature on how individual athletes engage in protest, less work has focused on how families – partners, children, siblings, and parents – of athletes organize as a group to answer back to anti-Black racism in professional sport. I argue that a group of spouses used their position as caregivers to shame the NFL, the presiding judge of the settlement, Class Counsel, and even the Department of Justice into acknowledging not only individual suffering from traumatic brain injury but also of the distribution of that suffering across households. Specifically, the wives group expanded definitions of risk and damage to include not only individual illness but also family and group suffering and demanded inclusion of gendered and racialized aspects of social care. Through their campaign, the group recast what is considered protest in the world of sport and who has the ability to access an activist subjectivity.

This chapter introduces Marx's theory of the determination of profit rates. It contrasts this theory with what happened in the late nineteenth century to British profit rates with a detailed statistical account. It identifies missing features in the standard presentation and contrasts these with the overaccumulation hypothesis that he presents elsewhere. A formal mathematical model using the overaccumulation hypothesis is then given and tested against modern empirical data.