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Inspired by the development of eco-friendly flexible electronics, this paper aims to present a series of paper-based electronics drawn by pencils, which can be used as favorable sensing elements in daily life.

Pencil traces are deposited on the porous surface of Xerox paper by the mechanical exfoliation during writing process, which can be used as basic components to construct functional electronics for daily sensing applications. By changing pencil grade, the obtained traces can work as conductive wires, electrodes, resistors and piezoresistive gauges.

The experimental results confirm their practical applications in sensing several daily activities, including finger motion, touching and the temperature of water in paper cup. Moreover, the used electronics can be easily handled and recycled.

The shortage in functionality, reliability and performance consistency induced by manual operation is an evident challenge, which makes the pencil-on-paper devices more suitable to work as a temporary solution to satisfying the demands from emergency circumstances.

The pencil-on-paper devices, motivated by the electroconductibility and piezoresistivity of pencil trace, can be explored as sensing prototypes in detecting daily activities. Meantime, their advances in easy accessibility, rapid fabrication, low cost and eco-fitness endow them excellent capacity of meeting the “on-site, real-time” demands.

The paper aims to examine the concept of architectural design communication (ADC) for updating design studio dynamics in architectural education during the Covid-19 pandemic. Within this perspective, the changing and transforming contents of architectural education, the thinking, representation and production mediums are examined through the determined components of ADC. There are five components in the study, which are (1) Effective Language Use, (2) Effective use of Handcrafts, (3) Effective Technical Drawing Knowledge, (4) Effective Architectural Software Knowledge and (5) Outputs.

The research method is based on qualitative and quantitative methods; a survey study is applied and the comparative results are evaluated with the path analysis method. The students in the Department of Architecture of two universities have been selected as the target audience. Case study 1 survey is applied to Altinbas University (AU) and Case study 2 survey is applied to Universitat Politecnica de Valencia (UPV) students during the COVID-19 pandemic; ‘19-‘20 spring term, online education.

As a result, two-path analysis diagrams are produced for two universities, and a comparative analysis is presented to reveal the relationships of the selected ADC components.

This paper fulfills an identified need to study how ADC can be developed in online education platforms.

The purpose of this paper is to contribute to the understanding of how statistical process control (SPC) methodology can be implemented and used in organizational settings.

An action research model was used. Data were collected through formal meeting protocols, interviews and participant observation.

Based on the results of an action research project, the paper emphasizes the need for: top management support with respect to roles such as infrastructural assistance, mentor, critic, financer; creating system validity through the involvement of people with experiential knowledge about the “world” in which SPC should be applied; keeping a small, highly knowledgeable development team with appropriate expertise together during the whole process from beginning to end; keeping the various end‐users in focus but separate and prioritising between their different needs; and working with iterative design methodology.

The paper provides the research field with a unique case of implementing SPC using a computerized administrative data system.

Organizations are given guidelines to use when implementing SPC.

The paper contributes knowledge in an underdeveloped field of research. It may provide a basis for further research and scholarly analysis.

The early childhood education classroom space is intrinsic to developing localized youth culture. Through a four-month-long qualitative research project in a space that focused on meeting the most rudimentary child needs due to staffing and fund restrictions, young children’s creativity through the arts was stunted. In a classroom setting focused on structure and strict routine at the forefront, children’s creative expression was observed through independent action and creative twists on order, instead of through activities deliberately designed to nurture creativity and expression. Since the children at the site did not seem to regularly participate in any kind of art making, or unstructured creative expression, my focus instead became the fundamentals of creativity and how young children in the classroom demonstrated choice making and agency. The objective of this study was how to understand the space from a child-centered approach to better project how to include art making, creative education, and creative expression within early childhood education sites that do not currently employ it in their curriculum. This chapter aims to situate how young children created a culture of creative expression within the boundaries of a structured early education classroom when top-down teacher interaction was at a minimum, and open-ended, non-directive materials were provided.

The purpose of this paper is to explore the two subjects, cybernetics and design, in order to establish and demonstrate a relationship between them. It is held that the two subjects can be considered complementary arms of each other.

The two subjects are each characterised so that the author's interpretation is explicit and those who know one subject but not the other are briefed. Cybernetics is examined in terms of both classical (first‐order) cybernetics, and the more consistent second‐order cybernetics, which is the cybernetics used in this argument. The paper develops by a comparative analysis of the two subjects, and exploring analogies between the two at several levels.

A design approach is characterised and validated, and contrasted with a scientific approach. The analogies that are proposed are shown to hold. Cybernetics is presented as theory for design, design as cybernetics in practice. Consequent findings, for instance that both cybernetics and design imply the same ethical qualities, are presented.

The research implications of the paper are that, where research involves design, the criteria against which it can be judged are far more Popperian than might be imagined. Such research will satisfy the condition of adequacy, rather than correctness. A secondary outcome concerning research is that, whereas science is concerned with what is (characterised through the development of knowledge of (what is)), design (and by implication other subjects primarily concerned with action) is concerned with knowledge for acting.

The theoretical validity of second‐order cybernetics is used to justify and give proper place to design as an activity. Thus, the approach designers use is validated as complementary to, and placed on an equal par with, other approaches. This brings design, as an approach, into the realm of the acceptable. The criteria for the assessment of design work are shown to be different from those appropriate in other, more traditionally acceptable approaches.

For approximately 40 years, there have been claims that cybernetics and design share much in common. This was originally expressed through communication criteria, and by the use of classical cybernetic approaches as methods for use in designing. This paper argues a much closer relationship between cybernetics and design, through consideration of developments in cybernetics not available 40 years ago (second‐order cybernetics) and through examining the activity at the heart of the design act, whereas many earlier attempts have been concerned with research that is much more about assessment, prescription and proscription.

VINE is produced at least four times a year with the object of providing up‐to‐date news of work being done in the automation of library housekeeping processes, principally in the UK. It is edited and substantially written by The Information Officer for Library Automation based in Southampton University Library and supported by a grant from the British Library Research and Development Department. Copyright for VINE articles rests with the British Library Board, but opinions expressed in VINE do not necessarily reflect the views and policies of the British Library. The subscription for 1983 for VINE is £22 for UK subscribers and £25 for overseas subscribers. The first copy will be charged at normal rate, but all others will be supplied for only £12 per year UK and £14 per year overseas. VINE is available in either paper copy or microfiche and all back issues are available on microfiche.

Sensing technology has been extensively researched and used due to its applications in industrial production and daily life. Due to inherent limitations of conventional silicon-based technology, researchers are now-a-days paying more attention to flexible electronics to design low-cost, high-sensitivity devices. This observational and analytical study aims to emphasis on carbon monoxide gas sensor. This review also focuses the challenges faced by flexible devices, offers the most recent research on paper-based gas sensors and pays special focus on various sensing materials and fabrication techniques.

To get the better insight into opportunities for future improvement, a number of research papers based on sensors were studied and realized the need to design carbon monoxide gas sensor. A number of parameters were then gone through to decide the flexibility parameter to be considered for design purposes. This review also focuses on the challenges faced by flexible devices and how they can be overcome.

It has been shown that carbon monoxide gas, being most contaminated gas, needs to be fabricated to sense low concentration at room temperature, considering flexibility as an important parameter. Regarding this parameter, some tests must be done to test whether the structure sustains or degrades after bending. The parameters required to perform bending are also described.

Due to inherent limitations of conventional silicon-based technology, now-a-days attention is paid towards flexible electronics to design low-cost, high-sensitivity devices. A number of research articles are provided in the literature concerning gas sensing for different applications using several sensing principles. This study aims to provide a comprehensive overview of recent developments in carbon monoxide gas sensors along with the design possibilities for flexible paper-based gas sensors. All the aspects have been taken into consideration for the fabrication, starting with paper characterization techniques, various sensing materials, manufacturing methodologies, challenges in the fabrication of flexible devices and effects of bending and humidity on the sensing performance.

The purpose of this paper is to discuss Deveron Project’s (DP) Walking Institute, the only programme in the UK dedicated to commissioning artists to create walks. The author argues that the Walking Institute offers a model for tourism practices that engage local and international stakeholders in the creation of new global relationships. His research expands current critical discourse around the intersection between walking, tourism and art, and argues for DP’s approach as a way to create community-based, critically reflexive modes of tourism.

This paper is based on research completed for his doctoral thesis and combines practice-based and qualitative methods. The author has visited Huntly on two separate occasions, and have had conversations with project stakeholders, spent time visiting local attractions, and participated in local events and artists’ walks. The analysis draws on theories from performance studies and those being developed within cultural geography and the mobilities paradigm.

The Walking Institute provides a model for a community based approach to global tourism that calls on the artistic medium of walking to create a critical, reflexive mode of engagement. Through this model, the Walking Institute provides an innovative approach to tourism that offers potential tourists with a mode of local engagement beyond the consumption of the picturesque.

There is very little research into DP’s model, or the intersection between tourism and the burgeoning artistic medium of walking. This paper offers original insight into DP’s model and its relationship to a new field: walking art. Additionally, it informs current understandings of tourism through a demonstration of how a rural arts organisation is engaging with the global tourism industry.