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This chapter looks at how sensitivity to event design and the creative process for an arts event also can have an impact on its ongoing management and tourist experience, by applying a new assessment tool, sustainable creative advantage (SCA), to gauge its performance.

A case study approach was used to assess SCA for the Sculpture by Sea, Bondi, Sydney 2015, in order to discuss how its management enables satisfying arts leisure experiences. Two key activities in the research were (1) in-depth interviews with organizers, full and volunteer staff, artists, gallery owners, and participants and (2) participant observation of touristic performances and other forms of engagement with the sculptures.

In its 19th edition, the event could still be considered a fresh and inspiring experience for tourists. However, crowding on weekends can affect the experience for all participants. Tactile tours are a unique feature of the event and could be promoted more to tourists, particularly the disabled.

Applying SCA needs careful timing, in order to collect information when interviewees are available and the event itself is running. Approaches should be made to organizers before, during, and after the event for information.

Event organizers could use SCA to understand more about controlling tourist experiences and how creative management and marketing of an event can have an impact on overall participant satisfaction.

Could also offer insights to academics studying glocality and events, the relationship of curatorial power to content/experience, or how such events can add to the study of leisurescapes in cultural tourism.

The purpose of this paper is to understand urban sculpture venues that emerged in the recent decade and their connections to the on-going entrepreneurial urban policies and urban strategies in Shanghai. How does this phenomenon relate to Shanghai’s urban policies? How does urban sculpture development reflect the nature and characteristics of the urban sculpture authority?

Case study is the major research method used to achieve an in-depth understanding of the developmental processes, mechanisms and characteristics of urban sculpture projects. Three cases were selected and studied using purposeful sampling methods, including Duolun Road Sculpture Project (2002), the Shanghai International Sculpture Center (2006) and the Jing’an Sculpture Park (2009).

A twofold main argument is established in this paper. Urban sculpture venues emerged as a new type of instrument to advance urban entrepreneurial policies; the use of this instrument, however, also involves politics in that art politically transforms the features and functions of open spaces in Shanghai.

Although scholarly interest in exploring cultural development through urban planning in the Chinese context is evident, urban sculpture planning (termed as “urban sculpture” in the Chinese ideological context) in Chinese metropolitan cities, in particular, is an unexplored topic, and thus leaves a gap in the knowledge. This paper introduces a new conceptual model, i.e., “aesthetic regime,” to describe the role of the urban sculpture authority in the development of the urban sculpture scene. It looks at the artistic representation of artworks, design of the sculpture venues, functionality of the artworks and social mechanisms for the actualization of these projects. An evolutional trend of the three sites across the decade is concerned.

The purpose of this paper is to introduce the cybernetics audience to the fundamental interdisciplinary concept of hyperseeing and its application to hypersculptures.

Briefly, hyperseeing is seeing from multiple viewpoints in a very general sense. In particular, the author first discusses hyperseeing a sculpture. A sculpture is defined as an object in a fixed position relative to a horizontal plane (base, ground). Two sculptures are congruent if they consist of the same object. A hypersculpture is a set of congruent sculptures. A hypersculpture is a more complete presentation of the sculptural possibilities of an object.

A specific example is given of hyperseeing a knot sculpture made of copper tubing.

The paper demonstrates how the study of hypersculptures facilitates gaining a deeper understanding and appreciation of sculpture.

The purpose of this paper is to determine the influence of a toroidal cutter axis orientation and a variable radius of curvature of the machined contour of sculptured surface on the five-axes milling process. Simulation and experimental research performed in this work are aimed to determine the relationship between the parameters of five-axes milling process and the shape and dimensional accuracy of curved outline of Inconel 718 alloy workpiece.

A subject of research are sculptured surfaces of the turbine blade. Simulation research was performed using the method of direct mapping tools in the CAD environment. The machining research was carried out with the use of multi-axis machining center DMU 100 monoBLOCK DMG, equipped with rotating dynamometer to measure the components of the cutting force. To control the shape and dimensional accuracy, the coordinate measuring machine ZEISS ACCURA II was used.

In this paper, the effect of the toroidal cutter axis orientation and the variable radius of curvature of the machined contour on the parameters of five-axes milling process and the accuracy of the sculptured surfaces was determined.

Five-axes milling with the use of a toroidal cutter is found in the aviation industry, where sculptured surfaces of the turbine blades are machined. The results of the research allow more precise planning of five-axes milling and increase of the turbine blades accuracy.

This paper significantly complements the current state of knowledge in the field of five-axes milling of turbine blades in terms of their accuracy.

The objective of CNC machining is to produce mechanical parts with designed quality most efficiently. To generate CNC tool paths for machining a sculptured part using a three‐axis CNC machine, surface geometry, cutter shape and size, as well as tool path interval and direction need to be considered. In this work, the relation between the direction of a tool motion and cutting efficiency is studied. A new measure of cutting efficiency in three‐axis CNC milling – the length of effective cutting edge (ECE) is introduced. The ECE length is mathematically proven to reach its maximum when the tool cuts a sculptured surface along its steepest tangent direction at the cutter contact point. The steepest tangent direction is thus proven to be the most efficient tool feed direction in three‐axis sculptured part machining. The study identifies tool feed direction as a new control parameter in CNC tool path planning, and forms the foundation for further research on three‐axis tool path generation of sculptured parts.

The purpose of this paper is to first, provide an interdisciplinary overview of the pedagogical perspective known as “embodied learning”; second, describe the particular relevance of embodied perspectives for business ethics and business ethics education; third, introduce “relational sculpting” as a pertinent embodied technique in this context.

Content analysis of qualitative data on relational sculpting from n=50 participants in two sections of a required undergraduate course on business ethics was conducted.

Findings indicated that the use of relational sculpting was associated with increased emotional awareness of, and empathy for stakeholders; a more compelling sense of connection to ethical issues and the affected stakeholders; enhanced understanding of stakeholder perspectives; and, a stronger appreciation of interconnections among stakeholders, as well as of the situation as a whole.

Future investigations could explore diverse other applications of relational sculpting and any implications these might have for learning effectiveness. Consideration could also be given to the viability, development, implementation and assessment not just of embodied techniques, but also, of integrated and coherent educational programs that are embodied in nature.

Step-by-step practical guidelines for using relational sculpting are provided. Additionally, comprehensive ethical guidelines for the use of innovative teaching methodologies such as relational sculpting are also provided.

Management scholars have recently advocated not only for increased ethics training in undergraduate and graduate curricula, but also for enhanced teaching and learning through the integration of diverse scholarly perspectives and innovations. This paper provides an interdisciplinary overview of the pedagogical perspective known as “embodied learning,” identifies its relevance for business ethics and business ethics education, and also introduces “relational sculpting” as a relevant embodied technique.

Designing with a positive lens is inspired by positive psychology, which turns attention away from the treatment of dysfunctions and toward the encouragement of human strengths. I present a positive design method that is inspired by Appreciative Inquiry and draws on a comprehensive theory of design from sculpture. By incorporating a comprehensive theory of sculpture as a guide for designing with a positive lens, we can take advantage of design lessons from the arts, and strengthen the positive design movement in all stages of the design development process. From a theory of sculpture we see that designing includes forming. Forming, in turn, always involves two opposed energies, which can be thought of as a warm and a cold, or an inside and an outside, force. By using a theory of sculpture to guide designing with a positive lens, we reframe our attempts to create new information and organization designs so as to make them achievable even though the positive designer is not an artist. Design thinking and design processes based on a theory of sculpture can ease our dependence on artistic creativity and expand the organizational impact of a positive lens.

This chapter analyses the interaction between two important movements in Britain in the second half of the twentieth century, the international contribution to urban planning through the New Towns programme and the particular contribution of British artists to public art and how these two parallel movements intertwine. The chapter begins by considering the definition of public art and the marked changes to the work purchased and commissioned in the immediate post-war period. The chapter then considers how the development of post-war New Towns has created new opportunities for contemporary artists, whose work had previously been confined to the gallery. In some cases the public art is integral to the architecture, and this opportunity has since become a threat to the future of many of these artworks. The optimism that defined post-war planning gave way to more negative perceptions of some New Towns as sites of boredom, monotony and even decay, from a failure to deliver on their initial promises of good jobs; a clean, modern environment; and supportive welfare state. In the second half of the chapter are examples of current public art activity in New Towns, and the challenges to sustain these in a time of public sector austerity. Finally, the chapter looks forward, and at the potential to sustain and reinvigorate public art in New Towns into the future.

The purpose of this paper is to review the work of the artist Edward Ihnatowicz (1926‐1988), describing his approach to his artistic practice and his major works (including sound‐activated mobile, The Senster and The Bandit) and to examine how he achieved his aim of making his cybernetic sculptures move in an elegant way despite working with severely limited computational resources.

The paper uses documentary research of the artist's private papers together with interviews with family and collaborators. Implementation of computer simulations of approaches to generating elegant motion.

The paper presents a comprehensive description of Ihnatowicz's work. A simple algorithm for generating elegant motion.

The paper is of historical value in documenting the work of an early cybernetic pioneer who had a unique approach to his artistic practice. The lessons learned from his installations are of relevance to current artists and designers who are interested in designing interactive environments.