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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.

In confining the COVID-19 pandemic, social distancing was key, with traditional, bricks-and-mortar retailing being shut-down for weeks, and have nearly universally moved into online channels. At the same time, online players have started to operate physical stores. This chapter provides an analysis of how COVID-19 has accelerated the digitalization of retailing, focusing on the shift towards the online and mobile shopping channel. On the basis of success stories and failures in retail business practice, lessons are distilled for developing effective future phygital scenarios.

This chapter offers an overview of the applications of artificial intelligence (AI) in the textile industry and in particular, the textile colouration and finishing industry. The advent of new technologies such as AI and the Internet of Things (IoT) has changed many businesses and one area AI is seeing growth in is the textile industry. It is estimated that the AI software market shall reach a new high of over US$60 billion by 2022, and the largest increase is projected to be in the area of machine learning (ML). This is the area of AI where machines process and analyse vast amount of data they collect to perform tasks and processes. In the textile manufacturing industry, AI is applied to various areas such as colour matching, colour recipe formulation, pattern recognition, garment manufacture, process optimisation, quality control and supply chain management for enhanced productivity, product quality and competitiveness, reduced environmental impact and overall improved customer experience. The importance and success of AI is set to grow as ML algorithms become more sophisticated and smarter, and computing power increases.

The ROV ground control simulator (Fig. 1) used in this multi-sensory research consists of two workstations: pilot and SO. At the left workstation, the pilot controls ROV flight (via stick-and-throttle inputs as well as invoking auto-holds), manages subsystems, and handles external communications. From the right workstation, the SO is responsible for locating and identifying points of interest on the ground by controlling cameras mounted on the ROV. Each station has an upper and a head-level 17″ color CRT display, as well as two 10″ head-down color displays. The upper CRT of both stations displays a ‘God's Eye’ area map (fixed, north up) with overlaid symbology identifying current ROV location, flight waypoints, and current sensor footprint. The head-level CRT (i.e., “camera display”) displays simulated video imagery from cameras mounted on the ROV. Head-up display (HUD) symbology is overlaid on the pilot's camera display and sensor specific data are overlaid on the SO's camera display. The head-down displays present subsystem and communication information as well as command menus. The simulation is hosted on four dual-Pentium PCs. The control sticks are from Measurement Systems Inc. and the throttle assemblies were manufactured in-house.

For students who are blind or visually impaired, technology enables greater access to the educational curriculum, immediate and independent access to information, and full participation in community and citizenship. This chapter reviews research on technology use by students with visual impairments, and highlights effective practices, promising developments, and ongoing challenges. The authors discuss the implications of these advancements on policy, instruction, professional development, and future research.

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.

Law and Film both enjoy the power to mediate the social imaginary. Here, we explore the resonance of this insight in the register of affect and intensity, movement, and change. This demands a different approach to doing theory. As Andrew (1976, pp. 66–67) argues, ‘film is not a product but an organically unfolding creative process in which the audience participates both emotionally and intellectually.’ Seeing a film is not just an exercise in imagining alternatives; it is an unfolding experience in time. It is an event shaded with particular embodied dimensions: one's heart races, pupils contract, skin shivers, muscles tense. Involuntary sensations of nausea or vertigo combine with cognitive responses to produce the lived experience of viewing a particular film that is incorporated into one's sensibility, sometimes very powerfully. It is not just that the mind has spent time in a darkened theatre. The body has also had an affect-laden auditory, visual, and tactile encounter. The affect-rooted experience of the film is a piece of the subject's past, its history, its self. This is another way to understand how film not only represents the world, but participates in its making.