Norwich University of the Arts

ABSTRACT Transbordering moves around and across the now quiet and permeable border between Venezia Giulia in north-east Italy and Slovenia, touching Gorizia/Gorica and Trieste/Trst, and moving along the Isonzo/Soča river it meets the Mediterranean. Interspersed with autobiographical notes, the narrative weaves a multiplicity of voices drawn from philosophy, history, news, media, political debate, environmental activism, architecture, photography, psychiatric and social reform, migration studies, documentary film, memoir, poetry, contemporary music and performance. The stories move back and forth in time to reinvent a chronology of proximities and returns, uncanny similarities, multiplicities and micro-separations. This is a tale of trans-bordering: of mixed identities and backgrounds, of fragile and porous national borders, of invisible divisions and removable boundaries, of vulnerable frontiers, oscillating divisions and conflicted confining ones, and of persisting subtle differences and new overt ones. It is one of the many possible stories of an apparently pacified borderland, where the border line traced on maps is almost invisible on the ground but continues to divide land and powers, conceal underlying scars and open fractures, and reshape identities. But identities are not linear, they transborder.

In the published article, there was an error in the legend for Supplementary material Table S1 Step 3 as published. Where acknowledgement of the work was omitted from the legend caption. The corrected legend appears below.For the cluster analysis the chlorophyll signal from satellite data was decomposed into an interannual signal, a seasonal signal and a residual signal. The interannual signal can indicate long-term trends or regime shifts. The seasonal signal is an indication whether the blooms occur each year systematically in the same season or not. The residual signal gives an indication of the remaining variability and can give an indication of strongly varying conditions between years and seasons. With a statistical analysis using the various signals, Areas with similar phytoplankton dynamics in satellite data (courtesy of Xavier Desmit and Dimitry Van der Zande, unpublished results)" can be identified and merged (Figure A.3.1). Largely similar areas appeared in an analysis of patterns in primary production derived from satellite data.The authors apologize for this error and state that this does not change the scientific conclusions of the article in any way. The original article has been updated.

The art installation Osmose (1995) by Char Davies, one of the most widely discussed media art projects, will be explored in relation to the notion of de-automatization. The de-automatized experience in Osmose will be developed by looking at theories of perception by Arthur Deikman and Maurice Merleau-Ponty, as well as George Stratton’s inverse goggle experiment, Bernard Stiegler’s account of automation, and Gilles Deleuze’s writings on the virtual. The article traces a double act of de-automatization in Davies’ Osmose that occurs due to the indeterminate object relations in the multi-media installation on the one hand, and their intertwinement with the organic sensing body on the other. This leads to an ungearing of one’s habitual perception, that produces a particular relation with the virtual dimension. By outlining the theoretical framework of the intertwining between technical object and bodily experience in Osmose, it becomes possible to speculate on the trajectory of contemporary VR experiences. Whilst the contemporary VR scene still relies heavily on the privileging of the visual dimension, the project We Live in an Ocean of Air by Marshmallow Laser Feast shows how VR environments can ‘leverage on’ emerging technologies to re-produce nuanced deautomatized experiences. De-automatization unravels how the reception of the deautomatized VR image reframes relations between actual and virtual.

The initial stage of the conceptual product design process is a highly creative and intensive knowledge-exploration intensive process. Sources of information utilized by design teams span local databases to internet collections and online magazines. Finding the relevant information is a challenge for a single product design team as the amount of information available continues to increase. In this demonstration we present the semantic tool which assist product designers with various knowledge management tasks during information discovery towards the formulation of new product concept.

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