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To rigorously approach the more-than-human world in design research, we need to become more receptive and better equipped to describe the complexities of relationality. In response, this paper advocates for the articulation of the felt sense -or tacit knowledge residing in our bodies- as a viewpoint for noticing. Assisted by micro-phenomenological interviews, we carefully described our felt senses from our experiences with a telepresence robot and smartphone photography. We illustrate how this viewpoint allowed us to access our pre-judgemental dimension, the vivid liveliness in our experiences with technologies, and the porosity of our sense of self. We contribute the felt sense as a viewpoint for noticing to design researchers interested in integrating their somatic sensibilities into their work with the more-than-human, allowing them to attune to, describe and share with other researchers the normally unattended dimension of our experiences, including aspects concerning the felt dimension of ethics.

WS2 nanotubes present many new technologies under development, including reinforced biocompatible polymers, membranes, photovoltaic-based memories, ferroelectric devices, etc. These technologies depend on the aspect ratio (length/diameter) of the nanotubes, which was limited to 100 or so. A new synthetic technique is presented, resulting in WS2 nanotubes a few hundred micrometers long and diameters below 50 nm (aspect ratios of 2000-5000) in high yields. Preliminary investigation into the mechanistic aspects of the two-step synthesis reveals that W5O14 nanowhisker intermediates are formed in the first step of the reaction instead of the ubiquitous W18O49 nanowhiskers used in the previous syntheses. The electrical and photoluminescence properties of the long nanotubes were studied. WS2 nanotube-based paper-like material was prepared via a wet-laying process, which could not be realized with the 10 mu m long WS2 nanotubes. Ultrafiltration of gold nanoparticles using the nanotube-paper membrane was demonstrated.

WS2 nanotubes present many new technologies under development, including reinforced biocompatible polymers, membranes, photovoltaic-based memories, ferroelectric devices, etc. These technologies depend on the aspect ratio (length/diameter) of the nanotubes, which was limited to 100 or so. A new synthetic technique is presented, resulting in WS2 nanotubes a few hundred micrometers long and diameters below 50 nm (aspect ratios of 2000-5000) in high yields. Preliminary investigation into the mechanistic aspects of the two-step synthesis reveals that W5O14 nanowhisker intermediates are formed in the first step of the reaction instead of the ubiquitous W18O49 nanowhiskers used in the previous syntheses. The electrical and photoluminescence properties of the long nanotubes were studied. WS2 nanotube-based paper-like material was prepared via a wet-laying process, which could not be realized with the 10 mu m long WS2 nanotubes. Ultrafiltration of gold nanoparticles using the nanotube-paper membrane was demonstrated.

WS2 nanotubes present many new technologies under development, including reinforced biocompatible polymers, membranes, photovoltaic-based memories, ferroelectric devices, etc. These technologies depend on the aspect ratio (length/diameter) of the nanotubes, which was limited to 100 or so. A new synthetic technique is presented, resulting in WS2 nanotubes a few hundred micrometers long and diameters below 50 nm (aspect ratios of 2000-5000) in high yields. Preliminary investigation into the mechanistic aspects of the two-step synthesis reveals that W5O14 nanowhisker intermediates are formed in the first step of the reaction instead of the ubiquitous W18O49 nanowhiskers used in the previous syntheses. The electrical and photoluminescence properties of the long nanotubes were studied. WS2 nanotube-based paper-like material was prepared via a wet-laying process, which could not be realized with the 10 mu m long WS2 nanotubes. Ultrafiltration of gold nanoparticles using the nanotube-paper membrane was demonstrated.

Lignocellulosic fibers extracted from plants are considered an interesting raw material for environmentally friendly products with multiple applications. This work investigated the feasibility of using hemp- and flax-based materials in the form of felts as biosorbents for the removal of metals present in aqueous solutions. Biosorption of Al, Cd, Co, Cu, Mn, Ni and Zn from a single solution by the two lignocellulosic-based felts was examined using a batch mode. The parameters studied were initial metal concentration, adsorbent dosage, contact time, and pH. In controlled conditions, the results showed that: (i) the flax-based felt had higher biosorption capacities with respect to the metals studied than the hemp-based felt; (ii) the highest removal efficiency was always obtained for Cu ions, and the following order of Cu > Cd > Zn > Ni > Co > Al > Mn was found for both examined biosorbents; (iii) the process was rapid and 10 min were sufficient to attain the equilibrium; (iv) the efficiency improved with the increase of the adsorbent dosage; and (v) the biosorption capacities were independent of pH between 4 and 6. Based on the obtained results, it can be considered that plant-based felts are new, efficient materials for metal removal.

Lignocellulosic fibers extracted from plants are considered an interesting raw material for environmentally friendly products with multiple applications. This work investigated the feasibility of using hemp- and flax-based materials in the form of felts as biosorbents for the removal of metals present in aqueous solutions. Biosorption of Al, Cd, Co, Cu, Mn, Ni and Zn from a single solution by the two lignocellulosic-based felts was examined using a batch mode. The parameters studied were initial metal concentration, adsorbent dosage, contact time, and pH. In controlled conditions, the results showed that: (i) the flax-based felt had higher biosorption capacities with respect to the metals studied than the hemp-based felt; (ii) the highest removal efficiency was always obtained for Cu ions, and the following order of Cu > Cd > Zn > Ni > Co > Al > Mn was found for both examined biosorbents; (iii) the process was rapid and 10 min were sufficient to attain the equilibrium; (iv) the efficiency improved with the increase of the adsorbent dosage; and (v) the biosorption capacities were independent of pH between 4 and 6. Based on the obtained results, it can be considered that plant-based felts are new, efficient materials for metal removal.

Lignocellulosic fibers extracted from plants are considered an interesting raw material for environmentally friendly products with multiple applications. This work investigated the feasibility of using hemp- and flax-based materials in the form of felts as biosorbents for the removal of metals present in aqueous solutions. Biosorption of Al, Cd, Co, Cu, Mn, Ni and Zn from a single solution by the two lignocellulosic-based felts was examined using a batch mode. The parameters studied were initial metal concentration, adsorbent dosage, contact time, and pH. In controlled conditions, the results showed that: (i) the flax-based felt had higher biosorption capacities with respect to the metals studied than the hemp-based felt; (ii) the highest removal efficiency was always obtained for Cu ions, and the following order of Cu > Cd > Zn > Ni > Co > Al > Mn was found for both examined biosorbents; (iii) the process was rapid and 10 min were sufficient to attain the equilibrium; (iv) the efficiency improved with the increase of the adsorbent dosage; and (v) the biosorption capacities were independent of pH between 4 and 6. Based on the obtained results, it can be considered that plant-based felts are new, efficient materials for metal removal.

As we are discovering more and more how much the built environment, especially during construction and dis-assembly , has on our planet, We as architects need to constantly re-assess our approach to our designs. From the materials we use, and the construction techniques. Throughout studying this masters programme, I have been fascinated by how we can change this through a combination of material choice, design techniques and new fabrication methods. Felted Clay is a culmination of these interests and investigations. It is an exploration of the relationships between materials, fabrication, and form. Discovering the possibilities and limitations which robotic felting brings, how it combines with clay, and finally what architectural features and considerations this could bring.

Den 5 juni 2012 vaknade jag förlamad och i det ögonblicket blev min kropp min fiende. Jag har inte kunnat lita på den sedan dess. Jag är rädd att den kommer svika mig igen. Jag känner mig fast i den, men samtidigt alienerad av den. Nu är det dags att försonas, hitta frid. Friden försöker jag hitta genom ull, ull är säkert, den påminner mig om min mamma och den påminner mig om Island. Ull betyder hem. I mitt arbete vill jag konfrontera min rädsla, alienation från min kropp och förhoppningsvis se det vackra i den till slut. Jag vill skapa en plats där jag känner mig omgiven av min egen kropp, där jag kan titta på den, röra vid den och se att den inte är lika skrämmande som jag trodde., On 5th June 2012, I woke up paralysed and in that moment my body became my enemy. I haven’t been able to trust it ever since. I’m afraid it might betray me again. I feel stuck inside it, and yet, I feel alienated from it. Now it’s time to reconcile, find peace. I’ll try to find this peace through wool, because wool is safe. It reminds me of my mom and reminds me of Iceland. Wool means home. In this project I want to confront my fear, the alienation from my body, and hopefully find beauty in it. I want to create a place where I feel as if I am surrounded by my own body, where I can look at it, touch it, and see that it’s not as frightening as I thought, Healing through craft

Den 5 juni 2012 vaknade jag förlamad och i det ögonblicket blev min kropp min fiende. Jag har inte kunnat lita på den sedan dess. Jag är rädd att den kommer svika mig igen. Jag känner mig fast i den, men samtidigt alienerad av den. Nu är det dags att försonas, hitta frid. Friden försöker jag hitta genom ull, ull är säkert, den påminner mig om min mamma och den påminner mig om Island. Ull betyder hem. I mitt arbete vill jag konfrontera min rädsla, alienation från min kropp och förhoppningsvis se det vackra i den till slut. Jag vill skapa en plats där jag känner mig omgiven av min egen kropp, där jag kan titta på den, röra vid den och se att den inte är lika skrämmande som jag trodde., On 5th June 2012, I woke up paralysed and in that moment my body became my enemy. I haven’t been able to trust it ever since. I’m afraid it might betray me again. I feel stuck inside it, and yet, I feel alienated from it. Now it’s time to reconcile, find peace. I’ll try to find this peace through wool, because wool is safe. It reminds me of my mom and reminds me of Iceland. Wool means home. In this project I want to confront my fear, the alienation from my body, and hopefully find beauty in it. I want to create a place where I feel as if I am surrounded by my own body, where I can look at it, touch it, and see that it’s not as frightening as I thought, Healing through craft

Tato diplomová práce se zabývá hodnocením plasmaticky upravené králičí plstí v porovnání se standardně mořenou plstí kyselinami. Pro porovnání byla ve stejných parametrech hodnocena i vlněná plst. Byl porovnáván také vliv celkové doby barvení. a povrchové úpravy - hladký, zámiš, a velur. Byly měřeny a hodnoceny změny mechanických vlastností - meze pevnosti a tažnosti, rovněž také plošná hmotnost a prodyšnost. U králičí i vlněné plsti byla sledována změna barevnosti nejen u surového materiálu králičí a vlněné plsti, tak i u průmyslově a laboratorně obarvených vzorků. Měření na rastrovacím elektronovém mikroskopu bylo porovnáváno pouze na začátku výrobního procesu a na konci, dále pak porovnání se žlutě a černě vybarvenými vzorky. Opět byly mezi sebou porovnávány dva stejné vzorky s odlišnou úpravou během průmyslového zpracování., This thesis concerns the evaluation of plasma adapted rabbit felt in comparison with felts that were stained by acids in standard way. The comparison included also the wool felt evaluated in the same parameters. The influence of total dying time and surface lay-out (smooth surface, doeskin, velour) were considered too. The changes in mechanical qualities were measured - strength and ductility limits as well as flat weight and permeability. The chromaticity changes were evaluated not only by rabbit and fur felt, but also by industrially and lab colored samples. The scanning electron microscope observing was compared only at the beginning and at the end of the process, then the comparison with yellow and black dyed samples. Again, two same samples with different industrial processing treatment were compared., Fakulta chemicko-technologická, Diplomantka přednesla výsledky své diplomové práce a zodpověděla dotazy členů komise., Dokončená práce s úspěšnou obhajobou

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction. • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach, I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete. Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av ti, QC 20161220

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction. • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach, I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete. Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av ti, QC 20161220

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction. • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach, I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete. Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av ti, QC 20161220

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction. • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach, I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete. Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av ti, QC 20161220

By building a felt time repertoire, designers can sensitively feed a sense of time into their design work. And this in turn can help them produce an interaction gestalt that is richer, more sensual. My research on this suggests that this is not entirely easy, however. One has to develop a ‘feel’ for time. My research exploration began when I worked on designing a biofeedback data system, Affective Health, struggling with the tension and division between clocktime and the users’ unceasingly changing, ‘felt’ experiences. By turning to artistic practice, of music and culinary arts, I hoped to find keys to this question. Through connecting interaction-design research to these practices, I could start unfolding possibilities of temporal aesthetics in interaction design. I point to a space where designers can expand their understanding of felt time and playfully explore the sense of time that interactive systems and physical materials can deliver. Through the aspects below I point to the importance of being sensitive to felt forms and expressions of time to approach the temporal gestalt in interaction. • Through my research I have strived to move outside clocktime and re-imagine the sense of time that interactive systems deliver. • One part of this space is felt rhythms and how they shape temporal experiences. • In common to those rhythms are the rest and pause moments that form their vitality. • One way of working with rhythm is to see how felt shapes and rhythms of time resonate through the temporal gestalt in interaction. • Aesthetic sensitivity, felt timers, can help us to orient ourselves in time. • By approaching time as plastic: time as a form and shape that we can hold on to, squeeze and weave together, we can start finding tools for remoulding the sense of time in systems, artefacts and services. • Finally, I have worked with aesthetic transformations that can encourage people to start experiencing temporality from new perspectives and with a different approach, I den forskning som ligger till grund för den här avhandlingen har jag, genom en explorativ ansats, undersökt hur man kan förnya och berika sättet på vilket tid behandlas i interaktionsdesignforskning. Med hjälp av den här forskningen kan designers bygga upp en praktikbaserad repertoar, och med estetiskt finkänslighet formge tid och temporalitet i sitt arbete. Detta kan i sin tur hjälpa dem att producera rikare interaktions gestalter som gör det möjligt att uppleva flera tidsuttryck. Min forskning visar på att det dock inte är helt lätt utan kräver att man gradvis utvecklar en "känsla" för tid. Tid har en kraftfull påverkan på våra tankar, känslor och handlingar, men vi är oftast ganska omedvetna om effekten tid har på våra liv. Klockan är ett praktiskt verktyg för att hålla reda på tid en och gör det möjligt att schemalägga händelser och orientera sig i en ström av erfarenheter. Men tid som den representeras av klockan är bara en bråkdel av hur vi förnimmer tid i vårt vardagliga liv. Upplevelsen av tid handlar dock inte bara om längd eller intervall mellan valda ögonblick utan den har också andra dimensioner och skepnader såsom tex styrka eller fasthet. Alla dessa dimensioner gör att tiden existerar för oss. Min utforskning började när jag arbetade med att utforma ett system för biofeedback, Affective Health, där hjärtfrekvens, affekt och rörelse skulle visualiseras på ett sätt som inspirerade till en dialog mellan användare och system. Visualiseringarna skulle representera hur användarnas egna kroppar reagerade och rörde sig i realtid men även ge möjlighet att blicka bakåt genom det förflutna. Som utgångspunkt började jag med att skapa illustrationer baserade på linjära, metriska tidsbegrepp, men jag hade svårigheter att porträttera människors egna skiftande upplevelser av tiden, det vill säga deras individuella upplevelser av rörelser och rytmer, genom de illustrationer jag tog fram. Klocktid stämde inte överens med användarnas egen, kroppsliga, upplevelse av ti, QC 20161220

A novel, unconventional thermal treatment employing borax for preparing porous carbon materials is presented. The new method was used to prepare carbon felt electrodes for use in lithium-air batteries. The etching of the carbon fiber surface was found to be highly controllable by the amount of borax. The resulting felts were characterized by cyclic voltammetry (CV), secondary electron microscopy (SEM), energy dispersive X-ray spectroscopy (EDX), and X-ray photoelectron spectroscopy (XPS). The borax treatment resulted in a change of the size, shape and orientation of the Li2O2 crystals formed during discharge. © 2016 The Royal Society of Chemistry.

For the proposed solar sulfur-ammonia thermochemical water-splitting cycle, cobalt ferrite nanoparticles have potential use as an electrocatalyst, for the anodic reaction step of ammonium sulfite oxidizing to ammonium sulfate for the production of hydrogen. Electrophoretic deposition (EPD) of cobalt ferrite nanoparticles was investigated as a method of coating three-dimensional graphite electrodes to provide a high surface area and perhaps enhance the electrocatalytic activity. EPD was performed from 5 different bath compositions into several different substrates including aluminum, graphite paper, 3 mm carbon felt, and 6 mm graphite felt. The bath compositions were 2 g/L of cobalt ferrite nanoparticles in 100 % acetylacetone, 100 % acetylacetone with 0.2 wt. % polyethylenimine (PEI), in 100 % ethanol, and in 90/10 vol. % water/isopropanol with 1 mM or 0.05 mM of hexadecyltrimethlyammonium bromide (CTAB). The deposit morphologies were studied using a scanning electron microscope (SEM). The SEM showed full penetration and coating of the felt in 100 % ethanol bath into both 3 mm carbon felt and 6 mm graphite felt. Linear sweep voltammetry in 2 M ammonium sulfite was used to test the electrocatalytic activity of the EPD deposits. The highest electrochemical activity for cobalt ferrite on 3 mm carbon felt was deposits from 100 % acetylacetone with 0.2 wt. % polyethylenimine. The highest electrochemical activity for cobalt ferrite on 6 mm graphite felt was found in deposits from 90/10 vol. % water/isopropanol with 0.05 mM CTAB, followed by deposits from 100 % acetylacetone with 0.2 wt. % polyethylenimine.

For the proposed solar sulfur-ammonia thermochemical water-splitting cycle, cobalt ferrite nanoparticles have potential use as an electrocatalyst, for the anodic reaction step of ammonium sulfite oxidizing to ammonium sulfate for the production of hydrogen. Electrophoretic deposition (EPD) of cobalt ferrite nanoparticles was investigated as a method of coating three-dimensional graphite electrodes to provide a high surface area and perhaps enhance the electrocatalytic activity. EPD was performed from 5 different bath compositions into several different substrates including aluminum, graphite paper, 3 mm carbon felt, and 6 mm graphite felt. The bath compositions were 2 g/L of cobalt ferrite nanoparticles in 100 % acetylacetone, 100 % acetylacetone with 0.2 wt. % polyethylenimine (PEI), in 100 % ethanol, and in 90/10 vol. % water/isopropanol with 1 mM or 0.05 mM of hexadecyltrimethlyammonium bromide (CTAB). The deposit morphologies were studied using a scanning electron microscope (SEM). The SEM showed full penetration and coating of the felt in 100 % ethanol bath into both 3 mm carbon felt and 6 mm graphite felt. Linear sweep voltammetry in 2 M ammonium sulfite was used to test the electrocatalytic activity of the EPD deposits. The highest electrochemical activity for cobalt ferrite on 3 mm carbon felt was deposits from 100 % acetylacetone with 0.2 wt. % polyethylenimine. The highest electrochemical activity for cobalt ferrite on 6 mm graphite felt was found in deposits from 90/10 vol. % water/isopropanol with 0.05 mM CTAB, followed by deposits from 100 % acetylacetone with 0.2 wt. % polyethylenimine.

V této diplomové práci je studován vliv modifikace postupu barvení králičí, zaječí a vlněné plsti v barvícím aparátu s infračerveným ohřevem, zejména s ohledem na sledování probarvenosti materiálu. Zaječí a vlněná plsť byla probarvena v celém průřezu při standardním způsobu barvení, proto nebyla dále předmětem studia modifikace barvícího procesu. Pro králičí plsť, světlou i tmavou, byl způsob barvení podroben dalším modifikacím s cílem probarvení v celém průřezu a zlepšení egality vybarvení. Pro modifikace byly využity různé textilní pomocné prostředky v procesu barvení, a také úprava barvícího procesu vložením operace smáčení plsti před vlastním barvením. Rovněž byla vyzkoušena enkapsulace barviva s použitím lecitinu před barvícím procesem a vakuové natažení barviva do plstě s využitím exsikátoru nebo filtrace na büchnerově nálevce před barvícím procesem. Účinnost modifikací barvícího procesu byla hodnocena standardními koloristickými metodami, jako je stupeň vyčerpání barviva z lázně, síla typu a stanovením stálostí vybarvení v kyselém a alkalickém potu. Rovněž byla sledována probarvenost materiálu na příčných řezech plstí., This diploma thesis shows an impact of dyeing process modification of a rabbit's, hare's, and woollen felt colouring. In the first phase of colouring the hare's felt together with the woollen one were fully coloured in colouring apparatus with infrared heating. Therefore, the hare's and woollen felt have not been studied later in the thesis. The rabbit's felt, light and dark, have been further studied and different colouring modifications have been tested. Different textile auxiliaries have been used during modifications in a process of colouring and same tools were used when the felt was needed to be made wet before colouring. Also, different ways before colouring itself were tested, such as encapsulation of the colour with lecithine, or filtration at Büchner's funnel. Efficiency colouring modifications have been evaluated by standard colouristic methods, such as a degree of dye exhaustion, or strength and fastness in acidic and alkaline perspiration. Also level of dye penetration into felt has been studied., Ústav chemie a technologie makromolekulárních látek, Diplomantka přednesla výsledky své diplomové práce a zodpověděla dotazy členů komise.

The effects of surface treatment combining corona discharge and hydrogen peroxide (H2O2) on the electrochemical performance of carbon felt electrodes for vanadium redox flow batteries (VRFBs) have been thoroughly investigated. A high concentration of oxygen functional groups has been successfully introduced onto the surface of the carbon felt electrodes by a specially designed surface treatment, which is mainly responsible for improving the energy efficiency of VRFBs. In addition, the wettability of the carbon felt electrodes also can be significantly improved. The energy efficiency of the VRFB cell employing the surface modified carbon felt electrodes is improved by 7% at high current density (148 mA cm−2). Such improvement is attributed to the faster charge transfer and better wettability allowed by surface-active oxygen functional groups. Moreover, this method is much more competitive than other surface treatments in terms of processing time, production costs, and electrochemical performance.

The effects of surface treatment combining corona discharge and hydrogen peroxide (H2O2) on the electrochemical performance of carbon felt electrodes for vanadium redox flow batteries (VRFBs) have been thoroughly investigated. A high concentration of oxygen functional groups has been successfully introduced onto the surface of the carbon felt electrodes by a specially designed surface treatment, which is mainly responsible for improving the energy efficiency of VRFBs. In addition, the wettability of the carbon felt electrodes also can be significantly improved. The energy efficiency of the VRFB cell employing the surface modified carbon felt electrodes is improved by 7% at high current density (148 mA cm−2). Such improvement is attributed to the faster charge transfer and better wettability allowed by surface-active oxygen functional groups. Moreover, this method is much more competitive than other surface treatments in terms of processing time, production costs, and electrochemical performance.

Tato bakalářská práce se zabývá designem kreativního nábytku a užitím překližky v produktovém designu. Nábytek je určen dětem předškolního věku a skládá se ze židle a stolu. Hlavním cílem práce je poskytnout náhled na celkové myšlení dítěte a tomuto myšlení přizpůsobit celé koncepční řešení nábytku. Práce je rozdělena do dvou hlavních částí. První část, teoretická, vymezuje pojmy jako charakteristika předškolního dítěte, kreativita a ergonomie. Druhá část, praktická, se zaměřuje na analýzu dětského nábytku na českém i světovém trhu, vlastní řešení daného tématu a použité materiály i technologie., This bachelor thesis concentrates on design of creative furniture and use of plywood in product design. Furniture is designed for preschool children and consists of a chair and a table. The main objective is to provide out look on the way of children's behaviour and thinking and to adjust to these aspects all conceptual design of furniture. The work is devided into two main parts. The first theoretical part, defines terms such as characteristics of preschool children, crea-tivity and ergonomics. The second practical part focuses on the analysis of children's furniture on the Czech and the world market, the design itself and used materials and technologies., Ústav prostorového a produktového designu, obhájeno

Schools are often the first point of contact for young refugees resettling in Australia and play a significant role in establishing meaningful connections to Australian society and a sense of belonging in Australia (Olliff in Settling in: How do refugee young people fair within Australia's settlement system? Centre for Multicultural Youth Issues, Melbourne. http://www. cmyi. net. au/ResearchandPolicy. Accessed 21 June 2010, 2007; Gifford et al. in: Good Starts for recently arrived youth with refugee backgrounds: Promoting wellbeing in the first three years of settlement in Melbourne, Australia. Melbourne: La Trobe Refugee Research Centre. http://www. latrobe. edu. au/larrc/documents-larrc/reports/report-good-starts. pdf. Accessed 4 June 2011, 2009; Sidhu and Taylor in: Educational provision for refugee youth in Australia: Left to chance? Journal of Sociology,43(3), 283-300, 2007). However, too little is known of how refugee youth encounter school in their new country. This article draws upon individual narratives of young former refugee's experiences of high schools. It explores the stories told by the young people of being identified as different and of negotiating ways of belonging in schools both academically and socially. It argues that it is how the school positions the newly arrived refugee students within mainstream school culture that opens up or restricts opportunities for inclusion in all aspects of school (in culture and pedagogy).

The aim of this study is to investigate how four West African cultural practitioners living in Stockholm view the cultural sector in Sweden. How they reflect on themselves as cultural operators, and their opinions on other West Africans participation in the cultural life in Sweden is the main focus of this study. Interviews were carried out, which were analyzed within the theoretical framework of Bourdieu’s terms, “field” and “capital”. Through analyzing the interviews different barriers within the sector were identified. I have chosen to name them the inner and outer barriers. The outer barriers are the rules and formalities one have to adapt to, as well as the informal codes within the Swedish culture. The inner barrier is the blockade from within that accepts stereotypical portraits and not breaking repetitive habits such as sticking to national unions and gatherings. This tends to close one into certain groups and therefore have an excluding effect. However, the inner barrier can be a consequence of the outer. One could argue that society must work towards appealing not only to the majority, so that more minorities can relate to the cultural sector as a space of freedom and diversity.

The aim of this study is to investigate how four West African cultural practitioners living in Stockholm view the cultural sector in Sweden. How they reflect on themselves as cultural operators, and their opinions on other West Africans participation in the cultural life in Sweden is the main focus of this study. Interviews were carried out, which were analyzed within the theoretical framework of Bourdieu’s terms, “field” and “capital”. Through analyzing the interviews different barriers within the sector were identified. I have chosen to name them the inner and outer barriers. The outer barriers are the rules and formalities one have to adapt to, as well as the informal codes within the Swedish culture. The inner barrier is the blockade from within that accepts stereotypical portraits and not breaking repetitive habits such as sticking to national unions and gatherings. This tends to close one into certain groups and therefore have an excluding effect. However, the inner barrier can be a consequence of the outer. One could argue that society must work towards appealing not only to the majority, so that more minorities can relate to the cultural sector as a space of freedom and diversity.

Byly naměřeny frekvenční závislosti koeficientu zvukové pohltivosti vybraných textilních materiálů. Pro měření a vyhodnocení byly vybrány materiály plsť, polypropylenový kobe-rec, papírová tapeta s PVC povrchem, cambrela + latex, polyuretan + pletená textilie česa-ná a polyuretan + tkaná textilie. Měření bylo provedeno na dvoumikrofonové impedanční Kundtově trubici společnosti Brüel&Kjaer v rozsahu 16 - 6400 Hz. Pro vyhodnocení a výpočet koeficientu redukce hluku bylo uvažováno frekvenční rozmezí 100 - 6400 Hz. Byla vyhodnocena vhodnost výše uvedených materiálů pro aplikace v odhlučení interiér-ních prostor., Frequency dependecies of the sound absorption coefficient was measured. Materials felt, polypropylene carpet, wallpaper with polyvinylchloride surface, cambrela + latex, polyu-rethane + knit combed textile and polyurethane + woven textile were selected for measu-ring and evaluating. Measurements was realized on the two-microphones impedance Kundt's tube Brüel&Kjaer in the range of 16 - 6400 Hz. Frequency range 100 - 6400 Hz was used for evaluating and computing of the noise reduction coefficient. Availability of selected materials in application of the noise elimination in interior places was evaluated., Ústav fyziky a mater. inženýrství, obhájeno

Uddannelserne til semiprofessionerne indeholder en skoledel og en arbejdsplads­del. I Danmark organiseres uddannelserne i University Colleges, i Sverige inden for rammen af högskola/universitet. I den danske sygeplejerskeuddannelse stiger omfanget af såkaldt teori (skoledelen) fra 10% (1939) til 55% (1990) (62,25% i 1998) ‑ jf. Petersen (1992/3, især p. 72), Nørholm (1997a, b, c, 1999). Hele uddannelsen ser ud til at indeholde (praktiske) teorier for det praktiske arbejde (jf. Durkheim 1975), en socialt og symbolsk nødvendig del af praktikken, men hverken teori i egen ret eller teori som sådan (jf. Nørholm & Brinkkjær 2003, Brinkkjær & Nørholm 2005). Tilsyneladende gælder dette generelt, ligesom selvforståelsen inde­bærer at teori må omsættes til praktik. Projektets teoretiske udgangs­punkt er Bourdieus feltteori og praktik­sociologi (1977, 1984, 1986, 1992), Durkheims teori om forskellige former for teori/viden (1975), teoriens rolle for praktiske uddannelser (fx Petersen 2001, 1997/8), samt videnskabelige teorier om evalueringer (Nørholm 2008, 2003). Derudover inddrages teorier af Lundgren, Callewaert, Broady og andre. Selvforståelsen er her at teori skal forklare, og at praktikken har sin egen logik og er ikke en ide ført ud i livet., Malmö, SE

København, DK

Ph.d.-afhandlingen handler om evalueringer, om evalueringer af uddannelse med et fokus og perspektiv som er begrænset til en afdækning af forhold om evalueringer, til en formulering af en teori om evalueringer. I afhandlingens analyser og diskussioner anvendes teorier af Émile Durkheim, Pierre Bourdieu, Ulf P. Lundgren og Staf Callewaert. Det empiriske materiale består af otte evalueringsrapporter vedr. uddannelser til (semi)professioner inden for et medicinsk felt, af forskellige tekster om evaluering samt af dominante eksempler på dansk normal evalueringsforskning. I afhandlingen konstrueres den sociale og symbolske funktion af uddannelsesevalueringer. I næste omgang konstrueres det som benævnes normal evalueringsforskning, som en symbolsk nødvendig del af det videnskabelige objekt uddannelsesevaluering. Uddannelsesevalueringer med tilhørende normal evalueringsforskning - samt de uddannelser som evalueres - konstrueres som del af et socialt sorteringsredskab til reproduktion af en eksisterende social orden som i næste omgang henter sin legitimitet i en forskning der - trods administrativt allokeret eksternt i forhold til evalueringerne og det som evalueres - udgør en ikkeautonom del af et administrativt felt, magtens felt., Ph.d.-afhandling, 2. udgave

Det empiriske udgangspunkt for artiklen "Om evalueringsforskningens relative autonomi - dansk normal evalueringsforskning som et ikke-autonomt (sub)felt i magtens felt" er en række tekster af fire dominerende danske evalueringsforskere. Det teoretiske udgangspunkt er især Pierre Bourdieus teori om sociale produktionsfelter og hans praktiksociologi, men også andre teorier inddrages. Artiklen diskuterer og konstruerer doxa, som hører til normal evalueringsforskning. Evalueringsforskning forstås af evalueringsforskerne som en meta-evaluerende, handlingsanvisende særlig form for forskning, som enten er allokeret ved universiteter eller læner sig op ad forestillinger om evalueringsteorier fremstillet i universitetsregi. Det ser ud som om, doxa i evalueringsforskningen er den samme som den doxa, som forudsættes i forbindelse med politik/demokrati, og som yderligere forudsætter en rationel handlingsteori der ikke kan opfange eller medtænke den symbolske økonomi ved menneskelige handlinger. Artiklens analyse viser, at 'normal evalueringsforskning' ikke er del af et relativt autonomt (universitært) felt, men må konstrueres som en decideret ikke-autonom del af et administrativt felt, magtens felt.

Afhandlingens teoretiske udgangspunkt er hos Émile Durkheim, Pierre Bourdieu, Ulf P. Lund­gren, Staf Callewaert, det konkrete er en række evalueringer af uddannelser til (semi)professioner inden for sundhedssektoren. I afhandlingen konstrueres den sociale og symbolske funktion af uddannelsesevalueringer. I sin tur konstrueres det som benævnes normal evalueringsforskning, som en symbolsk nødvendig del af det videnskabelige objekt uddannelses­evaluering. Uddannelsesevalueringer med tilhørende normal evalueringsforskning - samt de uddannelser som evalueres - konstrueres som del af et socialt sorteringsredskab til reproduktion af en eksisterende social orden som i næste omgang henter sin legitimitet i en forskning der - trods administrativt allokeret eksternt i forhold til evalueringerne og det som evalueres - udgør en ikkeautonom del af et administrativt felt, magtens felt., Ph.d.-afhandling

This paper introduces a new static sensor technique that characterizes local pressure distributions on paper surfaces tinder compression. Contact areas and local pressure variations are determined using a high-resolution pressure-sensitive film, which has been developed recently at STFI-Packforsk. Compared to other commercially available pressure-sensitive films, this new film brings the advantages of a higher spatial resolution (3 pm) and a wider pressure range (1-100 MPa), which are necessary for analyzing a microporous material such as paper. The technique provides clear images of fine details such as fibre walls, collapsed lumens and fibre crossings. In initial experiments, a measure for the load coverage ability of a coating was obtained. It gives insight into how well a coating layer covers the nonuniformity of the base paper under compression. In future, the applicability of the technique will be tested in the fields of coating, calendering and printing., QC 20100525

Felting of wool is unwanted in raw wool scouring, wet treatments of most yarns and in the finished garment. It is desirable in some other uses and essential in the felt industries. The accepted method of testing loose wool felting is the Aachen felting test but it is laborious and relatively expensive. There is no generally accepted method for testing yarn shrinkage. For these trials new techniques using a household tumble dryer were developed for testing loose wool felting and yarn shrinkage. Analysis indicated that successful techniques had been developed for measuring loose wool felting and yarn shrinkage. Results with the loose wool felting technique were found to be highly correlated with those of the Aachen felting method (r = 0.93). The effects of fibre characteristics on both loose wool felting and yarn shrinkage were investigated for straight-bred Romneys and for loose wool felting in ¼Merino ¾Romney (QM) crosses. Loose wool felting was most highly correlated with bulk (r = -0.65 for Romneys and -0.73. for QM's), crimp frequency (r = -0.53 and -0.41 respectively) and lustre (-0.30 and -0.40 respectively). Loose wool bulk (r = -0.25) and greasy fleece weight (r = -0.40) were the most highly correlated to yarn shrinkage. The greasy fleece weight relationship is thought to be environmental in origin. Micron and staple length were found to play only minor roles in loose wool felting and yarn shrinkage. Cotting was found not to be significantly correlated to either loose wool felting or yarn shrinkage. Loose wool feltability was highly correlated (r = 0.65) to yarn shrinkage. A large percentage of yarn shrinkage variation was left unexplained. Part of this is probably due to variation in yarn characteristics and there is a need for a method of producing short-lengths of yarn of constant structure from very small wool samples. The sire effect was significant (P<0.05) and controlled 6.5% of the variation in loose wool felting and 12% in yarn shrinkage. This indica

View of a felt, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a new felt, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt, keçe, from a tent at the camp near Mahmutbey Köyü, Kahramanmaraş, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt in Kömürler Köyü, Gaziantep, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt in Kömürler Köyü, Gaziantep, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt in Kömürler Köyü, Gaziantep, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

View of a felt at the temporary camp in Pülümür, Tunceli, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

View of a small decorated felt, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.

Detail of a felt, Color; 35mm, Scanned from a 35mm slide using a Nikon 9000ED in TIFF format and resized to 1024x768 ppi.