This paper discusses the value of design rights using the example of UK's most high-profile case of design right litigation: Trunki, a ride-on travel case for children. Rob Law MBE invented Trunki in 1996. He registered it as a design in 2002 in the UK, and in 2003 with the Office for Harmonization in the Internal Market (OHIM), now EUIPO. The design has since been emulated by competitors in countries across the globe.

This paper constitutes a critical and detailed review of an investigation into design right infringement in the UK. The original mixed-method study was commissioned by the UK IPO in 2015/2016 and led by the author throughout the first three of four project stages. This paper focuses specifically on the results obtained in relation to registered design right infringement.

One of the first principles of capitalism is, undeniably, instrumentalisation; the subjection of one thing to another with the speculative aim of producing some future ‘value’, regardless of how dubious – or even noxious this ‘value’ may be. In the knowledge economy, which produces value from accelerated innovation (also interpretable as the overproduction of the minimally different) value is extracted in two chief ways: via the misplaced rhetoric of excellence, and via netocratic quantification.

The being of human beings and, in particular, their wellbeing is profoundly spatial and temporal. We feel well in dramaturgically stimulating, sheltered, yet expansive spaces that lend themselves to daydreaming, much like we feel well in “thick” time that, like a complex melody, textures our existence aurally, kinesthetically, and propriocentrically (influencing our body’s sense of balance).

For Foucault, discipline was a subtle form of power that coerced the body in order to control its movements, attitudes, and moods. For McKenzie, it is oppressive-excessive performance that takes the place of overt disciplinarity in the twenty-first century.

There is no history of poetry without love poetry, and there is no history of media without pornography. After his first collection of poems received a starred review from Quill & Quire, Darryl Whetter turned his attention from evolution in the natural world to the co-evolution of love, sex and media. Urging readers to "fill the tiny / unmade bed of the search box," these alluring poems build on radically changing communication technologies to explore a new sexuality that does (and does not) dare to tweet its name. Here, finally, is the language of digital love.

In this paper, we discuss the potential of ordinary objects acting as human computer interfaces with an Inertial Measurement Unit, the Twiz, to capture a body’s orientation and acceleration. The motivation behind this research is to develop a toolkit that enables end users to quickly prototype custom interfaces for artistic expressions through movement. Through an iterative design process, we have enhanced existing technical implementations such as wireless data transfer, battery lifespan, two-way communication and data analysis including machine-learning techniques.

This paper takes as a point of departure, Rosalind Krauss' essay 'The Photographic Conditions of Surrealism', in which she describes the relationship between photography's indexical function and its position as the example par excellence of Surrealist artistic practice. In the same way, this paper examines changing attitudes in Thailand towards photography's artistic status and presumed indexicality as paradigmatic examples of a transformation from the modern to the contemporary.

The paper describes a pedagogical model developed at LASALLE College of the Arts in Singapore for use within the local Arts and Arts Education sector. A need was discovered in Singapore for a holistic pedagogical model that could be used to teach practicing artists who spend considerable time teaching in public and private schools, yet maintain their Arts practice. The model addresses multiple art forms simultaneously through practices that are tailored for a heterogeneous educational setting yet encompasses a unified perspective.

Unlike all other major Anglophone points of comparison (e.g. USA, UK and Australia), Canada is disinterested in the national and global demand for doctoral programmes in Creative Writing. This paucity of PhD creative writing programmes is especially noticeable when Canada has the highest per capita undergraduate enrolment in the world, federal funding available for writing PhDs, and a low OECD ranking for the number of per capita PhDs.