"Andy Warhol's Screen Tests were filmed from early 1964 - November 1966. Although the short films became known as Screen Tests, they were originally conceived as film portraits - portraits done on film rather than canvas."
Fig.1&2 Andy Warhol. Screen Test: Edie Sedgwick (1965). 16mm film (black and white, silent). 4 min. at 16fps.
"The Autodesk solution for Digital Prototyping enables manufacturing workgroups to create a single digital model in Inventor for use at every stage of production - bridging the gaps that typically exist among conceptual design, engineering, and manufacturing teams. With Digital Prototyping, you can get more innovative products to market faster and increase your competitive advantage."
3). Raymond Kurland (August 2010). 'Comparing the Capabilities of Autodesk Inventor Professional 2011 and SolidWorks Premium 2010 Using TechniCom's Delphi Expert Technique', A TechniCom Group LLC whitepaper.
"The creative process is not just iterative; it's also recursive. It plays out 'in the large' and 'in the small'-in defining the broadest goals and concepts and refining the smallest details. It branches like a tree, and each choice has ramifications, which may not be known in advance. Recursion also suggests a procedure that 'calls' or includes itself. Many engineers define the design process as a recursive function:
discover > define > design > develop > deploy
The creative process involves many conversations-about goals and actions to achieve them-conversations with co-creators and colleagues, conversations with oneself. The participants and their language, experience, and values affect the conversations."
(Dubberly Design Office & Jack Chung, Shelley Evenson, and Paul Pangaro)
"The CityEngine software provides professional users in entertainment, architecture, urban planning and general 3D content creation with a unique early design and modeling solution for the efficient vizualisation of urban 3D environments. "
"As the growing body of literature testifies, the role, function and nature of the university are subject to increasingly intensive debate as higher education undergoes profound transformations at the national and international level. There is no longer any consensus about the 'idea' or the 'uses' of the university (Newman 1873; Kerr 1963), if there ever was. Universities are being 'realised and reshaped' (Barnett 2000; 2005), 'rethought' (Rowland 2007) and 'redefined' (Scott 1998). While some regard these transformations positively, others feel that these changes undermine the academic mission of the university, leading to 'crisis' (Scott 1984), 'deprofessionalisation' (Nelson and Watt 2003), 'corporatisation' and 'commercialisation' (Bok 2003; Slaughter and Leslie 1997; Callinicos 2007), 'ruination' (Readings 1996) and even the 'death' of the university itself (Evans 2004).
A key issue of concern for those who feel the academic mission of the university is being undermined is the way in which the student experience has been consumerised (Boden and Epstein 2006). The concept of student as consumer is based on a market led model of corporate governance, within which risky activity is motivated by profit driven imperatives. In this paper I argue for a different model of risk, one which is based on taking progressive risks with the curriculum in order to give students more responsibility for their learning, and - in so doing - provide much richer learning environments. I describe this model not as student as consumer but student as producer (Neary and Winn 2009). This model may be at odds with the market driven paradigm, which sees universities as providing a service for students, but it has the potential, I argue, to provide the basis of a framework for teaching and learning in higher education which promotes social responsibility as the key organising function of the university, making it better able to deal with the social emergencies that underpin its own crisis of identity."
(Professor Mike Neary, Centre for Learning & Teaching - Conference 2008, University of Brighton)