Inspiration for Plant-based Nutrition.

Daphne Lordly, DEd, PDt Halifax, NS Julia Wong, PhD, RD Toronto, ON Inspiration for Plant-based Nutrition The Ryley–Jeffs Memorial lecture, Five Decades: From Challenge to Acclaim, given by Vesanto Melina at Dietitians of Canada’s 2016 conference and profiled in this issue, provides a wonderful overview of her extensive and varied dietetics career spanning 5 decades and still going strong! As an internationally recognized speaker, a consultant to individuals (including rock stars) and industry, a popular media spokesperson, and a co-author of bestselling nutrition books, Vesanto injects enthusiasm and compassion in “doing work that profoundly makes sense” to her. With a primary focus on plant-based nutrition, Vesanto describes the early challenges in her career and how this transitioned into success. She provides inspiring guidance to make healthful choices and challenges us as dietitians to be creative leaders in our field. As an honoured Ryley–Jeffs award recipient, Vesanto’s visionary leadership and pioneering spirit in the field of plant-based nutrition, certainly exemplifies the vision of Violet Ryley and Kathleen Jeffs. Congratulations Vesanto! The annual conference also provided a wonderful venue for presentations of research and experience-sharing abstracts. Check the current issue of the Journal for the CFDR Dietetic Research Event Abstracts from this year’s conference.

Investigation of the relationship between Places and Activities When Inspired and Habitual Thinking - A Case Study of 180 Designers in Taiwan

The main purpose of this research is to compare the actual production of inspiration with the theories of creativity. According to the results, the production of inspiration may have the possibilities of a habit. The target subjects are 180 designers in Taiwan, who have been given an Inspiration Scale to check the frequency and intensity of their inspiration, in addition to two other open-ended questions in which they are asked about the places and activities where they produce ideas. The research shows that most of them have ideas occur at home, while shopping, or when walking. This study points out that the places and activities when inspired are not important, but rather the method of creative thinking is, which remains to be a habitual form of thinking. This study finds these results based on practical research.

Graphic Design and Ecology-New Inspiration Sources in Fashion

This article is aimed at surveying some phenomena and processes in fashion nowadays, and to specify some of the factors influencing fashion designers and developing new fashion trends. More and more designers start using alternative techniques and materials to create their works. The authors’ searches along these lines are becoming more daring and cleverer. Attaining to use new techniques and unusual materials in their creations, fashion designers, whether willingly or unwillingly, try to break the established norms and rules that reigned in fashion in the decades past.

VUCast: Inspiration through Aspirnaut and Google earth's Vandy connection

Includes descriptive metadata provided by producer MP4 file: "Video @ Vanderbilt - Videos - VUCast: Inspiration through Aspirnaut and Google earth's Vandy connection (Oct. 31, 2009)." By Vanderbilt University.

Reinforcing inspiration direction and enhancing inspiration effect

As there are some misunderstandings in the making of inspiration measures of enterprises,it discusses the importance of inspiration mechanism to enterprises management from physical requirements,safe requirements,social communicating requirements,esteem requirements,and self-realization requirements,and puts forward different inspiration ways to different people,so as to improve the inspiration effect of enterprises.

SOUTHWARK INSPIRATIONS FOR THE STRATEGIC DEVELOPMENT PLAN

Presentation at the symposium investigating urban potential for development and renewal in the borough of Southwark. The symposium was a joint effort between the EPFL-lapa, and the London School of Economics - Cities Group, and was hosted by the Tate Modern in Southwark London, UK.

Gradient Transparency: Marine Animals as a Source of Inspiration Exploring Material Bio-Mimicry through the Latest 3D Printing Technology in Architectural surfaces

Digital fabrication technologies are changing rapidly the way we design, as any other tool would affect the way we produce space. Multi layered 3D printing is already allowing architects, designers and engineers to experiment with new design processes and new ways of production. At the same time, little research has being done in the way gradient transparency (through multiple layered surfaces) can affect the design process through computation; a field that deserves further investigation. The focus of this paper is to explore bio-inspired material finding design processes while combining biology, architecture and material science. We explore performance driven design possibilities through a study of marine animals -and specifically cephalopods- where opacity between skin layers is controlled through color pigments - while black pigments are called melanophores - which is often used as a type of camouflage. We propose a computation model that follows the logic of gradient transparency through pigments to fit complex “host surfaces”. We define a “host” surface as a basic geometry on which the pigments are computed. This study provides the methodology for the design of biomimetic surfaces with gradient transparency, using controlled and computated sub geometries analogous to the melanophores pigments. We finally propose Pigment Skin, a computational design model as an example to materialize this study.

Inspiration=ideas: A Creativity Sourcebook for Graphic Designers

In the modern world it seems that only the freshest designs get noticed, while dominating trends and carbon-copy successes can often trap designers into "been there, done that" mediocrity. The first half of this work sees 20 designers, including Wolfgang Weingart and Margo Chase, reveal the unique and diverse places in which they find inspiration and show how they incorporate these sources into their work. Whether it be a city, a person, a movie or a piece of garbage, inspiration comes in many forms and being able to recognize and harness its power is half the battle. The second half of the book opens the door to a new way of seeing by delivering a stream of imagery and ideas straight to designers' desktops. It looks at "found design" where inspiration comes not from finished designs but from textures, colours, patterns and primitive, offbeat imagery.

How to inspire customers via social media

Social media has emerged as a new marketing channel and an important source for customer inspiration. Understanding the sources and consequences of customer inspiration via social media is important for both researchers and marketers. However, little has been done to empirically examine customer inspiration in the social media context. Specifically, the process through which customers become inspired and motivated by social media to purchase the advertised products remains elusive. Therefore, this study extends the conceptualisation of customer inspiration into the social media context, and explores the antecedents of customer inspiration from three perspectives: informational, social and personal. This study also examines the impact of customer inspiration on customers' behavioral intention.,Survey methodology was used and data from 679 respondents were collected in China. To examine the hypothesized relationships, partial least squares (PLS) was used to analyse the data and Smart PLS 3.0 was used for data analysis.,The study findings demonstrated that the vividness of ads, social influence and promotion focus had positive impacts on the “inspired-by state”, and subsequently the “inspired-to state”, which in turn positively influenced customers' purchasing intentions. However, media richness has a negative impact on the “inspired-by state”.,This study provides the first evidence of customer inspiration via social media and examines its antecedents and consequences. Practically, this study offers useful guidelines and suggestions for firms on how to inspire customers using social media.

Incorporating Sustainability in Higher Chemistry Education in Indonesia through Green Chemistry: Inspirations by Inquiring the Practice in a German University

Green chemistry is suggested as an important guide to allow the practice of chemistry to become more sustainable. In this study, a chemistry department at a German university is analyzed by an outside view to how it integrates the philosophy of green chemistry into its research and teaching practices to inform higher education institutions in Indonesia on how this issue could be approached. The study reveals that the level of understanding of green chemistry is largely varying among different stakeholders, however its principles are well integrated in both research and teaching. In addition, it became clear that today modern chemistry departments should operate a broader approach towards sustainability than just practicing green chemistry in laboratory practices. The vision is to highlight the importance of green chemistry and other corresponding practices to support education for sustainable development (ESD) in a broad sense. The integration of green chemistry to support the implementation of ESD in higher education can only be achieved by strong commitments from all groups involved, namely the head and administration of the department, researchers, and teachers. Although not all aspects that were observed during this study are suitable to be applied in the Indonesian context, some implications can be derived for reform in Indonesian higher chemistry education.

User: Inspiration or Constraint?

This article shares findings from a case study conducted in a senior interior design studio in which students were introduced to user-centered integrated design process (user-centered IDP) through a rural community–university collaboration. The goal was to understand the role of the user and user involvement in the interior design process. The research focused on the integration dimension of user-centered IDP and analyzed how students utilized user interaction and knowledge through the stages of the design process. This understanding is important for better interweaving user involvement and design, managing more effective design projects, and supporting student learning in the interior design studio. Research results indicated that students utilized the knowledge of the user in two ways: as an inspiration and as a constraint. The user, as a design factor, oscillated between inspiration and constraint thus suggesting an inspiration–constraint cycle of user in interior design process. This finding demonstrated the constructivist nature of user. Students constructed, deconstructed, and reconstructed the concept of the user based on project context and requirements.

Role of Inspiration in Creating Textile Design

In design-making process, Source of inspiration has a vital role, both in defining the characteristics of a new design and in informing the creation of a distinct design. This study was based on the idea to promote creative and original textile designs by using a source of inspiration. The purpose of the study was to create some original and innovative designs for textiles by using natural paintings of William Morris as an inspiration and incorporating modern elements in the design. Several designs were made and three were selected that were innovative and suitable for textile designing. This study marks the significance of a source of inspiration in textile designing.

Carbon dioxide added late in inspiration reduces ventilation-perfusion heterogeneity without causing respiratory acidosis.

We have shown previously that inspired CO2 (3-5%) improves ventilation-perfusion (Va/Q) matching but with the consequence of mild arterial hypercapnia and respiratory acidosis. We hypothesized that adding CO2 only late in inspiration to limit its effects to the conducting airways would enhance Va/Q matching and improve oxygenation without arterial hypercapnia. CO2 was added in the latter half of inspiration in a volume aimed to reach a concentration of 5% in the conducting airways throughout the respiratory cycle. Ten mixed-breed dogs were anesthetized and, in a randomized order, ventilated with room air, 5% CO2 throughout inspiration, and CO2 added only to the latter half of inspiration. The multiple inert-gas elimination technique was used to assess Va/Q heterogeneity. Late-inspired CO2 produced only very small changes in arterial pH (7.38 vs. 7.40) and arterial CO2 (40.6 vs. 39.4 Torr). Compared with baseline, late-inspired CO2 significantly improved arterial oxygenation (97.5 vs. 94.2 Torr), decreased the alveolar-arterial Po2 difference (10.4 vs. 15.7 Torr) and decreased the multiple inert-gas elimination technique-derived arterial-alveolar inert gas area difference, a global measurement of Va/Q heterogeneity (0.36 vs. 0.22). These changes were equal to those with 5% CO2 throughout inspiration (arterial Po2, 102.5 Torr; alveolar-arterial Po2 difference, 10.1 Torr; and arterial-alveolar inert gas area difference, 0.21). In conclusion, we have established that the majority of the improvement in gas exchange efficiency with inspired CO2 can be achieved by limiting its application to the conducting airways and does not require systemic acidosis.

Inspiration choices that matter: the selection of external stimuli during ideation

Inspiration is a widely recognized phenomenon in everyday life. However, researchers still know very little about what the process of inspiration entails. This paper investigates designers’ approaches when selecting inspirational stimuli during the initial phases of a design process. We conducted a think-aloud protocol study and interviews with 31 design Masters students while generating ideas for a design problem. The results indicate that searching for and selecting stimuli require different levels of cognitive effort, depending on whether there is unlimited or limited access to stimuli. Furthermore, three important stages of the inspiration process were identified: keyword definition, stimuli search and stimuli selection. For each of these stages, we elaborate on how designers define keywords, which search approaches they use and what drives their selection of stimuli. This paper contributes to an understanding of how designers can be supported in their inspiration process in a more detailed manner.

DeSIGN: Design Inspiration from Generative Networks

Can an algorithm create original and compelling fashion designs to serve as an inspirational assistant? To help answer this question, we design and investigate different image generation models associated with different loss functions to boost creativity in fashion generation. The dimensions of our explorations include: (i) different Generative Adversarial Networks architectures that start from noise vectors to generate fashion items, (ii) novel loss functions that encourage novelty, inspired from Sharma-Mittal divergence, a generalized mutual information measure for the widely used relative entropies such as Kullback-Leibler, and (iii) a generation process following the key elements of fashion design (disentangling shape and texture components). A key challenge of this study is the evaluation of generated designs and the retrieval of best ones, hence we put together an evaluation protocol associating automatic metrics and human experimental studies that we hope will help ease future research. We show that our proposed creativity criterion yield better overall appreciation than the one employed in Creative Adversarial Networks. In the end, about 61% of our images are thought to be created by human designers rather than by a computer while also being considered original per our human subject experiments, and our proposed loss scores the highest compared to existing losses in both novelty and likability.

Inspiration: Exploring the Experience and its Meaning

This article reports a qualitative research study of the experience of inspiration in ordinary persons. Results gleaned from analysis of 70 in-depth interviews suggest that this phenomenon is a significant and distinct epistemic event that many people experience. As such, this evidence may help to shift the center of gravity of knowing away from the exclusivity of a narrow form of rational empiricism. Although inspiration cannot be willed, it may be cultivated. Experiences described as the absence of inspiration seem to correspond to common mental health complaints.

DESIGN INSPIRATION AND DESIGN PERFORMANCE

The importance of effective design management, and the significance of the early stages of the design process, are well recognised in other design-led industries but little understood in the garment industry. In the textile industry designers use other garments, photographs of garments, art objects and natural phenomena as inspiration for their designs. It is generally recognised that these sources of inspiration help designers to create features of individual designs, such as shape details in tailoring or pattern motifs in knitwear. But sources of inspiration also play a powerful role at the beginning of the design process, in research and strategic collection planning. They also play an essential role in the communication of design ideas, both among designers, and between designers and managers and buyers. Gathering sources of inspiration costs time and money. Many companies attempt to save money by limiting the designers travelling time to see shops and shows, they do not purchase forecasting materials. This has a number of harmful effects on the design process: it reduces the designers' job satisfaction and accelerates staff turnover; and it limits the range of ideas designers use, so that designs become stereotyped as designers grow stale, and the company loses business. The cost of travel to shops and fashion shows and the purchase of a collection of art books and CD-ROM is small compared to the potential profit on a successful design.

The deep inspiration breath-hold technique in the treatment of inoperable non-small-cell lung cancer.

The emergence of ideas: the interplay between sources of inspiration and emerging design concepts

The development of new ideas is an essential concern for many design projects. There are, however, few in-depth studies of how such ideas emerge within these contexts. In this article we offer an analysis of the emergence of ideas from specific sources of inspiration, as they arise through negotiation and transformation, and are mediated by design artefacts during an Inspiration Card Workshop, a collaborative event in which findings from domain studies are combined with technological sources of inspiration, in order to generate design concepts. We present a micro-analytic study of the interwoven social and artefact-mediated interactions in the workshop, and identify essential phenomena that structure and create momentum in the development of new design concepts, namely (1) the manifest properties of Inspiration Cards and Concept Posters as physical props for encouraging and supporting design moves, (2) the semantic dimensions of the cards and posters as catalysts for discussion, derivation and ideation, and (3) ad hoc external sources of inspiration as means of supplementing and developing design concepts. The analysed design situation is characterised as being socially distributed, artefactually mediated, adaptive and emergent.

Inspiration card workshops

In this paper we start from the position that sources of inspiration play an important role in the design process albeit in a frequently intangible way. We present the Inspiration Card Workshop as a collaborative method for combining findings from domain studies, represented in Domain Cards, with sources of inspiration from applications of technology, represented in Technology Cards, to create new concepts for design. We report our findings from three projects in which we have used the method and argue that the use of Inspiration Cards can successfully frame and guide workshops with disparate participants and bring various sources of inspiration into the design process. We furthermore compare the method to four related methods in the design process, namely Future Workshops, Metaphorical Design, Interaction Relabelling and Lateral Thinking.