To encourage greater sustainability regarding apparel consumption practices, policymakers have traditionally focused on economic and/or social psychology frameworks which rely on information-based campaigns to achieve behavioural change. Whilst such campaigns have had limited success and received significant criticism, additional policy solutions are called for. In contrast to conventional behavioural change strategies, this study responds to calls for further methodological insight and explores the potential of creative methods such as upcycling workshops and contemplative theatre performance, as practice-based mechanisms to engender a greater understanding of the environmental impact of apparel consumption and help bring about behavioural change to current apparel consumption practice. Via the theoretical lens of behavioural change theory and contemplative performance practice, our findings reveal the dynamic and continuously reshaping nature of the apparel market, in that most of our participants were until recently unaware of the unsustainable nature of the apparel industry. Despite some participants citing barriers, such as a lack of time, peer pressure, and the desire to express a specific social identity, reactions to practice-based methods were overwhelmingly positive. Thus, initiating a more proactive engagement with sustainability issues as well as increased reflection and discussion on how they might modify current apparel consumption behaviours in the future. We conclude by making suggestions for policymakers regarding future sustainability initiatives.

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The cracking or tearing of thin sheets of material is of considerable interest in modern-day engineering. A recent investigation into the behaviour of concrete indicated that it would be of interest to consider a probabilistic model in which a crack is regarded as some form of non-self-intersecting random walk in the plane. This paper considers some simple models and in the Appendix are included some results on paper tearing.

Can people today create their own new transformative rituals? What if these rituals are based both on the performance traditions of Náhuatl-speaking peoples and the later work of Grotowski?

This paper explores an approach to training for immersive theatre performance which addresses the need for an expanded and multi-focal awareness. Drawing on The Movements from Grotowski's Theatre of Sources period, Núñez's training process for El Ensueño de los Árboles (2017) is discussed in terms of meditation-in-movement and deconditioning of perception. This training is considered as a training in the capacity for immersion.