Meridional x-ray diffraction diagrams, recorded with high angular resolution, from muscles contracting at the plateau of isometric tension show that the myosin diffraction orders are clusters of peaks. These clusters are due to pronounced interference effects between the myosin diffracting units on either side of the M-line. A theoretical analysis based on the polarity of the myosin (and actin) filaments shows that it is possible to extract phase information from which the axial disposition of the myosin heads can be determined. The results show that each head in a crown pair has a distinct structural disposition. It appears that only one of the heads in the pair stereospecifically interacts with the thin filament at any one time.

Interactive experiences are rapidly becoming popular via the surge of 'escape rooms'; part game and part theatre, the 'escape' experience is exploding globally, having gone from zero offered at the outset of 2010 to at least 2800 different experiences available worldwide today. CrashEd is an interactive learning experience that parallels many of the attractions of an escape room Á it incorporates a staged, realistic 'crime scene' and invites participants to work together to gather forensic evidence and question a witness in order to solve a crime, all whilst competing against a ticking clock. An animation can enhance reality and engage with cognitive processes to help learning; in CrashEd, it is the last piece of the jigsaw that consolidates the students' incremental acquisition of knowledge to tie together the pieces of evidence, identify a suspect and ultimately solve the crime. This article presents the background to CrashEd and an overview of how a timely placed animation at the end of an educational experience can enhance learning. The lessons learned, from delivering bespoke versions of the experience to different demographic groups, are discussed. The article will consider the successes and challenges raised by the collaborative project, future developments and potential wider implications of the development of CrashEd.Keywords: animations; avatars; connectivism; higher education Introduction Unfortunately, a crime scene might be found anywhere. This includes the home, the workplace and anywhere within our towns, cities or on our transport systems. According to figures issued by the Office for National Statistics (ONS), there were approximately 7.8 million crimes committed against households and adults (aged 16 and over), in the year ending June 2014 (ONS 2015). Whilst this figure, according to the ONS, represented a decrease in crime overall at the time, records for individuals killed or seriously injured on our roads revealed a 4% rise for the same period (Department of Transport 2014). Fuelled by media reports of the tragic events caused by the impact of crime and their secondary representation within TV drama and documentary, society now has a largely voyeuristic relationship with crime and its investigation. According to Chermak (1994), Greer (2009) andHall (1973), amongst others, contemporary media content has seen an expansion from the lexical to a more visual interpretation of criminal behaviours and the investigative procedures employed by enforcement agencies to reduce them. It is therefore perhaps unsurprising that, like the generation before them, young people have a fascination with crime.As a catalyst for learning, texts, codes and conventions representing the content of popular crime drama, have for a number of years been increasingly employed in studies of English, Drama and Media at GCSE and A Level. There is even a suggestion that as a result of the number of TV programmes such as CSI (Crime Scene Investigation), there is the potential for influencing legal procedures. Whilst the 'CSI ef...

The work presented in this paper demonstrates that creative design is not a process, but rather it should be represented in terms of the dynamics of clusters of creative design activities that represent the interplay between the behaviour of creative design and its context. The clusters of creative design activities are associated with a focus aimed at achieving a certain task. It is shown that there are four types of focus for clusters of creative design activities identified with respect to a desired output to be produced. The outputs are termed scope, ideas, prototypes and product. The research has also shown that there are four levels of granularity of focus clusters of creative design activities depending on the relationships between the different outputs. The switching focus between the clusters of design activities can be seen according to three types of contextualised cues: dreamer, realist and critic.

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This paper presents an overview of how fuzzy logic can be employed to model intelligent bio-environments. It explores how non-invasive monitoring techniques, combined with sensor fusion, can be used to generate a warning signal if a critical event within the natural environment is on the horizon. The honeybee hive is presented as a specific example of an intelligent bio-environment that unfortunately, under certain indicative circumstances, can fail within the natural world. This is known as Colony Collapse Disorder (CCD). The paper describes the design of a fuzzy logic methodology that utilizes input from non-invasive beehive monitoring systems, combining data from dedicated sensors and other disparate sources. An overview is given of two fuzzy logic approaches that are being explored in the context of the beehive; a fuzzy logic system and an Adaptive Neuro-Fuzzy Inference System (ANFIS).