Abstract
?Natures Footprint in Performance? is developed as part of the RCUK funded Horizon project, a five-year investigation into the growing role played by digital footprints in the digital economy. The paper is a conversation between an artist working with locative, pervasive and interactive media and a scholar in performance studies and new media, both of whom are, respectively, a doctoral student and an investigator of the Horizon digital economy centre. Utilizing the trope of the forest as a case study, ?Natures Footprint in Performance? offers an investigation of how scientific and artistic interventions into nature have been performed and re-performed in laboratories, galleries and museums and are experienced by audiences primarily as traces and footprint representations. In particular, ?Natures Footprint in Performance? will offer an analysis of the similarities and differences between a number of works, spanning from art povera and land art, to works specifically attempting to represent the interaction between human and nature in the age of climate change, and analyze the evolution from trace to footprint. The paper will juxtapose scientific perspectives with critical theory and artistic intervention, and focus in particular on ?Dark Forest? (2008-), an Anglo-Brazilian art project exploring mobile technology in the natural environment, developed by Active Ingredient, in collaboration with Mobilefest and the Mixed Reality Laboratory at the University of Nottingham. The project, which contrasts and connects tropical forests in Brazil to temperate ones in the UK, aims to stimulate new forms of environmental consciousness.

Abstract
As the problems we face today become more complex and larger scale, designers need to investigate what people actually do, what they value, and how they understand things. This human-centred approach to solving complex problems requires greater breadth and depth of expertise, than any single designer can possess. Therefore it becomes necessary for designers to work in collaborative situations to share knowledge with different stakeholders and understand the interaction between people and their environments. Drawing on a recent series of interviews (n=14), this paper provides insight into what collaboration means from the point of view of professional designers. The paper focuses on designers experience.

Abstract
This paper discusses the potential of improving the sustainability of existing cities and towns through residential use of roof-top additions to buildings. The phenomenon of extending existing buildings by adding floors is not especially novel, there being many examples throughout history. However judging by the limited number of recent cases in most cities, this design typology appears to not have received much attention. Building on top can be shown to provide good ecological performance of individual buildings but also improved functioning of the wider built environment. The aim of the paper is through scholarly argument and international case studies to show to city authorities and the development industry the key benefits of building on top of suitable existing building stock. A hypothetical case study is presented wherein building on top is compared with demolishing the existing building and building anew. Attention is given to sustainability in terms of life-cycle assessment; embodied energy; energy in use; CO2 emissions; building materials and technologies, reduction/avoidance of demolition waste; and, footings/foundations. Wider implications of building-on-top are explored in terms of city infrastructure; city services - water, waste, power, transport; city regulations; and, city expansion. Social, cultural and economic enhancement of the city is discussed in terms of cultural heritage and activity; social behaviour, economic performance; and, public health. Case studies scope across a range of approaches and scales from single residences to medium and high density developments. Together they provide transferable ideas for sustainable higher density residential development.

Abstract
Art that rhymes with the past is inherently and inextricably linked with that past. Rhyme cannot occur without a manifestation of similarity to something that already exists. Rhyme relies for its validity on memory of, sensitivity to, and connection with what has gone before, a looking-back while concurrently being in the present, a simultaneous comparison and contrast. On the other hand, aesthetic practices that appropriate art of the past through surface duplication and repetition often deliberately eliminate attachment and meaning. These appropriated images, even if fully absorbed in a visual sense, can remain separate entities, detached from any contextual tendons. Stylistic homage can become a skin that is stretched thin, showing none of the muscular connective tissue that would indicate the existence of an underlying structure. This paper explores the vein of artistic practice in which the past exists in a contextual rhyme with the present, creating meaning as a result of that particular mode of coexistence. Negotiations of the fine line between repetition and rhyme are investigated through the works of contemporary artists, and through my own artworks, that integrate past and present. 64

Abstract
Can an internationally recognized early childhood educational concept, known as the Reggio Emilia approach, provide an effective philosophy for teaching theater arts university students? Effective theater arts education includes opportunities for collaboration, social interaction, and experimentation (Mardirosian & Lewis, 2009). Key principles of the Reggio Emilia approach include collaboration, documentation and reflection, group-based knowledge construction, and a negotiated curriculum (Edwards, Gandini & Forman, 1993). Both approaches build on social constructivist theories of cognitive learning, including the works of Lev Vygotsky, Jerome Bruner, and John Dewey. This paper documents an action research project designed to implement theory to practice within a university course combining effective instruction of theater technology with the philosophy of the Reggio Emilia approach. The research location is a course titled Theater Technology being offered within the Theater Department of a flagship state university in the eastern United States. Participants include students enrolled in the course, the course instructor, and an educator with expertise in the Reggio Emilia approach. Data consists of interviews with participating students and faculty, audio transcripts of class discussion, photographs, student class journals, and video. This research has implications for teaching theater technology, course design in theatre arts, and implementing theory to practice. 43