ASU Scholarship Showcase

Urea is an added value chemical with wide applications in the industry and agriculture. The release of urea waste to the environment affects ecosystem health despite its low toxicity. Online monitoring of urea for industrial applications and environmental health is an unaddressed challenge. Electroanalytical techniques can be a smart integrated solution for online monitoring if sensors can overcome the major barrier associated with long-term stability. Mixed metal oxides have shown excellent stability in environmental conditions with long lasting operational lives. However, these materials have been barely explored for sensing applications. This work presents a proof of concept that demonstrates the applicability of an indirect electroanalytical quantification method of urea. The use of Ti/RuO2-TiO2-SnO2 dimensional stable anode (DSA®) can provide accurate and sensitive quantification of urea in aqueous samples exploiting the excellent catalytic properties of DSA® on the electrogeneration of active chlorine species. The cathodic reduction of accumulated HClO/ClO− from anodic electrogeneration presented a direct relationship with urea concentration. This novel method can allow urea quantification with a competitive LOD of 1.83 × 10−6 mol L−1 within a linear range of 6.66 × 10−6 to 3.33 × 10−4 mol L−1 of urea concentration.

This chapter is not a guide to embodied thinking, but rather a critical call to action. It highlights the deep history of embodied practice within the fields of dance and somatics, and outlines the value of embodied thinking within human-computer interaction (HCI) design and, more specifically, wearable technology (WT) design. What this chapter does not do is provide a guide or framework for embodied practice. As a practitioner and scholar grounded in the fields of dance and somatics, I argue that a guide to embodiment cannot be written in a book. To fully understand embodied thinking, one must act, move, and do. Terms such as embodiment and embodied thinking are often discussed and analyzed in writing; but if the purpose is to learn how to engage in embodied thinking, then the answers will not come from a text. The answers come from movement-based exploration, active trial-and-error, and improvisation practices crafted to cultivate physical attunement to one's own body. To this end, my "call to action" is for the reader to move beyond a text-based understanding of embodiment to active engagement in embodied methodologies. Only then, I argue, can one understand how to apply embodied thinking to a design process.

As speculative aesthetics, what might feminist ontologies and artist imaginings do for rethinking the "real" assemblages and infrastructures of our quotidian experience, particularly with respect to those that standardize aggressive capital agendas, maximum industrial output and extreme waste? This paper draws connections between female artists' image and event-making, speculative design and tacit knowledge, as sensing tools for technological possibilities at a time when energy dependency, in the form of electricity, is the greatest generator of fossil fuel waste and pollution. I use Remedios Varo's paintings from the mid 1930-1960s as a springboard to think about sustainability and ecological design from an embodied, fem-magic and deep-time perspective, and I draw from other female artists whose work explores technologies and energy, such as Alice Aycock, Tania Candiani, Cassie Meador and Hito Steyerl. An analysis of these artists' works allows me to explore the ways that feminist imaginings function as an ontological orientation that shifts power away from contemporary infrastructures, to decolonize and re-feminize electrical possibilities as alternative ways of engaging with and sensing assemblages.