This paper discusses the possibilities and limitations of online activism. The example used to illustrate the above point provides some evidence that, on some occasions, civil society maybe mobilized through the use of the internet and the online public sphere, to organize more coherent and practical political demands. At the same time, it is also shown that the capacity of individuals to fully participate depends on previous offline experiences as well as a relatively higher degree of technical competence.

We present a detailed discussion of the boundary conditions of the directed crystallization problem, a formulation of the model considering temperature fields of external sources, the mechanism of attachment of particles to the growing solid surface, the influence of interphase component absorption on the phase distribution ratio of the components as well as the calculation of the period of the morphological interface instability which is made with due regard of all the aforementioned conditions.

“When we do not have the words to say something, drawing can define both the real and unreal in visual terms” (Kovats, 2007: p. 8). The paper addresses the question: what is the relationship be- tween perceptual experience and its interpretation through drawing? It is proposed that drawing, as knowledge and experience, is a particular way of coming to know the world that is explicated within artistic practice. The research examines how drawing, through its expression of the con- crete and the imaginary, provides interconnected ways of orientating knowledge that contribute to a multifaceted understanding of the “lived experience” (Dilthey, 2010). The study draws on phi- losophy, in particular the writings of Maurice Merleau-Ponty, to consider the complexities and in- terconnections of mind, object and body that are experienced through drawing. A central tenet of the research is an examination of the role of the body in constituing and explicating experience. In considering how we, as objects, are integral to the world and its phenomena, it is proposed that our “sense experience” (Sentir) (Heidegger, 1962) furnishes us with the ability to enter into this world as sensate beings; to interact, affect and engage with the world in both time and space. Mau- rice Merleau-Ponty in an essay entitled “Eye and Mind”, first published in 1961 (Johnson, 1993), contends that it is through contemplating a connection between the “seer and the seen”, in a direct reference to artist and viewer, that our experience of the world is “opened up more fully” (Johnson, 1993: p. 124). That is, by being immersed in the visible, the concrete, through the body, the visible is not appropriated, but is instead revealed by the act of “looking”. The practice of drawing is a means through which the act of looking is evinced in a tangible form. Investigating