Der vorliegende Artikel untersucht moderne Mensch-Maschine-Interaktion im Kontext verbreiteter Hard- und Softwareoberflächen und diskutiert davon ausgehend die Frage nach Aufklärung und Gegenaufklärung im digitalen Zeitalter. Er nimmt das Feld des »User Experience Designs« in den Blick - dies ist ein stilprägender Fachdiskurs, in dem verhaltenswissenschaftliche Erkenntnisse und massendatenbasierte Analysen zur Optimierung von Benutzeroberflächen und Interaktionsdesigns eingesetzt werden. Anhand von Beispielstudien wird argumentiert, dass dieser Gestaltung systematisch drei implizite anthropologische Annahmen zugrunde liegen: Nutzerverhalten gilt als durch prä-reflexive Stimuli beeinflussbar; (...) es gilt als statistisch ausmessbar und vorhersagbar; und Nutzer_innen wollen vermeintlich keine Einblicke in die technischen Abläufe hinter den bunten Bedienoberflächen digitaler Dienste erhalten. Die Diagnose der digitalen Entmündigung verweist sodann auf eine Gesamtheit von strukturellen Tendenzen, durch die Individuen der Fähigkeit zur selbstbestimmten Nutzung ihres Verstands in der Interaktion mit digitalen Artefakten beraubt werden. (shrink)

Neuroscientific discourse on consciousness often resorts to "collection of elements", notwithstanding the Gestalt demonstrations against representing conscious experience as a collection of sensory elements. Here I show that defining conscious experience as an object of the category of conscious experiences, instead of as cohesion-less set of structure-less elements, provides the conceptual repertoire—basic shapes, figures, and incidence relations—needed to reason about the essence of conscious experiences and the essence-preserving transformations of conscious experiences. Viewed in light of the category of (...) conscious experiences, designers of user experience—in designing pre-conceptualized user experiences—are well situated to contribute to the development of the science of consciousness. (shrink)

This article addresses the new theories and concepts of design management: design thinking, user experience (UX) and service design. They consider people's experiences and focus on the characteristics of each one of them. From industrial design, the scope and relationships between these definitions - now better visible - were analyzed, which always belonged to the design field of the discipline, from which an attempt was made to identify how they influence innovation, design (...) and development of new products. To account for the evolution that the design field has had, the most significant processes are contrasted to visualize the differences that make this change fundamental. Finally, it is concluded on its strategic relevance for the application in public and private organizations. Also taking into account how these theories are methodologically incorporated into the set of activities inherent to industrial design. (shrink)

in the present work we analyze the new concepts and theories related to the activity of Design Management, which focus on the experiences of people and the particular characteristics of each one of them. Specifically, from an Industrial Design perspective, the scope and relationships between these conceptual definitions —now made visible— that always belonged to the field of design of the discipline will be studied, trying to identify how they influence innovation and product development. Finally, it will (...) conclude about its strategic relevance for public and private organizations, and the incorporation to the set of professional activitie. (shrink)

This chapter discusses a problematic relation between user-friendly design and manipulation. Some specific features of the design of a website can make it a more or less potent tool for manipulation. In particular, features that can be summed up as creating a user-friendly experience are also manipulation-friendly. The ease of using a website also makes it easier to be manipulated via the website. The chapter provides an argument that this can be explained as a less (...) intellectually virtuous engagement with websites that are more user-friendly. It is simply more difficult to mobilize suitable intellectual virtues when the website is quick and easy to use. For instance, when Google Search presents search results quickly and easily users become less intellectually cautious and independent than they ought to be. The chapter discusses a mechanism that links user-friendly design to an overly trusting attitude towards a website that leads to this intellectually careless behaviour. This link is support with empirical evidence based on processing fluency effects. (shrink)

The design and usability of computer interfaces are crucial factors in improving user experience and productivity in the field of human-computer interaction. This overview examines the development of computer interfaces, starting with command-line interfaces (CLI) and moving on to graphical user interfaces (GUI), touch interfaces, and gesture-controlled interfaces. The guiding concepts of interface development are highlighted: usability, accessibility and user-centered design. The harmony of form and function, the incorporation of cutting-edge technologies such as voice (...) recognition and augmented reality, and the difficulties presented by the wide range of user requirements and preferences are important factors to take into account. Through an analysis of these factors, this brief seeks to offer perspectives on the future paths of computer interface design, emphasizing the importance of flexibility and intuition in meeting changes. (shrink)

Interactions between an intelligent software agent and a human user are ubiquitous in everyday situations such as access to information, entertainment, and purchases. In such interactions, the ISA mediates the user’s access to the content, or controls some other aspect of the user experience, and is not designed to be neutral about outcomes of user choices. Like human users, ISAs are driven by goals, make autonomous decisions, and can learn from experience. Using ideas from (...) bounded rationality, we frame these interactions as instances of an ISA whose reward depends on actions performed by the user. Such agents benefit by steering the user’s behaviour towards outcomes that maximise the ISA’s utility, which may or may not be aligned with that of the user. Video games, news recommendation aggregation engines, and fitness trackers can all be instances of this general case. Our analysis facilitates distinguishing various subcases of interaction, as well as second-order effects that might include the possibility for adaptive interfaces to induce behavioural addiction, and/or change in user belief. We present these types of interaction within a conceptual framework, and review current examples of persuasive technologies and the issues that arise from their use. We argue that the nature of the feedback commonly used by learning agents to update their models and subsequent decisions could steer the behaviour of human users away from what benefits them, and in a direction that can undermine autonomy and cause further disparity between actions and goals as exemplified by addictive and compulsive behaviour. We discuss some of the ethical, social and legal implications of this technology and argue that it can sometimes exploit and reinforce weaknesses in human beings. (shrink)

This report aims to offer insights into cutting-edge research on digital well-being. Many of these insights come from a 2-day academic-impact event, The Future of Digital Well-Being, hosted by a team of researchers working with the Royal Netherlands Academy of Arts and Sciences (KNAW) in February 2024. Today, achieving and maintaining well-being in the face of online technologies is a multifaceted challenge that we believe requires using theoretical resources of different research disciplines. This report explores diverse perspectives on how digital (...) well-being can be actively cultivated, while also emphasising the importance of considering individual differences, societal contexts, and nuanced cultural factors. We aim to offer a holistic view of the future of digital well-being, one that will inspire the next generation of designers of online tools, as well as policymakers who will regulate these tools. We start by asking what digital well-being is – how we can best define a concept that is used by diverse stakeholders and researchers from many disciplines in various ways. To do this, we explore the classic ethical theories of well-being, showing how they can give us insights into how the term digital well-being is currently deployed. We then move to look at the existing strategies that have been proposed to actively cultivate digital well-being, exploring the business models that threaten digital well-being and the relative advantages of the digital and non-digital solutions that are currently proposed. On the one hand, digital tools – such as Apple’s Screen Time and app blockers such as Opal and Forest – integrate seamlessly with the digital lifestyles of users. They also create precise metrics for digital well-being, which facilitates their solutions to reduce screen time. On the other hand, non-digital solutions, including mindfulness practices, digital detoxes, and digital well-being coaching, offer a new set of tools to reconnect individuals to their natural rhythms and help to actively promote offline activities. We then move to discuss diversity and how various groups of users have strikingly different digital well-being needs. Embracing neurodiversity in digital well-being is crucial as it strongly impacts the users’ experience of online technologies. When designing for diversity, organisations and designers alike need to prioritise customization for people with physical disabilities, mitigate harmful content for users with mental well-being conditions, address gender stereotypes and online harassment, and be designed in ways that recognize the very real risks of online technologies. This report closes by examining cultural differences. We believe that non-Western conceptions of well-being offer rich sources for enhancing digital well-being insofar as these traditions can inform and inspire the designers of future online technologies. We focus on East-Asian and South-Asian traditions, although in further work we recognise it would be useful to investigate conceptions of well-being that are influential in the Gulf region, Africa, and South America. Each of these areas have ethical frameworks that discuss well-being in depth as well as a rich cultural heritage. In conclusion, this report’s insights underscore the imperative of recognizing diversity in digital well-being, both in terms of cultural contexts and disciplinary perspectives. It emphasises the need for culturally responsive design methodologies and the integration of non-Western philosophical perspectives into current digital well-being research. Embracing this diversity, we believe, offers the best chance to create digital environments that prioritise well-being for users and the societies they live in across the world. Ultimately, we believe that it is not only about designing better online products; it’s about shaping a digital landscape that promotes well-being and flourishing for everyone. (shrink)

: The design and usability of computer interfaces are crucial factors in improving user experience and productivity in the field of human-computer interaction. This overview examines the development of computer interfaces, starting with command-line interfaces (CLI) and moving on to graphical user interfaces (GUI), touch interfaces, and gesture-controlled interfaces. The guiding concepts of interface development are highlighted: usability, accessibility and user-centered design. The harmony of form and function, the incorporation of cutting-edge technologies such as (...) voice recognition and augmented reality, and the difficulties presented by the wide range of user requirements and preferences are important factors to take into account. Through an analysis of these factors, this brief seeks to offer perspectives on the future paths of computer interface design, emphasizing the importance of flexibility and intuition in meeting changes. (shrink)

The research discussed in this paper centers around the convergence of extended reality (XR) platforms, computational design, digital fabrication, and critical urban study practices. Its aim is to cultivate interdisciplinary and multiscalar approaches within these domains. The research endeavor represents a collaborative effort between two primary disciplines: critical urban studies, which prioritize socio-environmental justice, and integrated digital design to production, which emphasize the realization of volumetric or voxel-based structural systems. Moreover, the exploration encompasses augmented reality to assess its (...) utilization in both the assembly process of the structures and the integration of phygital (physical and digital) data with the physical environment. Within the context of these research scopes, this paper introduces FabriCity-XR as an interactive phygital installation. In addition to presenting an overview of the integrated research driven and performative design to production methodologies, the project showcases the practical implementation of web-based augmented reality trails, eliminating the requirement for external applications for interaction. This approach allows users to seamlessly navigate and engage with phygital content overlaid on physical objects using their personal smart devices. The result is a captivating and immersive user experience that effectively merges the physical and digital realms. (shrink)

Drawing from narratology and design studies, this article makes use of the notions of the ‘implied designer’ and ‘ludic unreliability’ to understand deceptive game design as a specific sub-set of transgressive game design. More specifically, in this text we present deceptive game design as the deliberate attempt to misguide players’ inferences about the designers’ intentions. Furthermore, we argue that deceptive design should not merely be taken as a set of design choices aimed at misleading (...) players in their efforts to understand the game, but also as decisions devised to give rise to experiential and emotional effects that are in the interest of players. Finally, we propose to introduce a distinction between two varieties of deceptive design approaches based on whether they operate in an overt or a covert fashion in relation to player experience. Our analysis casts light on expressive possibilities that are not customarily part of the dominant paradigm of user-centered design, and can inform game designers in their pursuit of wider and more nuanced creative aspirations. (shrink)

The concept of Smart Healthy Age-Friendly Environments (SHAFE) emphasises the comprehensive person-centred experience as essential to promoting living environments. SHAFE takes an interdisciplinary approach, conceptualising complete and multidisciplinary solutions for an inclusive society. From this approach, we promote participation, health, and well-being experiences by finding the best possible combinations of social, physical, and digital solutions in the community. This initiative emerged bottom-up in Europe from the dream and conviction that innovation can improve health equity, foster caring communities, and sustainable (...) development. Smart, adaptable, and inclusive solutions can promote and support independence and autonomy throughout the lifespan, regardless of age, gender, disabilities, cultural differences, and personal choices, as well as promote happier and fairer living places. The New European Bauhaus initiative gathers “beautiful, sustainable, and inclusive projects and ideas” to inspire a positive transformation around us. The New European Bauhaus 2024 Festival took place between 9-13 April. “Designing the perfect New European Bauhaus neighbourhood: New European Bauhaus meets SHAFE” was a Satellite Event of the Festival, held as an online workshop, organised by the SHAFE Foundation on April 9th, 2024. At the event, a group of 50 participants with a multidisciplinary background discussed how to meet the challenges of the European Garcia family to enable them to live in a perfect neighbourhood. The White Paper presents the findings of the participants with the New European Bauhaus inspiring projects and ideas to house the European Garcia family in their neighbourhood. The White Paper recommends developers, designers, planners, and policymakers to include person-centred design of social and physical environments and technologies. Although awareness of person-centred design is growing, many initiatives still hamper the inclusion of citizens or end-users throughout the development of products and services. (shrink)

Metacognition is associated with planning, monitoring, evaluating and repairing performance Designers of elearning systems can improve the quality of their environments by explicitly structuring the visual and interactive display of learning contexts to facilitate metacognition. Typically page layout, navigational appearance, visual and interactivity design are not viewed as major factors in metacognition. This is because metacognition tends to be interpreted as a process in the head, rather than an interactive one. It is argued here, that cognition and metacognition are (...) part of a continuum and that both are highly interactive. The tenets of this view are explained by reviewing some of the core assumptions of the situated and distribute approach to cognition and then further elaborated by exploring the notions of active vision, visual complexity, affordance landscape and cue structure. The way visual cues are structured and the way interaction is designed can make an important difference in the ease and effectiveness of cognition and metacognition. Documents that make effective use of markers such as headings, callouts, italics can improve students’ ability to comprehend documents and ‘plan’ the way they review and process content. Interaction can be designed to improve ‘the proximal zone of planning’ – the look ahead and apprehension of what is nearby in activity space that facilitates decisions. This final concept is elaborated in a discussion of how e-newspapers combine effective visual and interactive design to enhance user control over their reading experience. (shrink)

Limitless is a movie (released in 2011) as well as a novel (published in 2001) about a tormented author who (plagued by a writer’s block) becomes an early user of an experimental designer drug. The wonder drug makes him highly productive overnight and even allows him to make a fortune on the stock market. At the height of his career, however, the detrimental side-effects become increasingly noticeable. In this article, Limitless is analysed from two perspectives. First of all, building (...) on the views of the French novelist Emile Zola, the novel is seen as the report of a closely monitored experiment. Subsequently, building on the phenomenology of Ludwig Binswanger, I will show how the cognitive enhancement drug not only boosts the protagonist’s information processing capacities, but also modifies his experience of space and time, his sense of spatiality, his way of being-in-the-world. On the basis of these (complementary) analyses I will indicate how genres of the imagination (such as movies and novels) may play a significant role in assessing the societal implications of emerging technological developments such as neuro-enhancement, especially during the preparatory or anticipatory stage. (shrink)

Abstract: Online book review platforms generate vast user data, making accurate rating prediction crucial for personalized recommendations. This research explores neural networks as simple models for predicting book ratings without complex algorithms. Our novel approach uses neural networks to predict ratings solely from user-book interactions, eliminating manual feature engineering. The model processes data, learns patterns, and predicts ratings. We discuss data preprocessing, neural network design, and training techniques. Real-world data experiments show the model's effectiveness, surpassing traditional methods. (...) This research can enhance user experience, book catalog organization, and aid publishers, simplifying recommendation processes and providing tailored suggestions based on user preferences. (shrink)

Preview: /Review: Brian S. Dixon, Dewey and Design: A Pragmatist Perspective for Design Research, 200 pages./ Brian S. Dixon’s book Dewey and Design provides, as the book’s subtitle declaims, a pragmatist perspective for design research. Design research is an academic field that specifically deals with the design process. Its domain-specific knowledge led to the establishment of design as an independent discipline of study in the second half of the last century. According to Dixon’s (...) description, design research consists of three major areas of investigation: the design process, the artifacts that result from this process, and the relation of these artifacts with the end-user. Dixon exposes the fruitlessness of drawing a clear dividing line, and argues that design research would be better off as a continuous, not necessarily linear, process involving “practically” all three. Concurrently, the author emphasizes the practical aspect of this continuity; on the one hand as a stark contrast to the idea of ​​purely theoretical research, on the other, from a pragmatist viewpoint, intending the knowledge of the world as full of the practical consequences of acting within it. Specifically, the pragmatist slant of Dixon’s proposal is that of John Dewey, centered on the ideas of “an experience,” “inquiry,” and “imagination”; notions aiming at providing “a robust epistemological narrative” for design research. The choice of this perspective necessarily leads Dixon to deal with problems such as the ontology of the specifically creative act of designers, distinct from the artistic one, the communicative potential of industrial artifacts, and their ethical import. (shrink)

While philosophers hold that it is patently absurd to blame robots or hold them morally responsible [1], a series of recent empirical studies suggest that people do ascribe blame to AI systems and robots in certain contexts [2]. This is disconcerting: Blame might be shifted from the owners, users or designers of AI systems to the systems themselves, leading to the diminished accountability of the responsible human agents [3]. In this paper, we explore one of the potential underlying reasons for (...) robot blame, namely the folk's willingness to ascribe inculpating mental states or "mens rea" to robots. In a vignette-based experiment (N=513), we presented participants with a situation in which an agent knowingly runs the risk of bringing about substantial harm. We manipulated agent type (human v. group agent v. AI-driven robot) and outcome (neutral v. bad), and measured both moral judgment (wrongness of the action and blameworthiness of the agent) and mental states attributed to the agent (recklessness and the desire to inflict harm). We found that (i) judgments of wrongness and blame were relatively similar across agent types, possibly because (ii) attributions of mental states were, as suspected, similar across agent types. This raised the question - also explored in the experiment - whether people attribute knowledge and desire to robots in a merely metaphorical way (e.g., the robot "knew" rather than really knew). However, (iii), according to our data people were unwilling to downgrade to mens rea in a merely metaphorical sense when given the chance. Finally, (iv), we report a surprising and novel finding, which we call the inverse outcome effect on robot blame: People were less willing to blame artificial agents for bad outcomes than for neutral outcomes. This suggests that they are implicitly aware of the dangers of overattributing blame to robots when harm comes to pass, such as inappropriately letting the responsible human agent off the moral hook. (shrink)

The exponential growth of social data both in volume and complexity has increasingly exposed many of the shortcomings of the conventional frequentist approach to statistics. The scientific community has called for careful usage of the approach and its inference. Meanwhile, the alternative method, Bayesian statistics, still faces considerable barriers toward a more widespread application. The bayesvl R package is an open program, designed for implementing Bayesian modeling and analysis using the Stan language’s no-U-turn (NUTS) sampler. The package combines the ability (...) to construct Bayesian network models using directed acyclic graphs (DAGs), the Markov chain Monte Carlo (MCMC) simulation technique, and the graphic capability of the ggplot2 package. As a result, it can improve the user experience and intuitive understanding when constructing and analyzing Bayesian network models. A case example is offered to illustrate the usefulness of the package for Big Data analytics and cognitive computing. (shrink)

The pandemic brought new norms and techniques of pedagogical strategies in formal education. The synchronous/ asynchronous video streaming brought an emphasis on virtual and augmented realities, which are rapidly replacing textbooks as the main medium for learning and teaching. This transformation requires more extensive online and interactive content with simpler user interfaces. The aim of this study is to report on the design, implementation, and testing of a game based on low-cost and user-friendly content for digital cultural (...) heritage. In this project, a game aimed at inclusive and equitable education was developed using 360° images of the targeted architectural heritage geographically distributed in a pilot site. We promote lifelong learning opportunities for all, following the SDG4, aiming for quality education with the easy-to-use online platform and easy access to immersive education through mobile platforms. Towards a post-carbon future without the need for travel, computational design methods such as using 360° videos and images in combination with virtual reality (VR) headsets allow a low-cost approach to remotely experiencing cultural heritage. We propose developing and testing a GIS-based educational game using a low-cost 360° virtual tour of architectural heritage, more specifically, caravanserais of Anatolia. (shrink)

In this paper, I'm questing the human insecurity and loneliness in a world struggling with a newfound understanding of mortality, change and technological intervention. I took Kazu Ishiguro's novel "Klara and the Sun" as it contains certain themes that depict not only the idea of struggling man in the new age, but also how the digital age is disrupting the human feelings. It reflects the patterns of the changing world while exploring the true meaning of love. Ishiguro has used a (...) science fictional lens to deeply explain how humans interact and connect and has also tried to analyze the loneliness, isolation, and emotional behavior of humans. Mentioning that, the writer has also shed light on different layers of the society and has beautifully penned the lives of people in different segments of the society. I suppose that we are ironically ill prepared for the new psychological world we are creating. Making robots which are emotionally powerful as Klara; while at the same time, hearing statements such as “technology is just a tool” that deny the power of our creations both on us as individuals and on our culture. I am concerned here with the ways technologies change our human identities and interrelations. Are the designers of these robots regarding them as just tools? Then why their users experience them as carriers of meanings and emotions? I am raising a controversial question here: is just a robot capable of exchanging emotion and love? Have humans been drained completely from the ability of reciprocating compassion and understanding? Now the point is not what computers can do or what computers will be like in the future, but rather, what we will be like? What we need to ask is not whether robots will be able to love us but rather why we might love robots. (shrink)

This overview opens with a discussion of human holistic and analytic kinds of understanding, comparing eastern and western viewpoints, focusing on their impact for usability studies. Then, the understanding of human groups and the ability to reach group agreements are briefly addressed moving on to a comparative detail regarding their impact on commercial relations. Further on, this allows approaching systems’ design while focusing on culture, moving on to a cross-country research review. Finally, based on a folkloric sketch for Chile, (...) a comparison of some defining characteristics to build a chilean user persona is presented. The text closes with a comparative review that seeks to promote the combination of qualitative and quantitative studies. (shrink)

This paper presents the design, development, and potential impact of Echoes of Union Depot, a virtual reality (VR) game aimed at promoting historic preservation and raising public awareness about El Paso's Union Depot, a building listed on the National Register of Historic Places Inventory. The game leverages the immersive capabilities of VR technology and 360° images to engage players in exploring the site's rich history and architectural evolution. Players assume the role of a time-traveling detective, guiding lost spirits to (...) resolve their past and move on. The paper outlines the development process, highlighting the use of 360° panoramic images and 3D Vista Virtual Tour Pro software to create an accessible and user-friendly experience that fosters historic preservation awareness and cultural appreciation. The study also discusses limitations and areas for future research, including expanding the scope to include other heritage sites, working with historians and cultural consultants for accurate representations, and evaluating the game's effectiveness in promoting awareness and fostering a sense of community pride. (shrink)

Recent research shows – somewhat astonishingly – that people are willing to ascribe moral blame to AI-driven systems when they cause harm [1]–[4]. In this paper, we explore the moral- psychological underpinnings of these findings. Our hypothesis was that the reason why people ascribe moral blame to AI systems is that they consider them capable of entertaining inculpating mental states (what is called mens rea in the law). To explore this hypothesis, we created a scenario in which an AI system (...) runs a risk of poisoning people by using a novel type of fertilizer. Manipulating the computational (or quasi-cognitive) abilities of the AI system in a between-subjects design, we tested whether people’s willingness to ascribe knowledge of a substantial risk of harm (i.e., recklessness) and blame to the AI system. Furthermore, we investigated whether the ascription of recklessness and blame to the AI system would influence the perceived blameworthiness of the system’s user (or owner). In an experiment with 347 participants, we found (i) that people are willing to ascribe blame to AI systems in contexts of recklessness, (ii) that blame ascriptions depend strongly on the willingness to attribute recklessness and (iii) that the latter, in turn, depends on the perceived “cognitive” capacities of the system. Furthermore, our results suggest (iv) that the higher the computational sophistication of the AI system, the more blame is shifted from the human user to the AI system. (shrink)

YouTube has been implicated in the transformation of users into extremists and conspiracy theorists. The alleged mechanism for this radicalizing process is YouTube’s recommender system, which is optimized to amplify and promote clips that users are likely to watch through to the end. YouTube optimizes for watch-through for economic reasons: people who watch a video through to the end are likely to then watch the next recommended video as well, which means that more advertisements can be served to them. This (...) is a seemingly innocuous design choice, but it has a troubling side-effect. Critics of YouTube have alleged that the recommender system tends to recommend extremist content and conspiracy theories, as such videos are especially likely to capture and keep users’ attention. To date, the problem of radicalization via the YouTube recommender system has been a matter of speculation. The current study represents the first systematic, pre-registered attempt to establish whether and to what extent the recommender system tends to promote such content. We begin by contextualizing our study in the framework of technological seduction. Next, we explain our methodology. After that, we present our results, which are consistent with the radicalization hypothesis. Finally, we discuss our findings, as well as directions for future research and recommendations for users, industry, and policy-makers. (shrink)

In this article, we apply the literature on the ethics of choice-architecture (nudges) to the realm of virtual reality (VR) to point out ethical problems with using VR for empathy-based nudging. Specifically, we argue that VR simulations aiming to enhance empathic understanding of others via perspective-taking will almost always be unethical to develop or deploy. We argue that VR-based empathy enhancement not only faces traditional ethical concerns about nudge (autonomy, welfare, transparency), but also a variant of the semantic variance problem (...) that arises for intersectional perspective-taking. VR empathy simulations deceive and manipulate their users about their experiences. Despite their often laudable goals, such simulations confront significant ethical challenges. In light of these goals and challenges, we conclude by proposing that VR designers shift from designing simulations aimed at producing empathic perspective-taking to designing simulations aimed at generating sympathy. These simulations, we claim, can avoid the most serious ethical issues associated with VR nudges, semantic variance, and intersectionality. (shrink)

Types are fundamental for conceptual modeling and knowledge representation, being an essential construct in all major modeling languages in these fields. Despite that, from an ontological and cognitive point of view, there has been a lack of theoretical support for precisely defining a consensual view on types. As a consequence, there has been a lack of precise methodological support for users when choosing the best way to model general terms representing types that appear in a domain, and for building sound (...) taxonomic structures involving them. For over a decade now, a community of researchers has contributed to the development of the Unified Foundational Ontology (UFO) - aimed at providing foundations for all major conceptual modeling constructs. At the core of this enterprise, there has been a theory of types specially designed to address these issues. This theory is ontologically well- founded, psychologically informed, and formally characterized. These results have led to the development of a Conceptual Modelling language dubbed OntoUML, reflecting the ontological micro-theories comprising UFO. Over the years, UFO and OntoUML have been successfully employed on conceptual model design in a variety of domains including academic, industrial, and governmental settings. These experiences exposed improvement opportunities for both the OntoUML language and its underlying theory, UFO. In this paper, we revise the theory of types in UFO in response to empirical evidence. The new version of this theory shows that many of OntoUML’s meta-types (e.g. kind, role, phase, mixin) should be considered not as restricted to substantial types but instead should be applied to model endurant types in general, including relator types, quality types, and mode types. We also contribute with a formal characterization of this fragment of the theory, which is then used to advance a new metamodel for OntoUML (termed OntoUML 2). To demonstrate that the benefits of this approach are extended beyond OntoUML, the proposed formal theory is then employed to support the definition of UFO-based lightweight Semantic Web ontologies with ontological constraint checking in OWL. Additionally, we report on empirical evidence from the literature, mainly from cognitive psychology but also from linguistics, supporting some of the key claims made by this theory. Finally, we propose a computational support for this updated metamodel. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

The study focused on exploring and understanding the challenges junior high school teachers in the Division of Rizal faced during the full implementation of in-person classes and identifying the coping mechanisms they employed to adapt to this new educational landscape. Forty participants were purposefully selected from various public secondary school clusters in the division of Rizal. A qualitative phenomenological design was employed, and the information collected through Google Forms was imported into Microsoft Excel and Microsoft Word. After importing the (...) data, it was coded through and looked for patterns in the meaning of the data to find themes. It was analyzed using QDA Miner Lite to make a user-friendly, accessible, and simple-to-use software for qualitative data analysis. QDA Miner Lite allowed for a quicker and more accurate breakdown of documents, enabling organization, coding, annotation, retrieval, and analysis of document and image collections. The study revealed these categories and themes: Experiences in Teaching in In-Person Classes. Teachers' experiences during the full implementation of in-person classes were categorized into five themes: Comparison to distance learning modalities, Student- centered Focus, Positive emotional experiences, Challenging Emotional experiences, and Adaptations. Comparison of Teaching Experiences. The comparison and contrast of teaching experiences between distance learning and in-person learning revealed six themes: Assessment and Progress Monitoring, Stress and Fulfillment, Effectiveness and Limitations, Technology and Connectivity, preparation and Communication, and Learning Environment and Engagement. Identified Challenges in In- Person Classes. The study identified nine challenges faced by teachers and schools during the full implementation of in-person classes. These challenges encompassed issues related to Classroom Infrastructure and Facilities, Learning Gaps and Academic Challenges, Behavioral Issues and Student Discipline, Safety, and Security, Teacher Workload and Teaching Loads, Student Engagement and Parent Involvement, Gender-Responsive Policy and Early Pregnancy, Professional Development, and Learning Materials. Coping Mechanisms for Challenges. The coping mechanisms employed by teachers in response to the identified challenges included Collaborative Support and Professional Development, Resilience, and Positivity, Student-Centered Strategies Interventions, Adaptability, and Flexibility, Emphasizing Physical and Mental Health, Effective Communication Involvement of Stakeholders, Innovative Teaching Approaches, and Reminding Purpose and Passion. The study provides valuable insights into teachers' experiences and challenges in fully implementing in-person classes. The identified coping mechanisms offer potential strategies to support educators in navigating the complexities of teaching in this environment. Educational institutions and policymakers can use these insights to develop supportive and enriching learning environments for teachers and students. By implementing targeted interventions and policies, stakeholders can optimize the teaching and learning experiences in the in-person learning setting and foster a positive and conducive educational environment. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This paper aims to outline the foundations for an ethics of digital touch. Digital touch refers to hardware and software technologies, often collectively referred to as ‘haptics’, that provide somatic sensations including touch and kinaesthesis, either as a stand-alone interface to users, or as part of a wider immersive experience. Digital touch has particular promise in application areas such as communication, affective computing, medicine, and education. However, as with all emerging technologies, potential value needs to be considered against potential (...) risk. We therefore identify some areas where digital touch raises ethical concerns, and we identify why these concerns arise, based on the distinctive physiological and functional properties of the human somatosensory system. Most scientific research in digital touch has focused on user interaction with external objects (active touch). However, the most pressing ethical concerns with digital touch technologies arise when users are being passively touched. Our analysis identifies several important questions about control, transparency, and epistemic procedure in digital touch scenarios. First, human somatosensation is “always on”, and many digital touch technologies take advantage of this (e.g., alerting systems). As a result, digital touch technologies can undermine individuals’ sensory autonomy (i.e., the right to choose what sensations one experiences). Second, users may reasonably want to know who or what is touching them, and for what purpose. Consent for digital touch will therefore need to be carefully and transparently transacted. Third, because touch gives us a special, direct experience of interacting with our physical environment, digital touch technologies that manipulate this interaction could potentially provide a major epistemic challenge, by changing a user’s basic understanding of reality and their relation to it. Informed by this discussion, we conclude by suggesting a basis for an ethical design framework for digital touch systems. (shrink)

Recent AI ethics has focused on applying abstract principles downward to practice. This paper moves in the other direction. Ethical insights are generated from the lived experiences of AI-designers working on tangible human problems, and then cycled upward to influence theoretical debates surrounding these questions: 1) Should AI as trustworthy be sought through explainability, or accurate performance? 2) Should AI be considered trustworthy at all, or is reliability a preferable aim? 3) Should AI ethics be oriented toward establishing protections for (...) users, or toward catalyzing innovation? Specific answers are less significant than the larger demonstration that AI ethics is currently unbalanced toward theoretical principles, and will benefit from increased exposure to grounded practices and dilemmas. (shrink)

The purpose of this study is to examine the relationship between users' optimal experience while surfing SNS, the sharing behavior of fake news about companies, online trust, and increased social media usage. Our theoretical framework enhances flow theory, which is conceptualized as a sequential process, involving social media users' intrinsic interest, concentration, perceived control, enjoyment, and time distortion. Relevant studies from fake news literature, online trust, and social media usage were also included to develop the hypothesis and conceptual model. (...) We conducted an empirical investigation through a questionnaire-based online survey among social media users of the most popular SNS. A convenience sample was chosen, and 922 valid responses were obtained. Using structural equations modeling we tested the research hypothesis and the proposed conceptual model. The findings show that the optimal experience of social media users can be viewed as a sequential process that influences sharing fake news about companies: intrinsic interest influences concentration, concentration influences perceived control, perceived control influences enjoyment, enjoyment influences users time distortion, and time distortion influences sharing fake news about companies on SNS. Moreover, online trust has a positive influence on sharing fake news. Also, the results of this study indicate that sharing fake news about companies while browsing SNS has a positive influence on social media usage. The paper extends the theoretical understanding of the flow theory in the social media context of an emerging market. Marketers can benefit from the results of this study when designing communication strategies via social media, as to know what content to post, how to avoid the spread of fake news, and which aspects to consider enhancing optimal experience among SNS users. (shrink)

The production of scientific instruments in America was neither a postwar phenomenon nor dramatically different from that of several other developed countries. It did, however, undergo a step-change in direction, size and style during and after the war. The American scientific instrument industry after 1945 was intimately dependent on, and shaped by, prior American and European experience. This was true of the specific genres of instrument produced commercially; to links between industry and science; and, just as importantly, to manufacturing (...) practices and cultures. I will argue that, despite the new types of instrument commercialized after the war, this historical continuity of links with science and scientists guided and constrained the design and manufacture of these products. Nevertheless, new designers, manufacturers and customers gradually transformed the culture of scientific instruments in the second half of the century. -/- This chapter deals with a subset of the American instrument industry, namely the measuring and monitoring instruments manufactured for scientific use. Even with the specification of ‘scientific’ instruments, however, these borders are rather artificial and unclear: instrument making from the seventeenth through the twentieth century has generally involved the fabrication of both standard products and custom-made devices for scientific use.2 In this context of sales quantities, ‘scientific’ instruments have often been defined as low-volume, special-order or custom devices. In a similar vein, ‘scientific’ instruments were commonly distinguished from ‘production’ instruments by context of usage, namely their very absence from – and indeed irrelevance to – production environments. This demarcation according to customer and environment was mirrored in at least one furth er respect: the training of their users. The classification into ‘scientific’ and ‘engineering’ applications was as fluid as the relationship between American universities and technical industries themselves.Despite these complementary definitions, the notion of the ‘scientific instrument’ was beginning to prove inadequate even at the turn of the twentieth century, and dramatically so when discussing the post-Second World War period. Definitions altered qualitatively after the Second World War in at least three further ways: (a) new genres of device altered the scope of the scientific instrument; (b) the contribution of State and military sponsorship of new forms of instrument became significant; and, (c) the postwar demand for specialist instruments increased rapidly, owing to wartime innovation, new applications and new customers. I will explore the evolution of instrument manufacturing in this changing context of new technology, funding, development and markets. (shrink)

The aim of this paper is to propose a new approach in the form of multimodality as a semiotic method that can be used by marketers and semioticians to induce online flow, a psychological state, on a brand website. First, we refer to multimodality as a semiotic analysis that can be used for a better optimization of semiotic resource sets in meaning-making, and we distinguish it from another similar concept: multimedia. Second, after a critical literature review, we address the flow (...) construct - a state of mind sometimes experienced by people who are deeply involved and immersed in some event, object or activity. Previous quantitative studies show a correlation between online flow experience and other variables such as design, content, sound and layout that are suggested to be its antecedents. In our study, these flow antecedents are viewed as sets of signs or modes that can be orchestrated in order to create different levels of perceived challenge for brand website users. We consider that multimodality can be used for a better optimization of these various meanings as expressed by modes that are "essentially different in nature" (Bateman, 2008, p.54). Also, we refer to the online marketing outcomes of the online flow experience, in order to outline its importance and its implications in the online environment. The main conclusion of our paper is that multimodality can be used by scholars and practitioners as a premise to induce online flow on a brand website, by optimizing the sets of signs or modes. Originality – our contribution consists of an interdisciplinary approach. We use concepts from semiotics, positive psychology, and online marketing for a better understanding of how marketers and semioticians can positively influence online customer behaviour. (shrink)

According to a tradition that we hold variously today, the relational person lives most personally in affective and cognitive empathy, whereby we enter subjective communion with another person. Near future social AIs, including social robots, will give us this experience without possessing any subjectivity of their own. They will also be consumer products, designed to be subservient instruments of their users’ satisfaction. This would seem inevitable. Yet we cannot live as personal when caught between instrumentalizing apparent persons (slaveholding) or (...) numbly dismissing the apparent personalities of our instruments (mild sociopathy). This paper analyzes and proposes a step toward ameliorating this dilemma by way of the thought of a 5th century North African philosopher and theologian, Augustine of Hippo, who is among those essential in giving us our understanding of relational persons. Augustine’s semiotics, deeply intertwined with our affective life, suggest that, if we are to own persuasive social robots humanely, we must join our instinctive experience of empathy for them to an empathic acknowledgment of the real unknown relational persons whose emails, text messages, books, and bodily movements will have provided the training data for the behavior of near-future social AIs. So doing, we may see simulation as simulation (albeit persuasive), while expanding our empathy to include those whose refracted behavioral moments are the seedbed of this simulation. If we naïvely stop at the social robot as the ultimate object of our cognitive and affective empathy, we will suborn the sign to ourselves, undermining rather than sustaining a culture that prizes empathy and abhors the instrumentalization of persons. (shrink)

The Internet of Things (IoT) infrastructure forms a gigantic network of interconnected and interacting devices. This infrastructure involves a new generation of service delivery models, more advanced data management and policy schemes, sophisticated data analytics tools, and effective decision making applications. IoT technology brings automation to a new level wherein nodes can communicate and make autonomous decisions in the absence of human interventions. IoT enabled solutions generate and process enormous volumes of heterogeneous data exchanged among billions of nodes. This results (...) in Big Data congestion, data management, storage issues and various inefficiencies. Fog Computing aims at solving the issues with data management as it includes intelligent computational components and storage closer to the data sources. Often, an IoT-enabled infrastructure is shared among many users with various requirements. Sharing resources, sharing operational costs and collective decision making (consensus) among many stakeholders is frequently neglected. This research addresses an essential requirement for adaptive, autonomous and consensus-based Fog computational solutions which are able to support distributed and in-network schemes and policies. These network schemes and policies need to meet the requirements of many users. In this work, innovative consensus-based computational solutions are investigated. These proposed solutions aim to correlate and organise data for effective management and decision making in Fog. Instead of individual decision making, the algorithms aim to aggregate several decisions into a consensus decision representing a collective agreement, benefiting from the individuals variant knowledge and meeting multiple stakeholders requirements. In order to validate the proposed solutions, hybrid research methodology is involved that includes the design of a test-bed and the execution of several experiments. In order to investigate the effectiveness of the paradigm, three experiments were designed and validated. Real-life sensor data and synthetic statistical data was collected, processed and analysed. Bayesian Machine Learning models and Analytics were used to consolidate the design and evaluate the performance of the algorithms. In the Fog environment, the first scenario tests the Aggregation by Distribution algorithm. The solution contribute in achieving a notable efficiency of data delivery obtained with a minimal loss in precision. The second scenario validates the merits of the approach in predicting the activities of high mobility IoT applications. The third scenario tests the applications related to smart home IoT. All proposed Consensus algorithms use statistical analysis to support effective decision making in Fog and enable data aggregation for optimal storage, data transmission, processing and analytics. The final results of all experiments showed that all the implemented consensus approaches surpass the individual ones in different performance terms. Formal results also showed that the paradigm is a good fit in many IoT environments and can be suitable for different scenarios when applying data analysis to correlate data with the design. Finally, the design demonstrates that Fog Computing can compete with Cloud Computing in terms of accuracy with an added preference of locality. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and (...) interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Abstract: What follows is a contribution to the field of user modeling for adaptive teaching and learning programs especially in the medical field. The paper outlines existing approaches to the problem of extracting user information in a form that can be exploited by adaptive software. We focus initially on the so-called stereotyping method, which allocates users into classes adaptively, reflecting characteristics such as physical data, social background, and computer experience. The user classifications of the stereotyping method (...) are however ad hoc and unprincipled, and they can be exploited by the adaptive system only after a large number of trials by various kinds of users. We argue that the remedy is to create a database of user ontologies from which readymade taxonomies can be derived in such a way as to enable associated software to support a variety of different types of users. (shrink)

The article examines the principles of Giancarlo De Carlo’s design approach. It pays special attention to his critique of the modernist functionalist logic, which was based on a simplified understanding of users. De Carlo′s participatory design approach was related to his intention to replace of the linear design process characterising the modernist approaches with a non-hierarchical model. Such a non-hierarchical model was applied to the design of the Nuovo Villaggio Matteotti in Terni among other projects. A (...) characteristic of the design approach applied in the case of the Nuovo Villaggio Matteotti is the attention paid to the role of inhabitants during the different phases of the design process. The article explores how De Carlo’s “participatory design” criticised the functionalist approaches of pre-war modernist architects. It analyses De Carlo’s theory and describes how it was made manifest in his architectural practice—particularly in the design for the Nuovo Villaggio Matteotti and the master plan for Urbino—in his teaching and exhibition activities, and in the manner his buildings were photographs and represented through drawings and sketches. The work of Giancarlo De Carlo and, especially, his design methods in the case of the Nuovo Villaggio Matteotti can help us reveal the myths of participatory design approaches within the framework of their endeavour to replace the representation of designers by a representation of users. The article relates the potentials and limits of De Carlo’s participatory design approach to more contemporary concepts such as “negotiated planning”, “co-production”, and “crossbenching”. The article also intends to explore whether there is consistency between De Carlo’s theory of participation and its application. (shrink)

100 years after creating the Federal Reserve System (FED), whose legality and modus operandi remains questionable, there is time to rethink the national and also international payment system as a whole. The key element of existing economic relationships is the money that makes barter-free exchange possible. But monetary economics is only one aspect of more common political framework designed and established for retention of power. Such egoistic political interest proves its own relevancy and exerts ideological pressure on economic thought that (...) consequently forms economic and political institutions. In an effort to breake a rule, and to end the circuit of capitalistic self-fullfilling prophecy, a different economic model based on joint ownership (userization) is taken into consideration. This manuscript gives explanatory statements on userization and substantiates its advantageous social and environmental appropriateness. (shrink)

Can an ugly experiment be a good experiment? Philosophers have identified many beautiful experiments and explored ways in which their beauty might be connected to their epistemic value. In contrast, the present chapter seeks out (and celebrates) ugly experiments. Among the ugliest are those being designed by AI algorithms. Interestingly, in the contexts where such experiments tend to be deployed, low aesthetic value correlates with high epistemic value. In other words, ugly experiments can be good. Given this, we should conclude (...) that beauty is not generally necessary or sufficient for epistemic value, and increasing beauty will not generally tend to increase epistemic value. (shrink)

Experimental design is one aspect of a scientific method. A well-designed, properly conducted experiment aims to control variables in order to isolate and manipulate causal effects and thereby maximize internal validity, support causal inferences, and guarantee reliable results. Traditionally employed in the natural sciences, experimental design has become an important part of research in the social and behavioral sciences. Experimental methods are also endorsed as the most reliable guides to policy effectiveness. Through a discussion of some of the (...) central concepts associated with experimental design, including controlled variation and randomization, this chapter will provide a summary of key ethical issues that tend to arise in experimental contexts. In addition, by exploring assumptions about the nature of causation and by analyzing features of causal relationships, systems, and inferences in social contexts, this chapter will summarize the ways in which experimental design can undermine the integrity of not only social and behavioral research but policies implemented on the basis of such research. (shrink)

Research within the H2020 PROGRESSIVE project has identified good practices in user co-production strategies and methodologies. Early findings from research in the PROGRESSIVE project were shared with relevant stakeholders outside the consortium for consultation and review. The outcomes of that initial investigation highlighted the need to focus on the objectives, processes, and methods used in user and older people co-production. This guide adapts these insights and makes them relevant specifically for standardisation in ICT for active and healthy ageing. (...) This guide was approved by representatives of the PROGRESSIVE project on 22 February 2018. The consortium has requested comments from interested stakeholders in an enquiry from 1 March to 30 April 2018. The PROGRESSIVE guide was approved on 5 June 2018. (shrink)

This article starts an engagement on the aesthetics of experiments and offers an account for analysing how aesthetics features in the design, evaluation and reception of experiments. I identify two dimensions of aesthetic evaluation of experiments: design and significance. When it comes to design, a number of qualities, such as simplicity, economy and aptness, are analysed and illustrated with the famous Meselson-Stahl experiment. Beautiful experiments are also regarded to make significant discoveries, but I argue against a narrow (...) construal of experimental aims. By drawing on the plurality of goals experimenters have and diversity of aesthetic responses, I argue that experiments are aesthetically appreciated both when they discover and when they produce disruptive results. (shrink)

According to contextualism, vast majority of natural-language expressions are context-sensitive. When testing whether this claim is reflected in Folk intuitions, some interesting methodological questions were raised such as: which experimental design is more appropriate for testing contextualism – the within- or the between-subject design? The main thesis of this paper is that the between-subject design should be preferred. The first experiment aims at assessing the difference between the results obtained for within-subjects measurements (where all participants assess all (...) contexts) and between-subject measurements (where respondents evaluating different contexts are distinct groups). It is shown that the within-subject design provides data that seems to support contextualism. However, I present an alternative, invariantist interpretation of these results, therefore showing that the within-subject design does not allow to empirically distinguish between contextualism and invariantism. The second experiment further elaborates the issue of how perceiving the contrast between contexts can affect subjects’ judgments – I show that certain kinds of contexts may elicit opposite intuitions when contrasted with different contexts. (shrink)

Designing a virtual environment within a digital game occupies a large part of the design procedure, requiring holistic attention and a broad arrangement of the game constituents. Considering other design disciplines, they occupy a unified design methodology; however, a comprehensive literature review reveals the lack of the intended design methodology in the digital game domain's virtual environment development, despite a currently proposed theoretical methodology trying to dissolve the issue. Hence, this research aims to determine the industry's (...) requirements and provide a set of assets included in current digital games as an initial step of providing such a design methodology for the domain. In this regard, the researchers reverse-engineered ten selected digital games, understanding the current condition of digital games via adopting the mentioned currently available design methodology. This dataset reveals a lack in the assets of the story layer in the recent digital games, despite their focus on being story-based. This dilemma leads to long text or speech conversations between game characters, disrupting the players while following the game. The current design focuses on environmental resources only, however, as a virtual landscape, the story needs to be reinforced to be a balanced and well-designed game. Hence, increasing the ratio of the assets in this layer will advance the games' interactivity. Also, as future work, this data set could pave the way for a digital game industry design tool regarding the virtual environment. (shrink)

Les professionnels ont par définition un public bénéficiaire de leurs services : le patient pour le médecin, le psychologue ou l’infirmière ; le client pour l’avocat ; le consommateur pour le gestionnaire d’une entreprise commerciale ; etc. L’usager ou l’habitant du cadre bâti constitue un des destinataires des services professionnels du designer d’intérieur. De quelle manière peut-on apprendre aux étudiants/futurs professionnels du design d’intérieur à se mettre à la place de l’usager/habitant des espaces qu’ils conçoivent ? Le concept de (...) l’empathie, communément décrit comme la capacité de se mettre à la place de l’autre, de le comprendre et de ressentir ses sentiments et ses émotions, est bien adapté pour explorer cette attitude. Cet article est composé de deux parties. La première présente une expérience pédagogique en design d’intérieur où des étudiants apprennent à se représenter les usagers de leur projet d’aménagement en utilisant un outil méthodologique appelé « boussole éthique ». Cette boussole est constituée essentiellement de trois pôles qui renvoient aux trois rapports fondamentaux de l’être humain tels qu’étudiés dans la tradition stoïcienne : rapport à soi-même, à autrui et à la nature. Dans la seconde par- tie, l’article met en relief plusieurs éléments théoriques qui permettent de comprendre, de consolider et, éventuellement, de faire évoluer les bases conceptuelles qui sous-tendent cette démarche. Il s’agira notamment des théories éthiques et de certaines approches spécifiques au concept de l’empathie. (shrink)

We propose four policies of ethical design of human-grade Artificial Intelligence. Two of our policies are precautionary. Given substantial uncertainty both about ethical theory and about the conditions under which AI would have conscious experiences, we should be cautious in our handling of cases where different moral theories or different theories of consciousness would produce very different ethical recommendations. Two of our policies concern respect and freedom. If we design AI that deserves moral consideration equivalent to that of (...) human beings, that AI should be designed with self-respect and with the freedom to explore values other than those we might impose. We are especially concerned about the temptation to create human-grade AI pre-installed with the desire to cheerfully sacrifice itself for its creators’ benefit. (shrink)

The spreading of false information on social media platforms is becoming increasingly common and thus, is creating an epistemic environment where people don’t know what to believe. Within this essay, I will argue that measures should be taken to address and reduce the spreading of false information on social media platforms, furthermore, accountability mechanisms should be implicated in order to do so.