Cultures of Technologies and Interfaces
InterFace Portraits: Communicative-Expressive Interaction with a Character's Mind
by Noam Knoller
Published in: SRMC ' 04 - Proceedings of the first workshop on Story Representation, Mechanism and Context (October 15, 2004, New York, NY, USA), ACM Press, New York, NY, USA, 2004
In this paper, I introduce the notion of communicative-expressive interaction with a character's mind, within an... more In this paper, I introduce the notion of communicative-expressive interaction with a character's mind, within an interactive fiction video. It is an interaction model that allows a participant continuous interaction with a story as a way of increasing the participant's agency and immersion and consequently both the sense of engagement and the meaning of the interactive experience in its relation to the story. I describe a work-in-progress system called the InterFace Portrait Storyteller, in which participants use familiar gestures performed on a touch screen to explore the character's mind, which is constructed as a diegetic space. I also describe two interactive video installations, "One Measure of Happiness" and "Have I Lost My Plot?" within which the system interacts with either narrative or non-narrative approaches to the representation of diegtic space.
Technology and the Fleshly Interface in Forster’s “The Machine Stops”: An Ecocritical Appraisal of a One-Hundred Year Old Future
by Alf Seegert
Published in 'Journal of Ecocriticism,' 2 (1), January 2010.
As a prescient critique of telepresence technologies like the Internet, “The Machine Stops” satirizes hypermediated... more As a prescient critique of telepresence technologies like the Internet, “The Machine Stops” satirizes hypermediated contact and in its place valorizes contact made with the fleshly body-—so much so, that it fantasizes the removal of all technological mediations between that body and the “real.” This move carries strong ecocritical implications in its suggestion that all authentic connection—whether between people themselves or between people and the earth—must be corporeal. The narrator’s apology on behalf of “beautiful naked man” (122) and his nostalgia for the robust, technology-free body are, however, both problematic. Forster appears to conflate nakedness and fleshly connection with unmediated contact or “full presence,” a view that raises many potential criticisms and questions. If the body proves to be but one kind of mediating interface itself, then on what grounds should the mode of fleshly connection be privileged over interactions mediated by motors, buttons, and video screens? If all contact must be mediated somehow, does it even make sense to consider one type of interface as “more authentic” than another? Is it right to equate nakedness with freedom from technology? In this paper I use an ecocritical perspective to explore such questions in the text, focusing in particular on Forster’s depiction of technology as devastating to both the human body and to the experience of space and place. The timeliness of such concerns suggests that “The Machine Stops” might prove even more significant in the hypermediated world of today than it was a hundred years ago for questioning the relationship between corporeality, representation, and nature.
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Seen by:Power over Mediated Agency and its Ethical Implications for Interaction Design
AMSTEL, F. M. C. van. Power over Mediated Agency and its Ethical Implications for Interaction Design. 2007, Curitiba. Anais do 2o. Simpósio Nacional de Tecnologia e Sociedade, 2007.
There is little discussion about power within Interaction Design field. To call attention to this issue, we present a... more
There is little discussion about power within Interaction Design field. To call attention to this issue, we present a model for discussing conflicts that arises at the human-artifact interface.
We argue that artifacts support human behavior by providing adaptations, but these adaptations can expand or restrict human actions. Human action cannot be fully controlled by artifact adaptation because humans have power over their agency: they can readapt the artifact or not use it at all. Many times, interaction designers try to impose structures upon human action by shaping coercive environments where people are punished if they do things the “wrong way” and by hiding or not providing options for changing artifact adaptations. Interaction design mediates human agency and power, but if it does not provide choices for action, there is no room for ethics: people act based on conditions, not on considerations of what should be done.
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Seen by:Structural Cognition: 60 Skills----The Role of Structure in High Performer Cognition--People Who Apply Ordinary Cognitive Operators Not to 1 or a Few Ideas at Once but to Structured Patterns of 60 to 100 Ideas with the Same Quality and Time
Structural Cognition: 60 Skills
The Role of Structure in High Performer Cognition--
People Who Apply... more
Structural Cognition: 60 Skills
The Role of Structure in High Performer Cognition--
People Who Apply Ordinary Cognitive Operators Not to 1 or a Few Ideas at Once but to Structured Patterns of 60 to 100 Ideas with the Same Quality and Time
Research Question 1 BASIS OF HIGH MENTAL PERFORMANCES: What does either talent or professional practice generate that causes high mental performance?
Research Question 2 WHAT DOES NON-LINEAR AMPLIFICATION OF INITIAL DIFFERENCES PRODUCE: When slight initial differences in ability, via use, produce slightly better rewards, which constitutes practice of use increasing ability slightly increasing rewards slightly---what does this positive feedback of escalating investment/rewards produce that enables great mental performance? What doe more practice produce that makes for high performance results?
Psychology research on abilities and competencies has diverged into two competing approaches--the innate talent approach and the professional practice approach. Non-linear system dynamics phenomena have been used as bridges between those two, recently, for example, suggesting a rich get richer exponential growth link between slight initial differences in talent amplified by slight recognition and reward differences into larger efforts, producing larger recognition and reward, and so on (and a Simonton thesis about non-linear combinations of genes).
This article adds a fourth factor--structure--among talent, professional practice, and non-linear amplification. Non-linear amplification, more rewards causing more practice causing more rewards, seems to work, when actual transcripts are reviewed, by layered automation of operations--lists of mental operations in sequence, turned into hierarchies having conscious lists of categories under each of which are sequence-lists of operation practiced into unconscious operation, such hierarchies made fractal by ordering patterns copied across levels, then the fractal hierarchies regularized in branch factor and naming conventions within/across levels.
Method 1 BROAD SURVEY OF DIVERSE MENTAL HIGH PERFORMERS FOR MENTAL PROTOCOL CONTENTS: Transcripts of many diverse experts handling tough and creativity-requiring cases reviewed for common mental growth between novice and expert levels of performance on specific tasks.
177 transcripts of 77 experts in 42 different fields were reviewed for this paper to produce a categorical model of 60 domains of cognitive high performance where a particular structure (of ideas or actions) produced significantly better cognitive performance than average (both the structure, the cognitive high performance attained via it, and the disorder reduced or removed by the structure are presented in the model for each of the 60 domains). Replacing disorder with order seems to lubricate, speed up, make more comprehensive and accurate lists, hierarchies of lists, fractalized hierarchies, regularized fractal hierarchies, multiplied regularized fractalized hierarchies--allowing more items of great diversity to be considered in relation to each other in the same amount of time and effort.
Result 1 FIVE ROLES OF STRUCTURE IN HIGH COGNITIVE PERFORMANCE: 1) lists, 2) hierarchies of categorized lists, 3) fractal-ized hierarchies, 4) regularized fractal hierarchies, 5) with such hierarchies multiplied to form tables and matrices---in sequence emerge as novice-hood gives way to expert performance.
Result 2 TWO HYPOTHESES--THE ULTIMATE STRUCTURE AND THE VOLUME-DIVERSITY DRIVE:
a. the multiplied-regularized-indexed-lists form will be found in the highest performers of all major cognitive functions as key to their achievement of that performance.
b. the ultimate structure--multiplied-regularized-fractalized-indexed-lists--emerges from professional practice because high performers achieve high cognitive performance in any cognitive function via handling more items/ideas/actions and more diversity of items/ideas/actions than average performers, "chunking" now made-by-practice unconscious contents under still conscious categories which categories are themselves later made by practice unconscious similarly.
Result 3 AMBIGUOUS ROLE OF REGULARIZATION--regularizing a structure decreases attention it draws and holds while making it better liked because easy to process = easy access easy ignoring.
The initial provisional result is a structure-performance hypothesis including trade-offs among factors and four roles of structure in attaining high cognitive performance. Ambiguities in the role of structure in cognitive high performance are discussed. One particular ambiguity, whether more topologically regular structure improves or hinders cognitive high performance, though not resolved in this research, is well framed and discussed herein. Two hypotheses result, finally, from reviewing the 60 cases of cognitive high performance herein--the Ultimate Structure hypothesis, and the Volume and Diversity Drive hypothesis. Subsequent research should confirm or deny them, this paper suggests.
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