Knowledge and the artefact

This paper discusses ways that knowledge may be found in or through artefacts. One purpose is to suggest situations where artefacts might be central to a narrative, rather than secondary to a text. A second purpose is to suggest ways that design and production of artefacts might be instrumental in eliciting knowledge. Four general situations are proposed: (1) Simple Forms - an artefact demonstrates or describes a principle or technique. (2) Communication of Process - artefacts arising from a process make the process explicit. (3) Artefacts Within the Research - artefacts are instrumental in advancing the research by communicating ideas or information. (4) Knowledge Elicited by Artefacts - artefacts provide a stimulus or context which enables information to be uncovered. .</p

Comparison of engagement and emotional responses of older and younger adults interacting with 3D cultural heritage artefacts on personal devices

The availability of advanced software and less expensive hardware allows museums to preserve and share artefacts digitally. As a result, museums are frequently making their collections accessible online as interactive, 3D models. This could lead to the unique situation of viewing the digital artefact before the physical artefact. Experiencing artefacts digitally outside of the museum on personal devices may affect the user's ability to emotionally connect to the artefacts. This study examines how two target populations of young adults (18–21 years) and the elderly (65 years and older) responded to seeing cultural heritage artefacts in three different modalities: augmented reality on a tablet, 3D models on a laptop, and then physical artefacts. Specifically, the time spent, enjoyment, and emotional responses were analysed. Results revealed that regardless of age, the digital modalities were enjoyable and encouraged emotional responses. Seeing the physical artefacts after the digital ones did not lessen their enjoyment or emotions felt. These findings aim to provide an insight into the effectiveness of 3D artefacts viewed on personal devices and artefacts shown outside of the museum for encouraging emotional responses from older and younger people

Metallurgy of armour exhibited at the Palace Armoury, Valletta, Malta

The metallurgy of ten armour pieces from the Palace Armoury Collection in Malta was examined. Results showed that out of ten artefacts examined, six were produced in low carbon steel, one from a high carbon steel and three were made from wrought iron. One of the wrought iron armour pieces was fabricated from a phosphoric iron, an unusual material for these artefacts. All the steel artefacts exhibited a ferrite-pearlite microstructure. In their manufacture, no attempts had been made at producing martensite by full or slack quenching. All metal fragments contained slag inclusions. The elongated nature of the latter suggested that these artefacts were forged into shape.peer-reviewe

A report on the examination of animal skin artefacts from the Bronze Age salt mines of Hallstatt, Austria

The aim of this report is to describe the ten animal skin fragments and artefacts, and to discuss these in relation to the qualities and role of skins as a cloth technology in the Bronze Age. This includes the colour and texture, dimensions and thickness, sewing, seams and edges, use and reuse of these artefacts. These fragments and artefacts have not been studied before and add to the previously published findings of animal skin artefacts from the Bronze Age salt mine. They will be discussed in comparison to recent analysis of the textile finds from the same site and in relation to the context of animal skins in the Bronze Age

Accounting for knowledge embedded in physical objects and environments : the role of artefacts in transferring knowledge

The intention to investigate the role of artefacts (objects and environments) in codifying, embedding and disseminating knowledge was inspired by an awareness that organisations across all sectors are increasingly being asked not only to provide products in the first instance, but also to support them throughout their service life. Thus a move from product-delivery to product-service designs is suggested. This paper considers ways in which knowledge can be embedded into the physical properties of artefacts and how this can consequently aid the dissemination and management of knowledge in and across stages of life cycles. A literature review and fieldwork based on an ethnomethodological approach are used to investigate this topic. Accounts of the situated meaning of artefacts within social processes are obtained using ethnographic armchair research. Unique adequacy is used to achieve an understanding of how people make sense of artefacts. The initial findings of the current research show that knowledge can be embedded or encoded into the physical properties of artefacts and that this can be successfully transferred from artefact to user

Experiential Role of Artefacts in Cooperative Design

The role of material artefacts in supporting distributed and co-located work practices has been well acknowledged within the HCI and CSCW research. In this paper, we show that in addition to their ecological, coordinative and organizational support, artefacts also play an ‘experiential’ role. In this case, artefacts not only improve efficiency or have a purely functional role (e.g. allowing people to complete tasks quickly), but the presence and manifestations of these artefacts bring quality and richness to people’s performance and help in making better sense of their everyday lives. In a domain like industrial design, such artefacts play an important role for supporting creativity and innovation. Based on our prolonged ethnographic fieldwork on understanding cooperative design practices of industrial design students and researchers, we describe several experiential practices that are supported by mundane artefacts like sketches, drawings, physical models and explorative prototypes – used and developed in designers’ everyday work. Our main intention to carry out this kind of research is to develop technologies to support designers’ everyday practices. We believe that with the emergence of ubiquitous computing, there is a growing need to focus on personal, emotional and social side of people’s everyday experiences. By focusing on the experiential practices of designers, we can provide a holistic view in the design of new interactive technologies

Methodological Artefacts in Consciousness Science

Consciousness is scientifically challenging to study because of its subjective aspect. This leads researchers to rely on report-based experimental paradigms in order to discover neural correlates of consciousness (NCCs). I argue that the reliance on reports has biased the search for NCCs, thus creating what I call 'methodological artefacts'. This paper has three main goals: first, describe the measurement problem in consciousness science and argue that this problem led to the emergence of methodological artefacts. Second, provide a critical assessment of the NCCs put forward by the global neuronal workspace theory. Third, provide the means of dissociating genuine NCCs from methodological artefacts

Eliminating artefacts in polarimetric images using deep learning

Polarization measurements done using Imaging Polarimeters such as the Robotic Polarimeter are very sensitive to the presence of artefacts in images. Artefacts can range from internal reflections in a telescope to satellite trails that could contaminate an area of interest in the image. With the advent of wide-field polarimetry surveys, it is imperative to develop methods that automatically flag artefacts in images. In this paper, we implement a Convolutional Neural Network to identify the most dominant artefacts in the images. We find that our model can successfully classify sources with 98 per cent true positive and 97 per cent true negative rates. Such models, combined with transfer learning, will give us a running start in artefact elimination for near-future surveys like WALOP

Technology Games

Technology games are parts of ways of life. The rules of technology games are the customary restrained practices people engage in, in consort with artefacts. Artefacts are not media shaping themselves more closely around human needs but are active participants in technology games which constitute nations, genders, professions and so on. Gradually, the technological ecology changes and consequently self-images change. Engineering is itself a technology game that attempts to turn visions of other technology games into a material form. Engineers are thus cultural leaders who regulate self-images through innovations in artefacts and proposed rules for their use