Design Ltd.: Renovated Myths for the Development of Socially Embedded Technologies

This paper argues that traditional and mainstream mythologies, which have been continually told within the Information Technology domain among designers and advocators of conceptual modelling since the 1960s in different fields of computing sciences, could now be renovated or substituted in the mould of more recent discourses about performativity, complexity and end-user creativity that have been constructed across different fields in the meanwhile. In the paper, it is submitted that these discourses could motivate IT professionals in undertaking alternative approaches toward the co-construction of socio-technical systems, i.e., social settings where humans cooperate to reach common goals by means of mediating computational tools. The authors advocate further discussion about and consolidation of some concepts in design research, design practice and more generally Information Technology (IT) development, like those of: task-artifact entanglement, universatility (sic) of End-User Development (EUD) environments, bricolant/bricoleur end-user, logic of bricolage, maieuta-designers (sic), and laissez-faire method to socio-technical construction. Points backing these and similar concepts are made to promote further discussion on the need to rethink the main assumptions underlying IT design and development some fifty years later the coming of age of software and modern IT in the organizational domain.Comment: This is the peer-unreviewed of a manuscript that is to appear in D. Randall, K. Schmidt, & V. Wulf (Eds.), Designing Socially Embedded Technologies: A European Challenge (2013, forthcoming) with the title "Building Socially Embedded Technologies: Implications on Design" within an EUSSET editorial initiative (www.eusset.eu/

The Bloody Summer of 1863: How Memory and Commemoration have Shaped the History of the Battle of Gettysburg

The Battle of Gettysburg often exists in the minds of the general public as the most significant battle of the American Civil War. However, at the same time, the battle over control of the Mississippi River was reaching its climax at Vicksburg, which often receives less attention. Despite the apparent significance of controlling the southern stronghold of Vicksburg, a majority of memory of the Civil War rests within the confines of the Battle of Gettysburg. Through the research of primary and secondary sources, I will establish the military history of the Battle of Gettysburg and the Siege of Vicksburg. I then look at the significance of memory construction amidst conflict and how it affects the immediate creation of history. I then examine how these battles have been commemorated and how these practices have changed over time. Through this analysis, I will develop a clearer understanding of the Battle of Gettysburg’s significance within the context of the American Civil War

Cinema of poverty: Independence and simplicity in an age of abundance and complexity

Over the past 25 years of writing, producing and directing, my aspirations as a creative artist in film have shifted from a paradigm in which the scale and scope of financial and human resources shaped not only the creative intentions of a project, but the very definition of what made something ‘cinematic’, to a new paradigm in which poverty - both in terms of resources and, more philosophically, in terms of artistic expression - has become one of the defining features of my artistic aspiration and my understanding of a new cinema. This development has interacted with parallel developments in technologies of production, distribution and exhibition, of a kind and scale I never envisaged when first embarking on a career in film, and has, for me, led to a kind of creative liberation which I am only now beginning to fully understand. Traditionally, human and financial resources have been considered essential for the production of quality, creative narrative films. In this article, I shall reflect on my own practice to explore how poverty can enhance the creative engagement with the medium and lead to the development of new and innovative approaches to, amongst other things, narrative imagery and, in so doing, explore how poverty can introduce new and original approaches to cinematic story-telling

“While the imagination strains / after deer”: William Carlos Williams’s Interrogations of the American Transcendental Imagination and the Proto-Suburban Scene

Oftentimes the American suburbs are considered through the lens of architecture, economics, fiction, and visual media. And, typically, the conversation centers on their cultural zenith in the 1950s. One literary form is neglected in this conversation: poetry. This omission is peculiar, as a fascination with the vastness of the continent’s landscape—and its significance—pervades the history of the American verse. For Ralph Waldo Emerson, the apparently endless expanses of space and rejuvenative qualities of the American landscape provide the poet’s ideal inspiration, and Walt Whitman, in perhaps the most important collection of poetry of the nineteenth century, Leaves of Grass, is very much concerned with rendering the American experience through the landscape. As America approached modernity, suburbanization subsumed the American Romantic attitude toward the landscape and the evacuated rural spaces outside of urban cores to produce a new space for the bourgeois upper class. This relocation of the emergent bourgeois upper class to the outskirts of the city created a new hybridized space for Modernist poets to consider. William Carlos Williams’s poetry stands out from that of his Modernist counterparts in that it is able to identify and dismantle the illusion of proto-suburban spaces. That is to say, Williams notices that both the American proto-suburbs and the pastoral ideal rely upon ignoring the material reality of the rural and suburban poor. Through an analysis of Williams’s poetry, the history of the pastoral form, the history of the American suburbs, and contemporary literary criticism, this essay will consider how Williams responded to the subsumption of the American countryside

EDUCATION AS MYTHIC IMAGE

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in expressive representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley

“To fly is more fascinating than to read about flying”: British R.F.C. Memoirs of the First World War, 1918-1939

Literature concerning aerial warfare was a new genre created by the First World War. With manned flight in its infancy, there were no significant novels or memoirs of pilots in combat before 1914. It was apparent to British publishers during the war that the new technology afforded a unique perspective on the battlefield, one that was practically made for an expanding literary marketplace. As such former Royal Flying Corps pilots created a new type of war book, one written by authors self-described as “Knights in the Air”, a literary mythology carefully constructed by pilots and publishers and propagated in the inter-war period through flight memoirs. [excerpt

Derek Mahon's Seascapes Mediated through Greece: Antiquity in Modernity, Nature in Abstraction.

The article investigates various approaches to seascape in selected poems of the contemporary Irish poet, Derek Mahon, set against the background of references to Michael Longley, Seamus Heaney or Odysseus Elytis. The sea provides a perspective that cannot be overestimated in trying to get an insight into the communication and the clash between the culture of the South and the North. The two nations have often glimpsed at their reflection in the mirror of the surrounding seas, their history and mentality determined by their geographical position and largely insular experience. Elements such as the isolation from the mainland; the perception of the sea as a personification of the force ruling over life and death, as a threat and a promise; or the focus on some characteristic natural phenomena such as light or surface dominate the seascape imagery both in Greek and Irish literature. The sea often constitutes a border of antagonistic and complementary worlds: dream and reality, light and darkness, male and female, the real world and the underworld – and the vantage point of the poet changes accordingly. Some poems under discussion also explore a series of myths linked with the sea, the best known of which, the Odyssey, has remained a frame of reference for numerous contemporary Greek and Irish poets. Elytis's Cyclades or Longley's Mayo provide us with examples of 'private homelands'. As Longley once observed, “his part of Mayo” reminds him of Ithaca (sandy and remote) and of Greece in general: “I’ve often thought that that part of Ireland . . . looks like Greece. Or Greece looks like a dust-bowl version of Ireland,” which triggers further deliberations on seascape as the common ground for the two countries. Just as Elytis's Cyclades or Longley's Mayo, Mahon’s Cyclades provide us with examples of 'private homelands'. The focus of this article is Derek Mahon’s seascapes: purely Greek (‘Aphrodite’s Pool’), Irish seen through the prism of the Greek ones (‘Achill’) and purely Irish (‘Recalling Aran’). The level of abstraction in the last category is compared with Odysseus Elytis’s imagery of the Cyclades, while the first poem demystifies a practice which I termed as ‘myth trading’, one of consumerist tourism techniques

Capturing the Visitor Profile for a Personalized Mobile Museum Experience: an Indirect Approach

An increasing number of museums and cultural institutions around the world use personalized, mostly mobile, museum guides to enhance visitor experiences. However since a typical museum visit may last a few minutes and visitors might only visit once, the personalization processes need to be quick and efficient, ensuring the engagement of the visitor. In this paper we investigate the use of indirect profiling methods through a visitor quiz, in order to provide the visitor with specific museum content. Building on our experience of a first study aimed at the design, implementation and user testing of a short quiz version at the Acropolis Museum, a second parallel study was devised. This paper introduces this research, which collected and analyzed data from two environments: the Acropolis Museum and social media (i.e. Facebook). Key profiling issues are identified, results are presented, and guidelines towards a generalized approach for the profiling needs of cultural institutions are discussed