Shape interpretation with design computing

How information is interpreted has significant impact on how it can be used. This is particularly important in design where information from a wide variety of sources is used in a wide variety of contexts and in a wide variety of ways. This paper is concerned with the information that is created, modified and analysed during design processes, specifically with the information that is represented in shapes. It investigates how design computing seeks to support these processes, and the difficulties that arise when it is necessary to consider alternative interpretations of shape. The aim is to establish the problem of shape interpretation as a general challenge for research in design computing, rather than a difficulty that is to be overcome within specific processes. Shape interpretations are common characteristics of several areas of enquiry in design computing. This paper reviews these, brings an integrated perspective and draws conclusions about how this underlying process can be supported

JuxtaLearn D3.2 Performance Framework

This deliverable, D3.2, for Work Package 3 incorporating the pedagogy from WP2 and orchestration factors mapped in D3.1 reviews aspects of performance in the context of participative video making. It reviews literature on curiosity and engagement characteristics of interaction mechanisms for public displays and anticipates requirements for social network analysis of relevant public videos from WP6 task 6.3. Thus, to support JuxtaLearn performance it proposes a reflective performance framework that encompasses the material environment and objects required, the participants, and the knowledge needed

Language and emotive factors : the outline of problems involved

The cognitive framework seems to comply with the need of interdisciplinary outlook on the issue of emotions, as it itself draws upon findings of psychological, anthropological and philosophical research. Along with undertaking further studies on the conceptualization of emotions in different languages, from the detailed analysis of the repertoire of linguistic means used for talking about emotions to investigation into tendencies to use metaphors or metonymies to talk about emotions, some broader conclusions could be drawn. The greatest challenge seems to be establishing whether there are any cultural (social, economical, conventional, political, religious) conditions that may influence the relevant changes in conceptualizing emotions in different languages and whether it is possible to point to any laws or regularities that would govern these changes

A closer look at creativity as search

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Editorial: Perceptual issues surrounding the electroacoustic listening experience

The file attached to this record is the author's final peer reviewed version. The Publisher's final version can be found by following the DOI link

'In countries so unciviliz'd as those?': the language of incivility and the British experience of the world

’Civilisation’, wrote Arnold J. Toynbee in the 1950s, ‘is a movement, not a condition; it is a voyage, not a harbour.’1 In a similar vein, the ways in which peoples and nations have thought others to be civilised, or uncivilised, have altered and changed over time. This development is true particularly of the contact over the past 1,000 years between the British and those they thought to be, and deemed, ‘uncivilised’. The ways in which British writers represented and constructed these ‘uncivilised’ peoples in their factual narratives and explanations, and the extent to which those writers engaged with shifting and changing conceptions of such people, allow an insight into the reactions and attitudes of the British towards those they encountered through imperial expansions and travel abroad. This chapter therefore seeks to analyse the ways in which the English-speaking peoples have sought to conceptualise those deemed uncivil, through an investigation into the word choices which scholars now know were available to them at each stage in the evolution of the English language

Four not six: revealing culturally common facial expressions of emotion

As a highly social species, humans generate complex facial expressions to communicate a diverse range of emotions. Since Darwin’s work, identifying amongst these complex patterns which are common across cultures and which are culture-specific has remained a central question in psychology, anthropology, philosophy, and more recently machine vision and social robotics. Classic approaches to addressing this question typically tested the cross-cultural recognition of theoretically motivated facial expressions representing six emotions, and reported universality. Yet, variable recognition accuracy across cultures suggests a narrower cross-cultural communication, supported by sets of simpler expressive patterns embedded in more complex facial expressions. We explore this hypothesis by modelling the facial expressions of over 60 emotions across two cultures, and segregating out the latent expressive patterns. Using a multi-disciplinary approach, we first map the conceptual organization of a broad spectrum of emotion words by building semantic networks in two cultures. For each emotion word in each culture, we then model and validate its corresponding dynamic facial expression, producing over 60 culturally valid facial expression models. We then apply to the pooled models a multivariate data reduction technique, revealing four latent and culturally common facial expression patterns that each communicates specific combinations of valence, arousal and dominance. We then reveal the face movements that accentuate each latent expressive pattern to create complex facial expressions. Our data questions the widely held view that six facial expression patterns are universal, instead suggesting four latent expressive patterns with direct implications for emotion communication, social psychology, cognitive neuroscience, and social robotics