Transdisciplinarity seen through Information, Communication, Computation, (Inter-)Action and Cognition

Similar to oil that acted as a basic raw material and key driving force of industrial society, information acts as a raw material and principal mover of knowledge society in the knowledge production, propagation and application. New developments in information processing and information communication technologies allow increasingly complex and accurate descriptions, representations and models, which are often multi-parameter, multi-perspective, multi-level and multidimensional. This leads to the necessity of collaborative work between different domains with corresponding specialist competences, sciences and research traditions. We present several major transdisciplinary unification projects for information and knowledge, which proceed on the descriptive, logical and the level of generative mechanisms. Parallel process of boundary crossing and transdisciplinary activity is going on in the applied domains. Technological artifacts are becoming increasingly complex and their design is strongly user-centered, which brings in not only the function and various technological qualities but also other aspects including esthetic, user experience, ethics and sustainability with social and environmental dimensions. When integrating knowledge from a variety of fields, with contributions from different groups of stakeholders, numerous challenges are met in establishing common view and common course of action. In this context, information is our environment, and informational ecology determines both epistemology and spaces for action. We present some insights into the current state of the art of transdisciplinary theory and practice of information studies and informatics. We depict different facets of transdisciplinarity as we see it from our different research fields that include information studies, computability, human-computer interaction, multi-operating-systems environments and philosophy.Comment: Chapter in a forthcoming book: Information Studies and the Quest for Transdisciplinarity - Forthcoming book in World Scientific. Mark Burgin and Wolfgang Hofkirchner, Editor

Is instantaneous quantum Internet possible?

Instantaneous teleportation-the transmission and reconstruction over arbitrary distances of an unknown state without any type of disambiguation based on classical bits-is demonstrated, supporting the fact that instantaneous information transfer via an Einstein-Podolsky-Rosen channel is definitely possible. In other words, quantum correlations can be used to send signals, reinforcing the existence of an action at a distance, hence, paving the way for a better understanding of quantum entanglement and its consequent impact on Quantum Internet, as well as, on a realistic relationship between Special Relativity and Quantum Mechanics

The Cinematic Aesthetics of Digital Virtualism

This dissertation explores the cinematic ontology of digital virtualism in the context of the current trend to digitalisation. I define digital virtualism as the aesthetics of assemblage and configuration in the age of digital images. This definition implies that digital technology strengthens the complex tension between physical reality and imaginary illusion. Based on computer simulation and synthesis, the digital image intensifies the contradiction between cinematic materiality and immateriality. Digital virtualism is the aesthetics of historical hybridity and aesthetic complexity between the actual and the virtual, the indexical and the symbolic, the material and the immaterial, the real and the imaginary. In this context, this thesis examines the aesthetical relationship of filmic virtuality and the digital image. In particular, I assert that the digital image is the new form and expansion of filmic virtuality. While film is always the art of the virtual, that is, the aesthetic imbrication of actual indexicality and imaginary illusion, the digital image intensifies the contradiction of filmic virtuality between reality and illusion. On one hand, computer simulation reinforces the indexicality of film by the principle of perceptual realism. On the other hand, it attenuates the causality between the object and the image by digital manipulation. I argue that digital technology simultaneously intensifies both filmic reality and the manipulation of the imaginary. Thus, the digital image expands the expressive force and aesthetic potential of cinema. After examining the cinematic aesthetics of realism, modernism, postmodernism, and digital aesthetics after postmodernism, this dissertation investigates the aesthetical implications of Deleuzian virtuality in the age of the digital image. Deleuze presents the cinematic aesthetics of virtual conjunction in the monism of simulacra, which implies the indiscernible and inextricable imbrication of the actual and the virtual, original and copy, reality and image, and cinematic movement and time. Following the discussion of the aesthetical ontology of Deleuzian virtuality, this dissertation theorises the assemblage aesthetics of digital virtualism. Consequently, this dissertation proposes the subjective and practical task of digital ethics. Digital technology intensifies the spectacular attraction of images and the interactive participation of spectators in the cinematic process. In contrast, the digital image reveals technological fetishism and aesthetic commercialisation. Based on the ontological contradiction of the digital image, this dissertation articulates the configurative aesthetics and the subjective ethics of digital virtualism

The Cinematic Aesthetics of Digital Virtualism

This dissertation explores the cinematic ontology of digital virtualism in the context of the current trend to digitalisation. I define digital virtualism as the aesthetics of assemblage and configuration in the age of digital images. This definition implies that digital technology strengthens the complex tension between physical reality and imaginary illusion. Based on computer simulation and synthesis, the digital image intensifies the contradiction between cinematic materiality and immateriality. Digital virtualism is the aesthetics of historical hybridity and aesthetic complexity between the actual and the virtual, the indexical and the symbolic, the material and the immaterial, the real and the imaginary. In this context, this thesis examines the aesthetical relationship of filmic virtuality and the digital image. In particular, I assert that the digital image is the new form and expansion of filmic virtuality. While film is always the art of the virtual, that is, the aesthetic imbrication of actual indexicality and imaginary illusion, the digital image intensifies the contradiction of filmic virtuality between reality and illusion. On one hand, computer simulation reinforces the indexicality of film by the principle of perceptual realism. On the other hand, it attenuates the causality between the object and the image by digital manipulation. I argue that digital technology simultaneously intensifies both filmic reality and the manipulation of the imaginary. Thus, the digital image expands the expressive force and aesthetic potential of cinema. After examining the cinematic aesthetics of realism, modernism, postmodernism, and digital aesthetics after postmodernism, this dissertation investigates the aesthetical implications of Deleuzian virtuality in the age of the digital image. Deleuze presents the cinematic aesthetics of virtual conjunction in the monism of simulacra, which implies the indiscernible and inextricable imbrication of the actual and the virtual, original and copy, reality and image, and cinematic movement and time. Following the discussion of the aesthetical ontology of Deleuzian virtuality, this dissertation theorises the assemblage aesthetics of digital virtualism. Consequently, this dissertation proposes the subjective and practical task of digital ethics. Digital technology intensifies the spectacular attraction of images and the interactive participation of spectators in the cinematic process. In contrast, the digital image reveals technological fetishism and aesthetic commercialisation. Based on the ontological contradiction of the digital image, this dissertation articulates the configurative aesthetics and the subjective ethics of digital virtualism

A transdisciplinary study of embodiment in HCI, AI and New Media.

The aim of this thesis is to report on a transdisciplinary approach, regarding the complexity of thinking about human embodiment in relation to machine embodiment. A practical dimension of this thesis is to elicit some principles for the design and evaluation of virtual embodiment. The transdisciplinary approach suggests, firstly, that a single discipline or reality is, on its own, not sufficient to explain the complexity and dynamism of the embodied interaction between the human and machine. Secondly, the thesis argues for thinking of transdisciplinary research as a process of individuation, becoming or transduction, that is, as a process of mediation between heterogeneous approaches rather than perceiving research as a stabilized cognitive schema designed to accumulate new outcomes to the already-there reality. Arguing for going beyond the individualized approaches to embodiment, this thesis analyzes three cases where the problems that appear in one case are resolved through the analysis of the following one. Consisting of three phases, this research moves from objective scientific ¿reality¿ to more phenomenological, subjective and complex realities. The first study employs a critical review of embodied conversational agents in human¿computer interaction (HCI) in a learning context using a comparative meta-analysis. Meta-analysis was applied because most of the studies for evaluating embodiment are experimental. A learning context was selected because the number of studies is suitable for meta-analysis and the findings could be generalized to other contexts. The analysis reveals that there is no ¿persona effect¿, that is, the expected positive effect of virtual embodiment on the participant¿s affective, perceptive and cognitive measures. On the contrary, it shows the reduction of virtual embodiment to image and a lack of consideration for the participant¿s embodiment and interaction, in addition to theoretical and methodological shortcomings. The second phase solves these problems by focusing on Mark Hansen¿s phenomenological account of embodiment in new media. The investigation shows that Hansen improves on the HCI account by focusing on the participant¿s dynamic interaction with new media. Nevertheless, his views of embodied perception and affection are underpinned by a subjective patriarchal account leading to object/subject and body/work polarizations. The final phase resolves this polarization by analyzing the controversial work of Alan Turing on intelligent machinery. The research provides a different reading of the Turing Machine based on Simondon¿s concept of individuation, repositioning its materiality from the abstract non-existent to the actual-virtual realm and investigating the reasons for its abstraction. It relates the emergence of multiple human¿machine encounters in Turing¿s work to the complex counter-becoming of what it describes as ¿the Turing Machine compound¿.Ministry of Higher Education in the Sultanate of Oma

Contribution Barriers to Open Source Projects

Contribution barriers are properties of Free/Libre and Open Source Software (FLOSS) projects that may prevent newcomers from contributing. Contribution barriers can be seen as forces that oppose the motivations of newcomers. While there is extensive research on the motivation of FLOSS developers, little is known about contribution barriers. However, a steady influx of new developers is connected to the success of a FLOSS project. The first part of this thesis adds two surveys to the existing research that target contribution barriers and motivations of newcomers. The first exploratory survey provides the indications to formulate research hypotheses for the second main survey with 117 responses from newcomers in the two FLOSS projects Mozilla and GNOME. The results lead to an assessment of the importance of the identified contribution barriers and to a new model of the joining process that allows the identification of subgroups of newcomers affected by specific contribution barriers. The second part of the thesis uses the pattern concept to externalize knowledge about techniques lowering contribution barriers. This includes a complete categorization of the existing work on FLOSS patterns and the first empirical evaluation of these FLOSS patterns and their relationships. The thesis contains six FLOSS patterns that lower specific important contribution barriers identified in the surveys. Wikis are web-based systems that allow its users to modify the wiki's contents. They found on wiki principles with which they minimize contribution barriers. The last part of the thesis explores whether a wiki, whose content is usually natural text, can also be used for software development. Such a Wiki Development Environment (WikiDE) must fulfill the requirements of both an Integrated Development Environment (IDE) and a wiki. The simultaneous compliance of both sets of requirements imposes special challenges. The thesis describes an adapted contribution process supported by an architecture concept that solves these challenges. Two components of a WikiDE are discussed in detail. Each of them helps to lower a contribution barrier. A Proof of Concept (PoC) realization demonstrates the feasibility of the concept

Becoming

Catálogo de la exposición en el Pabellón Español de la XVI Muestra Internacional de Arquitectura, Venecia, 26 mayo – 25 noviembre 2018. Lema "freespace".La edición de esta publicación ha sido patrocinada por Arquia Banc

On-demand distributed image processing over an adaptive Campus-Grid

This thesis explores how scientific applications, which are based upon short jobs (seconds and minutes) can capitalize upon the idle workstations of a Campus-Grid. These resources are donated on a voluntary basis, and consequently, the Campus-Grid is constantly adapting and the availability of workstations changes. Typically, to utilize these resources a Condor system or equivalent would be used. However, such systems are designed with different trade-offs and incentives in mind and therefore do not provide intrinsic support for short jobs. The motivation for creating a provisioning scenario for short jobs is that Image Processing, as well as other areas of scientific analysis, are typically composed of short running jobs, but still require parallel solutions. Much of the literature in this area comments on the challenges of performing such analysis efficiently and effectively even when dedicated resources are in use. The main challenges are: latency and scheduling penalties, granularity and the potential for very short jobs. A volunteer Grid retains these challenges but also adds further challenges. These can be summarized as: unpredictable re source availability and longevity, multiple machine owners and administrators who directly affect the operating environment. Ultimately, this creates the requirement for well conceived and effective fault management strategies. However, these are typically not in place to enable transparent fault-free job administration for the user. This research demonstrates that these challenges are answerable, and that in doing so opportunistically sourced Campus-Grid resources can host disparate applications constituted of short running jobs, of as little as one second in length. This is demonstrated by the significant improvements in performance when the system presented here was compared to a well established Condor system. Here, improvements are increased job efficiency from 60–70% to 95%–100%, up to a 99% reduction in application makespan and up to a 13000% increase in the efficiency of resource utilization. The Condor pool in use is approximately 1,600 workstations distributed across 27 administrative domains of Cardiff University. The application domain of this research is Matlab-based image processing, and the application area used to demonstrate the approach is the analysis of Magnetic Resonance Imagery (MRI). However, the presented approach is generalizable to any application domain with similar characteristics

Cultural Science

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Cultural Science introduces a new way of thinking about culture. Adopting an evolutionary and systems approach, the authors argue that culture is the population-wide source of newness and innovation; it faces the future, not the past. Its chief characteristic is the formation of groups or 'demes' (organised and productive subpopulation; 'demos'). Demes are the means for creating, distributing and growing knowledge. However, such groups are competitive and knowledge-systems are adversarial. Starting from a rereading of Darwinian evolutionary theory, the book utilises multidisciplinary resources: Raymond Williams's 'culture is ordinary' approach; evolutionary science (e.g. Mark Pagel and Herbert Gintis); semiotics (Yuri Lotman); and economic theory (from Schumpeter to McCloskey). Successive chapters argue that: -Culture and knowledge need to be understood from an externalist ('linked brains') perspective, rather than through the lens of individual behaviour; -Demes are created by culture, especially storytelling, which in turn constitutes both politics and economics; -The clash of systems - including demes - is productive of newness, meaningfulness and successful reproduction of culture; -Contemporary urban culture and citizenship can best be explained by investigating how culture is used, and how newness and innovation emerge from unstable and contested boundaries between different meaning systems; -The evolution of culture is a process of technologically enabled 'demic concentration' of knowledge, across overlapping meaning-systems or semiospheres; a process where the number of demes accessible to any individual has increased at an accelerating rate, resulting in new problems of scale and coordination for cultural science to address. The book argues for interdisciplinary 'consilience', linking evolutionary and complexity theory in the natural sciences, economics and anthropology in the social sciences, and cultural, communication and media studies in the humanities and creative arts. It describes what is needed for a new 'modern synthesis' for the cultural sciences. It combines analytical and historical methods, to provide a framework for a general reconceptualisation of the theory of culture – one that is focused not on its political or customary aspects but rather its evolutionary significance as a generator of newness and innovation