Un modèle pour la gestion et la capitalisation d'analyses de traces d'activités en interaction collaborative

We present our three main results in adressing the problem of assisting the socio-cognitive analysis of human interaction. First, we propose a description of the process of analysis of such data, as well as a generic artefact which covers a large number of the analytic artefacts we have observed and which we call a replayable. Second, we present a study and a modelling of replayables, and describe the four fundamental operations which can be applied to them: synchronisation, visualisation, transformation and enrichment. Finally, we describe the implementation of this model in an environment that assists analysis through the manipulation of replayables, which we evaluate in real-life research situations. Tatiana (http://code.google.com/p/tatiana), the resulting software environment, is based on these four operations and integrates numerous possibilities for extending these operations to adapt to new kinds of analysis while staying within the analytic framework afforded by replayables.Nous présentons nos trois résultats principaux face à la difficulté d'assister l'analyse socio-cognitive d'interactions humaines. D'une part, nous proposons une description du processus d'analyse de ce genre données ainsi qu'un artefact générique permettant de recouvrir un grand nombre d'artefacts analytiques que nous avons pu observer et que nous nommons rejouable. D'autre part, nous présentons une étude et modélisation informatique des rejouables, et décrivons quatre opérations fondamentales qui peuvent s'y appliquer : synchronisation, visualisation, transformation et enrichissement. Enfin, nous décrivons l'implémentation de cette modélisation dans un environnement d'aide à l'analyse par manipulation de rejouables que nous évaluons dans des situations de recherche réelles. Tatiana (http://code.google.com/p/tatiana), l'environnement logiciel résultant, est basé sur ces quatre opérations et permet l'extension de ces opérations pour s'adapter à de nouvelles formes d'analyse

The Object of Platform Studies: Relational Materialities and the Social Platform (the case of the Nintendo Wii)

Racing the Beam: The Atari Video Computer System,by Ian Bogost and Nick Montfort, inaugurated thePlatform Studies series at MIT Press in 2009.We’ve coauthored a new book in the series, Codename: Revolution: the Nintendo Wii Video Game Console. Platform studies is a quintessentially Digital Humanities approach, since it’s explicitly focused on the interrelationship of computing and cultural expression. According to the series preface, the goal of platform studies is “to consider the lowest level of computing systems and to understand how these systems relate to culture and creativity.”In practice, this involves paying close attentionto specific hardware and software interactions--to the vertical relationships between a platform’s multilayered materialities (Hayles; Kirschenbaum),from transistors to code to cultural reception. Any given act of platform-studies analysis may focus for example on the relationship between the chipset and the OS, or between the graphics processor and display parameters or game developers’ designs.In computing terms, platform is an abstraction(Bogost and Montfort), a pragmatic frame placed around whatever hardware-and-software configuration is required in order to build or run certain specificapplications (including creative works). The object of platform studies is thus a shifting series of possibility spaces, any number of dynamic thresholds between discrete levels of a system

Writings, Readings and Not Writing: poems, prose fiction and essays

This submission of published work consists of a number of different modes of writing that interrelate as the concerns of a poet, essayist and teacher. There are twenty-seven separate publications, presented under six categories headings: (A) poems, including prose-poems, written for the page; (B) prose-fiction, represented through a single work; (C) visual poems; (D) enquiries into aspects of a general poetics, including questions about 'situatedness' or 'implicatedness', genres of discourse and their related modalities, poetics and grammar, and a poetics of reading; (E) critical and celebratory readings, mostly of contemporary poets and poems; (F) meditations on institutionalised divisions and modalities of knowledge and practice and their implications for arts pedagogy. These six categories are intended to open out on to each other, to constitute an exploration of writing and reading that is always more than the sum of its parts. With the exception of one article published in 1992 all work was published- or will have been - between 1996 and 2005, a period that coincides with the consolidation and development of a field of study and practice at Dartington College of Arts named Performance Writing. The poems and prose fiction exemplify specific practices within this field and the articles are attempts to develop theoretical and critical instruments within it, especially as they apply to poetry. The articles move between close readings of poetic texts and broad enquiries into reading, writing and the operation of texts within their social, spatial and temporal contexts, such as domestic settings or bereavements. Three articles address 'grammar for performance writers'; three others focus on reading and its relation to knowledge, form and setting; another three, including a review, are enquiries into discipline and interdisciplinarity