Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: NL

Proceedings ICPW'07: 2nd International Conference on the Pragmatic Web, 22-23 Oct. 2007, Tilburg: N

Expériences sonores: Music in Postwar Paris and the Changing Sense of Sound

This dissertation examines the impact of electronic sound technology on theories and practices of listening in Paris since 1945. It focusses on experimental work, carried out by musicians and medical professionals and designed with the express purpose of transforming the minds, bodies, and experiences of listening subjects in order to produce “experimental listeners.” Why did the senses become a target of manipulation at this particular moment, and how was technology used and abused for these ends? What kinds of changes to human beings, permanent or otherwise, was sound technology imagined to produce? And on what grounds were such experimental activities legitimized? To answer these questions in high definition, the story follows two main protagonists: otolaryngologist Alfred Tomatis and composer Pierre Schaeffer. Chapter 1 provides a launch pad into the world of Tomatis’s unconventional listening therapy by focusing on the invention in 1953 of the Electronic Ear, a device that could be described as an experiment in sensory prosthetics. Chapter 2 looks at Schaeffer’s experimental research into listening—through his “sound objects”—where his ultimate goal was to establish an entirely new musical culture based upon a new sensibility of sound awoken by the novel sound technologies of his day. The third chapter dissects Tomatis’s unlikely “postmortem” analysis of Enrico Caruso’s ears. Under the microscope in Chapter 4 is Schaeffer’s practical relationship with his public and his theoretical understanding of the mass media. Combining musicology with the history of the senses, science studies, and sound studies, and drawing on archival research, I excavate the material and epistemological resources mobilized by these experimenters to make malleable the sense of sound: not only resources broadly understood as “scientific” (mainstream medicine, cybernetics, information theory, acoustics) but also those often considered less so (psychoanalysis, alternative medicine, mysticism, and a panoply of spiritual beliefs). The project scrutinizes attempts to transform lived experience using electronic sound production technology; more broadly, it explores the meaning of the technological itself and its capacity to contain strange hybrid machines caught between fact and fiction, science and magic, human and non-human, matter and spirit, and certainty and wonder

The Blurring of Boundaries in Bioscientific Discourse

New technologies have revealed previously unknown and invisible parts of the human body and made it visible at the molecular level, revealing in turn more detailed structures and arrangements than those which were previously available. In doing so, in many ways they refine, expand, and even completely overturn forms of contemporary knowledge. This book maps the shifts and blurring of boundaries in contemporary bioscientific discourse. The authors of its chapters trace the shifts of boundaries in terms of the gradual blurring of the validity of established concepts, interpretive frameworks, and standards of judgment, which are analysed from ontological, gnoseological, ethical, and social perspectives. At the same time, they also map the blurring of boundaries in terms of the interdisciplinary crossing of boundaries between various scientific and artistic disciplines. The shifting of boundaries ultimately forms a part of these boundaries’ definition; upon the basis of a rationally guided discussion, these shifts can be guided and corrected so as to avoid any irreversible damage. Jana Tomašovičová is a philosopher with a special interest in contemporary philosophy and bioethics. She analyses the impact of biotechnology on traditional social, ethical, and anthropological concepts and their relevance in new conditions. She is an associate professor at the Faculty of Arts, University of Ss. Cyril and Methodius in Trnava, Slovakia. During her bioethics research, she conducted short research stays at the universities of Bonn, Heidelberg, Tübingen, and Zürich

Semantic linking through spaces for cyber-physical-socio intelligence:a methodology

Humans consciously and subconsciously establish various links, emerge semantic images and reason in mind, learn linking effect and rules, select linked individuals to interact, and form closed loops through links while co-experiencing in multiple spaces in lifetime. Machines are limited in these abilities although various graph-based models have been used to link resources in the cyber space. The following are fundamental limitations of machine intelligence: (1) machines know few links and rules in the physical space, physiological space, psychological space, socio space and mental space, so it is not realistic to expect machines to discover laws and solve problems in these spaces; and, (2) machines can only process pre-designed algorithms and data structures in the cyber space. They are limited in ability to go beyond the cyber space, to learn linking rules, to know the effect of linking, and to explain computing results according to physical, physiological, psychological and socio laws. Linking various spaces will create a complex space — the Cyber-Physical-Physiological-Psychological-Socio-Mental Environment CP3SME. Diverse spaces will emerge, evolve, compete and cooperate with each other to extend machine intelligence and human intelligence. From multi-disciplinary perspective, this paper reviews previous ideas on various links, introduces the concept of cyber-physical society, proposes the ideal of the CP3SME including its definition, characteristics, and multi-disciplinary revolution, and explores the methodology of linking through spaces for cyber-physical-socio intelligence. The methodology includes new models, principles, mechanisms, scientific issues, and philosophical explanation. The CP3SME aims at an ideal environment for humans to live and work. Exploration will go beyond previous ideals on intelligence and computing

Automated Injection of Curated Knowledge Into Real-Time Clinical Systems: CDS Architecture for the 21st Century

abstract: Clinical Decision Support (CDS) is primarily associated with alerts, reminders, order entry, rule-based invocation, diagnostic aids, and on-demand information retrieval. While valuable, these foci have been in production use for decades, and do not provide a broader, interoperable means of plugging structured clinical knowledge into live electronic health record (EHR) ecosystems for purposes of orchestrating the user experiences of patients and clinicians. To date, the gap between knowledge representation and user-facing EHR integration has been considered an “implementation concern” requiring unscalable manual human efforts and governance coordination. Drafting a questionnaire engineered to meet the specifications of the HL7 CDS Knowledge Artifact specification, for example, carries no reasonable expectation that it may be imported and deployed into a live system without significant burdens. Dramatic reduction of the time and effort gap in the research and application cycle could be revolutionary. Doing so, however, requires both a floor-to-ceiling precoordination of functional boundaries in the knowledge management lifecycle, as well as formalization of the human processes by which this occurs. This research introduces ARTAKA: Architecture for Real-Time Application of Knowledge Artifacts, as a concrete floor-to-ceiling technological blueprint for both provider heath IT (HIT) and vendor organizations to incrementally introduce value into existing systems dynamically. This is made possible by service-ization of curated knowledge artifacts, then injected into a highly scalable backend infrastructure by automated orchestration through public marketplaces. Supplementary examples of client app integration are also provided. Compilation of knowledge into platform-specific form has been left flexible, in so far as implementations comply with ARTAKA’s Context Event Service (CES) communication and Health Services Platform (HSP) Marketplace service packaging standards. Towards the goal of interoperable human processes, ARTAKA’s treatment of knowledge artifacts as a specialized form of software allows knowledge engineers to operate as a type of software engineering practice. Thus, nearly a century of software development processes, tools, policies, and lessons offer immediate benefit: in some cases, with remarkable parity. Analyses of experimentation is provided with guidelines in how choice aspects of software development life cycles (SDLCs) apply to knowledge artifact development in an ARTAKA environment. Portions of this culminating document have been further initiated with Standards Developing Organizations (SDOs) intended to ultimately produce normative standards, as have active relationships with other bodies.Dissertation/ThesisDoctoral Dissertation Biomedical Informatics 201

Form Follows Feeling – The Acquisition of Design Expertise and the Function of Aesthesis in the Design Process

While the consideration of functional and technical criteria, as well as a sense of coherence are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise,identifies how aesthesis functions in the design process, and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability.While the consideration of functional and technical criteria, as well as a sense of coherence are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise,identifies how aesthesis functions in the design process, and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability.The research started with topics related to design methodology, which led to questions related to cognitive psychology, especially theories of problem-solving. An in-depth review of research in embodied cognition challenged the disembodied concept of the mind and related presuppositions, and reintroduced the body as an essential aspect of human cognition. This lead to related topics including: pre-noetic (pre-verbal) knowledge, the cognitive architecture of the brain, sense mechanisms and perception, limitations and types of memory as well as the processing capacity of the brain, and especially how emotions/feelings function in human cognition, offering insight into how designing functions as a cognitive process. The research provides evidence that more than technical rationality, expert designers rely heavily on a highly developed embodied way of knowing (tacit knowledge) througout the design process that allows them to know more than they can say. Indeed, this is the hallmark of expert performers in many fields. However, this ability is not to be understood as natural talent, but as a result of an intense developmental process that includes years of deliberate practice necessary to restructure the brain and adapt the body in a manner that facilitates exceptional performance. For expert designers it is aesthesis (a kind of body knowledge), functioning as a meta-heuristic, that allows them to solve a complex problem situation in a manner that appears effortless. Aesthesis is an ability that everyone possesses, but that expert designers have highly developed and adapted to allow them to produce buildings and built environments that induce an intended quality of aesthetic experience in the user. It is a cognitive ability that functions to both (re)structure the design problem and evaluate the solution; and allows the designer to inhabit the design world feelingly while seeking aesthetic resonance that anticipates the quality of atmosphere another is likely to experience. This ability is critical to the acquisition of design expertise

Form Follows Feeling – The Acquisition of Design Expertise and the Function of Aesthesis in the Design Process

While the consideration of functional and technical criteria, as well as a sense of coherence, are basic requirements for solving a design problem; it is the ability to induce an intended quality of aesthetic experience that is the hallmark of design expertise. Expert designers possess a highly developed sense of design, or what in this research is called aesthesis. Reflection on 25 years teaching design in the USA, Hungary, and China led to the observation that most successful design students, more than intellectual ability, drawing, model making or drive, all seemed to possess what may be called an intuitive sense of good design. It is not that they already know how to design, or that they are natural designers, it is that they have a more developed sense aesthesis. This research takes a multi-disciplinary approach to build a theory that describes what is involved in acquiring design expertise, identifies how aesthesis functions in the design process and determines if what appears to be an intuitive sense of design is just natural talent or an acquired ability. The research started with topics related to design methodology, which led to questions related to cognitive psychology, especially theories of problem-solving. An in-depth review of research in embodied cognition challenged the disembodied concept of the mind and related presuppositions and reintroduced the body as an essential aspect of human cognition. This lead to related topics including: pre-noetic (pre-verbal) knowledge, the cognitive architecture of the brain, sense mechanisms and perception, limitations and types of memory as well as the processing capacity of the brain, and especially how emotions/feelings function in human cognition, offering insight into how designing functions as a cognitive process.  The research provides evidence that more than technical rationality, expert designers rely heavily on a highly developed embodied way of knowing (tacit knowledge) throughout the design process that allows them to know more than they can say. Indeed, this is the hallmark of expert performers in many fields. However, this ability is not to be understood as natural talent, but as a result of an intense developmental process that includes years of deliberate practice necessary to restructure the brain and adapt the body in a manner that facilitates exceptional performance. For expert designers it is aesthesis (a kind of body knowledge), functioning as a meta-heuristic, that allows them to solve a complex problem situation in a manner that appears effortless. Aesthesis is an ability that everyone possesses that expert designers have highly developed and adapted to allow them to produce buildings and built environments that induce an intended quality of aesthetic experience to the user. It is a cognitive ability that functions to both (re)structure the design problem, evaluates the solution and allows the designer to inhabit the design world feelingly while seeking aesthetic resonance that anticipates the quality of atmosphere another is likely to experience. This ability is critical to the acquisition of design expertise

ICS Materials. Towards a re-Interpretation of material qualities through interactive, connected, and smart materials.

The domain of materials for design is changing under the influence of an increased technological advancement, miniaturization and democratization. Materials are becoming connected, augmented, computational, interactive, active, responsive, and dynamic. These are ICS Materials, an acronym that stands for Interactive, Connected and Smart. While labs around the world are experimenting with these new materials, there is the need to reflect on their potentials and impact on design. This paper is a first step in this direction: to interpret and describe the qualities of ICS materials, considering their experiential pattern, their expressive sensorial dimension, and their aesthetic of interaction. Through case studies, we analyse and classify these emerging ICS Materials and identified common characteristics, and challenges, e.g. the ability to change over time or their programmability by the designers and users. On that basis, we argue there is the need to reframe and redesign existing models to describe ICS materials, making their qualities emerge

Strategizing in the new normal : implications of digitalization for strategizing and uncertainty : philosophical and managerial considerations

Something fundamental is changing – or is it? The firms are preoccupied by transformations and disruptions, the scholars are reassessing the validity of old theories, the politicians are wondering where the power is, and the individuals are struggling to understand how to go about making a living tomorrow. Has this always been the normal, or are we evidencing an era that can rightfully be called a New Normal? This research is an attempt to synthetize knowledge from several rich sources in order to understand the drivers of the changes emerging from the phenomenon labelled digitalization. The research quandary of this conceptual monograph is the impact of digitalization – as a sociotechnical trinity of digital technological systems, humans and perceptions – on strategizing, the individual level actions and decisions tackling the fundamental uncertainty of anything future-oriented, subsequently coalescing into collective level outcomes. This research explores the constitutions of strategizing, uncertainty and digitalization in order to understand the impact of the drivers of digitalization on the constitution of uncertainty dealt with in strategizing, and the subsequent changes therefore reflected on strategizing. Tracing these ripples requires reconceptualizing uncertainty as consisting of three dimensions: lack of knowledge, difficulty of choosing between diverse standards of desirability, and the infathomability of the meaning making mechanisms that underpin the creation of those standards of desirability. As findings, this dissertation presents three theses: first, digitalization obliterates one type of uncertainty, while changing and enforcing other types; secondly, digitalization erodes the boundaries of extant entities and creates new boundary forming mechanisms; and thirdly, digitalization changes the shape and impact of what we take for granted, consider normal – the doxa. These findings have implications for both the theorists and the practitioners. As scholars, we need to redefine such units of analysis, as heretofore captured by concepts like the firm, market or nation. As practitioners, we need to cherish such rationalities that do not compete with the algorithmic intelligence, to emphasize such creative thinking a machine cannot do. As individuals, we need to understand how many of our actions are grounded on the unreflective acceptance of what we take for granted, and how susceptible our notion of normal is to manipulation. Together, we need to understand that the digital representation of reality, being constructed today to give the shape for our tomorrow, reflects not only the physical entities datafied and digitized, but also our values and preferences – whether we reflectively acknowledge them or not.Elämme perustavanlaatuisen muutoksen aikaa – vai elämmekö? Yritykset keskittyvät disruptioihin ja muutoksiin, tutkijat arvioivat vanhojen teorioiden kykyä selittää uusia ilmiöitä, poliitikot pohtivat vallan uusia muotoja ja yksilöt taistelevat huomisen toimeentulon kanssa. Onko tämä ollut aina yhtä normaalia, vai elämmekö aikaa, jota voimme rehellisesti kutsua uudeksi normaaliksi? Tämä tutkimus pyrkii yhdistämään rikasta, olemassaolevaa tietoa monista lähteistä luodakseen ymmärrystä digitalisaatioksi kutsutun ilmiön synnyttämien muutosten ajureista. Tämän teoreettisen monografian tutkimusalue on digitalisaation – digitaalisten teknologisten systeemien, ihmisten ja oletusten muodostaman sosioteknisen kolmiyhteyden – vaikutus strategiointiin, eli tulevaisuuteen elimellisesti liittyvän epävarmuuden käsittelyyn sellaisella yksilötason toiminnalla ja päätöksenteolla, joka yhdistyy kollektiivisen tason lopputuloksiksi. Tämä tutkimus perehtyy strategioinnin, epävarmuuden ja digitalisaation luonteeseen selvittääkseen digitalisaation ajurien vaikutusta strategioinnissa käsiteltävään epävarmuuteen, ja siitä syntyviin muutoksiin strategioinnissa. Tämän vaikutusketjun ymmärtäminen vaatii epävarmuuden uutta konseptualisointia: epävarmuus muodostuu kolmesta ulottuvuudesta, jotka ovat tiedon puute, eri arvoskaalojen välillä valitsemisen vaikeus, sekä niiden merkityksen muodostamismekanismien hahmottomuus, joista arvoskaalamme kumpuavat. Tämän kirjan tulokset muodostavat kolme väitöstä: ensinnäkin, digitalisaatio tuhoaa yhden epävarmuuden tyypin ja muuttaa sekä vahvistaa muita; toiseksi, digitalisaatio haurastuttaa olemassa olevien entiteettien rajoja ja synnyttää uusia rajanmuodostusmekanismeja; ja kolmanneksi, digitalisaatio muuttaa itsestäänselvänä ja normaalina pitämiemme asioiden muotoa ja vaikutusta. Näillä tuloksilla on niin teoreettisia kuin käytännönkin vaikutuksia. Tutkijoina meidän on uudelleen määriteltävä sellaisia analyysin yksiköitä kuten yritys, markkina tai valtio. Yritystoiminnan harjoittajina meidän on vaalittava sellaista rationaalisuutta, mihin algoritminen äly ei kykene, painotettava luovaa ajattelua. Yksilöinä meidän on ymmärrettävä miten iso osa toiminnastamme perustuu itsestäänselvyyksinä pitämiimme asioihin ja miten helposti käsitystämme normaalista voidaan manipuloida. Yhdessä, meidän on ymmärrettävä, että tänään muodostumassa oleva, huomistamme muovaava digitaalinen todellisuuden representaatio heijastelee, paitsi fyysisen maailman digitaaliseksi dataksi muunnettuja entiteettejä, myös arvojamme ja preferenssejämme – riippumatta siitä, tiedostammeko ja tunnistammeko ne vai emme