Developing Building Information Modelling for Facility Services with Organisational Semiotics

Built environment provides infrastructure and space that supports users’ activities through facility services. Space provides the context in which services are constructed. Facility services management is facing challenges in information management that requires vast and heterogeneous information from design to operations of a building across various service systems. Building information modelling (BIM), an object‐oriented modelling technology seeks to integrate information throughout the entire lifecycle of a building project. However, BIM is limited to meeting the needs of information arising from operation and management of facility services, and the requirements for BIM development are yet unclear. Though BIM building semantics can be enriched, but mainly focusing on building fabrics for design and build. BIM does not support the consideration of building operation activities and the context of building in‐use. From a semiotic perspective, the lack of address in pragmatic and social aspects of a building project limits BIM as a through‐life solution. This research deployed semiotics, a theory of signs, to analyse and develop BIM from an information system’s point of view. Organizational semiotics is a sub‐branch of semiotics, which offers a set of methods that can enhance BIM to link building fabrics to facility service activities

Aliveness and the off-switch in human-robot relations

If robots are going to share human homes, workplaces and social spaces in the future, how will they communicate with people, and how might this frame people’s perceptions of them? Should a robot’s communication style reinforce the sense in which they seem to be somewhat alive, trustworthy assistants, co-workers or possibly even friends? Is there value in people recognizing and respecting the agency of robots, while also being reminded that even the most personable social robot is a machine that can be switched off? The questions in this list are too complex to answer fully in this short chapter. Its aim, instead, is to offer a starting point for discussing such questions: to demonstrate how a detailed analysis of people’s communication with and about robots from a number of communication theoretical perspectives is a productive way to think through the deployment of robots into everyday life

The telematic dress: Evolving garments and distributed proprioception in streaming media and fashion performance

Centered around several short films from streaming performances created in 2005, this paper explores new ideas for movement technologies and garment design in an arts and digital research context. The "telematic dress" project, developed at the DAP Lab in Nottingham, involves transdisciplinary intersections between fashion and live performance, interactive system architecture, electronic textiles, wearable technologies, choreography, and anthropology. The concept on an evolving garment design that is materialized (moved) in live performance originates from DAP Lab's experimentation with telematics and distributed media (http://art.ntu.ac. uk/performance_research/birringer/dap.htm] addressing "connective tissues" through a study of perception/proprioception in the wearer (tactile sensory processing) and the dancer/designer/viewer relationship. This study is conducted as cross-cultural communication with online performance partners in Europe, the US, Brazil and Japan. The inter-active space is predicated on transcultural questions: how does the movement with an evolving design and wearable interactive sensors travel, how does movement - and capturing of movement - allow the design to emerge toward a garment statement, and how are bodies-in-relation-to sensory fabrics affected by the multidimensional kinesthetics of a media-rich, responsive environment

Visualization in cyber-geography: reconsidering cartography's concept of visualization in current usercentric cybergeographic cosmologies

This article discusses some epistemological problems of a semiotic and cybernetic character in two current scientific cosmologies in the study of geographic information systems (GIS) with special reference to the concept of visualization in modern cartography. Setting off from Michael Batty’s prolegomena for a virtual geography and Michael Goodchild’s “Human-Computer-Reality-Interaction” as the field of a new media convergence and networking of GIS-computation of geo-data, the paper outlines preliminarily a common field of study, namely that of cybernetic geography, or just “cyber-geography) owing to the principal similarities with second order cybernetics. Relating these geographical cosmologies to some of Science’s dominant, historical perceptions of the exploring and appropriating of Nature as an “inventory of knowledge”, the article seeks to identify some basic ontological and epistemological dimensions of cybernetic geography and visualization in modern cartography. The points made is that a generalized notion of visualization understood as the use of maps, or more precisely as cybergeographic GIS-thinking seems necessary as an epistemological as well as a methodological prerequisite to scientific knowledge in cybergeography. Moreover do these generalized concept seem to lead to a displacement of the positions traditionally held by the scientist and lay-man citizen, that is not only in respect of the perception of the matter studied, i.e. the field of geography, but also of the manner in which the scientist informs the lay-man citizen in the course of action in the public participation in decision making; a displacement that seems to lead to a more critical, or perhaps even quasi-scientific approach as concerns the lay-man user

Soul models: rationalization and the art of subjectivity.

In the exchange between theory and practice, art is appropriated as a creative mode of enquiry, a differential form of knowledge and experience in the processes of rationalization. As a differential in knowledge, art is explored as the practice of composition making differences out of established rationales - the discrete disciplines that find stability in economic, pedagogic and scientific discourse. As a differential in experience, art may contain the potential to destabilize social, historical and political constitutions of sense, working as an interference pattern in the production and reproduction of rational subjects. The academic distillation of the artist's know how into the 'art of subjectivity', draws both the subjects and objects of knowledge into this critical space of composition, a dynamic space of contestation in which the artist acquires the capacity to become an agent of cultural change. As a cultural and critical formation, the 'art of subjectivity' reactivates the art historical tradition of institutional critique. Re-evaluated through the critical and philosophical components of the doctoral research, the material rendition of institutional critique is configured as a series of artistic engagements with the procedural and regulatory codes of practice that comprise the info-structure of instrumental reason. Through a gradual synthesis of process and product, the 'art of subjectivity' begins to merge with the arts (techniques) of rationalization, drawing upon rather than resisting the bureaucratic, informational, scientific-technical and semiotic energies of political economy

Multisensory processing, affect and multimodal manipulation: A cognitive-semiotic empirical study of travel documentaries

Multisensory processing represents the mirror image of multimodal meaning-making, in that interpreting multimodal discourse predominantly requires multisensory processing, even when different modes rely on the same sensory channels (Khateb et al., 2002), for example images and text in a book (Gibbons, 2012, p. 40). Remley (2017) makes a similar point when discussing the neuroscience of multimodal persuasive messages, when he asserts that “[t]he term ‘multisensory integration’ is the biological equivalent of the term ‘multimodal’ in rhetoric” (p. 9). An understanding of multisensory processing can therefore be (and presumably is) exploited at the stage of text-production as a resource for manipulative multimodal discourses, with all the ideological consequences that entails. The concept of manipulation has been a matter of discussion in critical discourse studies (CDS) and pragmatics for more than a decade. Agreement on how to define and analyse the latter has yet to be reached, although most scholars seem to agree that Relevance Theory (Sperber and Wilson, 1995) can provide a useful entry point thanks to its theorisation of variable contexts and individual cognitive environments (de Saussure, 2005; Maillat, 2013; Maillat and Oswald, 2009; Oswald, 2014). Moreover, the concept of epistemic vigilance (Sperber et al., 2010) has been used to investigate the cognitive barriers that need to be bypassed in order for manipulation to work (Hart, 2013; Mazzarella, 2015). Finally, Sorlin (2017: 133) recently highlighted the need to focus not only on the cognitive aspects influencing manipulation, but also on “the psychological aspect of manipulation that often consists in exploiting the target's weaknesses”, thus pointing towards the dimension of affect as a further explanatory force. This paper begins with an overview of the concepts of manipulation and epistemic vigilance, before discussing insights from the field of multisensory processing in the neurosciences. Then, drawing on some principles from Relevance Theory (Sperber and Wilson, 1995) and looking at some data from travel documentary programmes and their viewers, examples are offered of how manipulation is attempted and achieved through this specific multimodal genre in individual case studies. The focus of the analysis will be on bottom-up (i.e. text-driven) processes and the interpretation/reaction of an audience. The research draws on a novel methodological approach (Castaldi, 2021) that integrates Audience Research (e.g., Schrøder et al., 2003) and Social Semiotics (e.g. Kress and van Leeuwen, 1996, 2001; van Leeuwen, 1999; Machin and Mayr, 2012) in order to analyse media interactions in their individuality. Results suggest that the affective dimension, predominantly attended to through sonic and visual modes, plays a key role for multimodal manipulation to successfully occur

Putting "space" on the agenda of sociocultural research in education

The global rescaling of the world, culture, and education has influenced how people experience their situationality, meaning-making, and learning in relation to the Other. This article explores the implications of spatial analysis for rethinking education in new conditions of cultural complexity. The experience of living and learning with difference is conceptualized as an open journey in which the very act of movement across spatial boundaries unlocks the fixity of meanings and identities and, hence, problematizes the spatial logic of bounded learning places. Explicating the tension between fixity and mobility, boundedness and flows, this article deploys the concepts of cultural-semiotic space, scale, and boundary to theorize locations of learning and meaning-making in new times. <br /

The principles of Educational Robotic Applications (ERA): a framework for understanding and developing educational robots and their activities

The original educational robots were the Logo Turtles. They derived their rationale from constructionism. How has this changed? This paper postulates ten principles that underpin the effective utilisation of robotic devices within education settings. We argue that they form a framework still sympathetic to constructionism that can guide the development, application and evaluation of educational robots. They articulate a summary of the existing knowledge as well as suggesting further avenues of research that may be shared by educationists and designers. The principles also provide an evaluative framework for Educational Robotic Applications (ERA). This paper is an overview of the ideas, which we will develop in future papers