Object Identity: Deconstructing the 'Hartree Differential Analyser' and Reconstructing a Meccano Analogue Computer

In 1934, a child's construction toy - Meccano - was used to build the first differential analyser in the UK. Initially intended as a proof-of-concept model, the original Meccano differential analyser proved so successful at resolving equations that many subsequent Meccano and non-Meccano analogue computers were built in the UK. These machines were used before, during, and after the Second World War as research instruments and teaching devices. Despite this, the part of the original Meccano differential analyser that has sat in the Science Museum since 1949 has been used to tell a Whiggish history of computers that focuses on digital machines at the expense of analogue mechanisms. While historians of computing today define their work in opposition to this linear-progressive account of computing, this approach featured prominently in academic literature until the turn of the millennium. This thesis explores Hartree and Porter's original Meccano differential analyser as an analogue computer, using it as a case study to explore the complex relationships between Meccano, play, science, and engineering. In doing so, it considers the object as an assemblage of its Meccano materiality, its instrumentality as an analogue computer, and its career as a collected object in the Science Museum. It deconstructs these different elements of the assemblage and explores how they are part of wider, external assemblages that have their own public histories. The thesis considers the changing materiality of Meccano as an object from 1901 to the present day, analysing marketing materials, the Meccano Magazine, and the voices of the Meccanomen to challenge the conventional, synchronic history of the toy as an unchanged engineering tool. It uses the Meccanomen's popular publications together with archival sources and interviews to historicise the 'alternative' version of the Meccanomen's movement, making it possible to see how individuals attached a variety of personalised meanings to their Meccano hobby. It also explores the object's instrumentality as an analogue computer, beginning with a detailed 'nuts and bolts' comparison of how the original Meccano differential analyser worked with how it was presented in academic and popular publications in 1934. It then brings together the stories and applications of other differential analysers constructed in Britain during this period, to provide further case studies about the role of these computers during the Second World War, and how they have been displayed in museums. The thesis then draws on these analyses by telling the story of the 'Trainbox' object that was collected by the Science Museum in 1949. The 'Trainbox' was comprised of parts of the original Meccano differential analyser that Hartree used to teach the principles of differential equations and integration after the Second World War. Through exploring how the public history and voices of the object have been changed in different exhibits in the museum, this thesis demonstrates the complex relationship between different parts of object's assemblage in a variety of contexts over time. The final part of the thesis builds on these deconstructed elements by reconstructing the original object as the Kent machine, a historical reproduction designed to recover elements of the tacit knowledge used to build it in 1934. It finishes by exploring how these new understandings of Meccano and analogue computers were used to co-curate a new public history for this curious object, using the 'shared authority' of myself, the Meccanomen, and audiences we engaged with the Kent machine

Designing for disability: Guidance for designers when working with users with Specific, Critical, Additional Needs (SCAN)

This study provides guidelines to help designers make reasoned methodological choices when working with those that have disabilities, in order to enable the effective interpretation of the views of these users and to ensure that these are taken into account in the design of products and services. A new way of categorising such users led to a definition by the researcher of Specific, Critical, Additional Needs (SCAN). Individuals with SCAN have additional needs that have to be met in order to maintain their quality of life, health, safety and wellbeing but are additional to those of everyday critical needs. Following an extensive review of models of disability and design, together with the legal and social contexts (including public attitudes to disability), as well as resources from the design and ergonomics communities and existing research methods available to designers when working with SCAN users, it was found that there were relatively few studies that examined the appropriateness of methods for understanding the requirements of these users in design and evaluation processes. Through focus groups, advice was gathered from designers, some of whom were experienced in working collaboratively with disabled persons. Following this, several semi-structured interviews took place with a representative sample of SCAN users, carers, support workers, health and social care professionals and family members. Analysis of these interviews, backed by evidence from the literature, led to the creation of guidelines. The guidelines take account of best practice in designing from a user-centred viewpoint, and a number of tried and tested research methods are reviewed in detail. The study also highlights the range of disabilities that should be considered by designers in shaping specifications for new products and services, and the need to treat users appropriately to ensure an accurate account is taken of their needs

From diversity to convergence : British computer networks and the Internet, 1970-1995

The Internet's success in the 21st century has encouraged analysts to investigate the origin of this network. Much of this literature adopts a teleological approach. Works often begin by discussing the invention of packet switching, describe the design and development of the ARPANET, and then examine how this network evolved into the Internet. Although the ARPANET was a seminal computer network, these accounts usually only briefly consider the many other diverse networks that existed. In addition, apart from momentary asides to alternative internetworking solutions, such as the Open Systems Interconnection (OSI) seven-layer reference model, this literature concentrates exclusively on the ARPANET, the Internet, and the World Wide Web. While focusing on these subjects is important and therefore justified, it can leave the reader with the impression that the world of networking started with the ARPANET and ended with the Internet. This thesis is an attempt to help correct this misconception. This thesis analyses the evolution of British computer networks and the Internet between the years 1970 and 1995. After an introduction in Chapter 1, the thesis analyses several networks. In Chapters 2 and 3, the focus is on academic networks, especially JANET and SuperJANET. Attention moves to videotex networks in Chapter 4, specifically Prestel, and in Chapter 5, the dissertation examines electronic mail networks such as Telecom Gold and Cable & Wireless Easylink. Chapter 6 considers online services, including CompuServe, American Online, and the Microsoft Network, and the thesis ends with a conclusion in Chapter 7. All of the networks discussed used protocols that were incompatible with each other which limited the utility of the networks for their users. Although it was possible that OSI or another solution could have solved this problem, the Internet's protocols achieved this objective. This thesis shows how the networks converged around TCP/IP

Review of state of knowledge regarding the safety, access and usability needs of children with disabilities

Within European countries and the European Union, there is wide recognition that special consideration must be given to the needs of both people with disabilities and to young people. In terms of ergonomics design, consideration needs to be given to access to public buildings, safety in the home, school buildings and educational services, ability to make use of public transport, etc. This research focused on children who also have disabilities, an area that is less well understood and where it is uncertain whether standards or legislation exist. Interviews and discussions with experts were conducted to locate knowledge about design for disabled children in different contexts. This document reports the results of the research sponsored by ANEC (www.anec.org). The study identified relevant standards, legislation or guidelines within Europe and outside which could potentially be employed by the standards bodies within the European Union and promulgated more widely. The report also showed that there are gaps in knowledge indicating a requirement for further research to be carried out to generate suitable guidelines for standards bodies to consider

Digital arts in the context of traditional and contemporary creative arts training and practices

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.The first idea of "Art Education" came to my mind when I wrote M.A. thesis entitled:“ The Role of Art in Training and Teaching Children 6-11”, Ten years ago. I was eager to enhance my study to new planning methods of Art universities. The objective of this idea was to open up our cultural institutions to the wider community, to promote learning and to extend the reach of new technologies. So, as a PhD student I liked to work on the idea of values and the hope for development. I left all my past behind to enliven my ambition in the way of innovative art. In the world of communication and digital, I was looking for a way to connect human‟s intellectual values and global digital. I tried to perceive the reality of human‟s nature despite the extraordinary progress in computer and its components. Therefore, it is now appropriate to move our attention to what we might do as teachers in higher education to evaluate the quality of our own work, with the key aim of improving the quality of students learning. Because, a teacher has a unique role, requiring the integration of teaching skills and capability to take an active role in curriculum support, design and implementation. I had so many interviews with many digital artists around the world which made me to question myself: Where am I standing now? What do I intend my artwork to impart? As the global communication has brought artist to communicate globally they intend to suggest the new thinking and new form of art. It is no longer art for art but art for communication and conveys a meaning to observers. Regarding to Oliver Wedell who interprets the best of a book he found, can also be a good expression for me in art: "The best of a book is not the thought which it contains, but the thought which it suggests; just as the charm of music dwells not in the tones but in the echoes of our hearts." Oliver Wendell Holmes (1809-1894), American physician and writer. (Wendell Holmes). This thesis has set out to provide a review of progress in the British universities post 60s. There was historical evidence of this tendency going back into the 19th century, when colleges founded to serve the educational needs of the growing industrial cities turned into the technological universities. The intensity of the certain of new system in England was occurred after World War II. Following post war concern about the need for technical education, and deciding to establish some colleges linked to industry. Indeed, the evaluation of new industry and demanding for reformation, become one of the most important goals in England in those days. Academic atmosphere became institutionalised on policy for technical education in 1950s and 1960s. Appendix 1 contains the main intention to explore the progressive movement of higher education in England. However, It was not the aim to provide a comprehensive theory of the history of education but, in short, I have narrowed my attention to the history of art universities in England since 18th century up to now. So, appendix II, concentrates on the creation of the new system after the 60s and have explored how and why the process of improvement expanded during that period. Chapter 1 with the subject "Digital Art and Iranian Education" has addressed approaches to teaching for creativity in art and illustrates how they can provide rich opportunities for students to discover experience and develop their skills in creative area. The questions here: How can creativity be communicated through teaching? Do we have a specific language for creativity in art? How can we explain the importance of creativity in art? How can teachers make the teaching process itself more creative? would be an overview of teaching and learning process. As it can be an important factor for teachers to know and demonstrate “when”, “where” and “which” language can be matched by creative subject material to avoid creative problem. Actually, creative problem solving depends on using the right tools such as, text, graphics, picture, video, links, searching, random scanning, backtracking, multiple windows, with programmable access and control of other resources such as, spreadsheets, databases, CAD, CD-ROMs, video discs, audio discs, tricks, procedures or methods of analysis. In some cases new tools and methods of analysis must be developed from scratch by the inventor before a problem can be solved and in other cases special tools and procedures must be developed to take the final critical step of enabling successful commercial applications after a university education. Recent technological advances in the arts have created the possibility of new ways of teaching and learning. Identifying successful strategies and techniques for enabling universities to advance is a critical step towards making these goals a reality. This chapter analyse the following conceptual approaches as key issues: Restructuring curriculum and policy in Iranian arts faculties, promoting faculty development and students‟ learning in the context of global standards. More specific issues included: Is there a need for a standard model to deliver university goals? How can we adapt the curriculum? What do we want from creativity and how can we be more creative? Chapter 2 discusses the quality of teaching and learning, resulting in improvements throughout undergraduate education. Therefore, Iranian educational context needs to be considered. I have argued that to increase faculty members‟ effectiveness, the existing competitive, individualistic college structure needs to be transformed to provide a collaborative and innovative environment where the use of computers could emerge as a new practice area. Chapter 3 represents that creative use of computers in digital art is important in learning and teaching. This chapter gives an account of the author‟s experiences in digital printmaking, not just as pieces of art work, but also to develop teaching and learning strategies for Iranian art universities. Chapter 4 states that the development of a professional digital art practice has been an essential task faced by many creative professionals today. The application of digital technologies discussed in this chapter is: What is needed in order to identify a dynamic practice and critical debate relative to educational contexts? How can we visualize the practice and theory of digitalisation? In particular, what is the nature of the collaboration that explores new models of working and practice relevant to the discovery of new methods in future? Indeed, the intersection between digital paintings, the physical body, and multimedia in collaboration with music and video art is one that this chapter discusses as a challenging teaching exemplar in forming learning values. The result promotes a new fine art context that breaks the crossing between the arts. Chapter 5 reveals the world of modern physics and the reality of our mind and our conscious self. The study of quantum physics is the further aim to develop artists‟ consciousness and inner expression for the concept of body energy and interactivity in chapter 6. Chapter 6 considers the hidden values to learn how to focus well on mind throughout the physical body. The collaborative digital art practice has analysed the intellectual activity and produced an interactive visual arts. The study of human being fused my imagination to see and express body in a new form of art as my final project. Chapter 7 examines and explores the idea of using digital art as a form of multimedia project and the opportunity of developing new techniques in performance. These explorations need to develop new tools to facilitate the emerging concept of the higher spatial dimensions, human body and their relationship between art and technology. The intention of this chapter, as a closing chapter, was to suggest a developing a programme, as a short experiential artwork to model a virtual form of the body and to explore the nature of consciousness in the world of the imagination

Computer aided learning for entry level accountancy students

Available from British Library Document Supply Centre-DSC:DXN049783 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo

Barry Smith an sich

Festschrift in Honor of Barry Smith on the occasion of his 65th Birthday. Published as issue 4:4 of the journal Cosmos + Taxis: Studies in Emergent Order and Organization. Includes contributions by Wolfgang Grassl, Nicola Guarino, John T. Kearns, Rudolf Lüthe, Luc Schneider, Peter Simons, Wojciech Żełaniec, and Jan Woleński