Intrinsic fantasy: motivation and affect in educational games made by children

The concept of intrinsic fantasy has been considered central to the aim of usefully applying the positive affect of computer games to learning. Games with intrinsic fantasy are defined as having “an integral and continuing relationship with the instructional content being presented”, and are claimed as “more interesting and more educational” than extrinsic fantasy games [1]. Studies of children making educational games have shown they usually create extrinsic games for curriculum learning content. In this study, children were encouraged to create non-curriculum games, more easily distanced from the extrinsic preconceptions of formal schooling. Forty, 7-11 year olds took part in this study (17 boys and 23 girls), designing and making their own games at an after-school club. Despite non-curriculum learning content, no more intrinsic games were created than in previous studies. The children failed to create their own pedagogical models for non-curriculum content and did not see the educational value of intrinsic fantasy games. The implications for transfer and learning in intrinsic games are discussed whilst the definition of intrinsic fantasy itself is questioned. It is argued that the integral relationship of fantasy is unlikely to be the most critical means of improving the educational effectiveness of digital games

Artifical intelligence, ownership of intellectual property rights and legal responsibilities - present & future

The report highlights issues of latest developments in software an

Nature, Science, Bayes' Theorem, and the Whole of Reality

A fundamental problem in science is how to make logical inferences from scientific data. Mere data does not suffice since additional information is necessary to select a domain of models or hypotheses and thus determine the likelihood of each model or hypothesis. Thomas Bayes' Theorem relates the data and prior information to posterior probabilities associated with differing models or hypotheses and thus is useful in identifying the roles played by the known data and the assumed prior information when making inferences. Scientists, philosophers, and theologians accumulate knowledge when analyzing different aspects of reality and search for particular hypotheses or models to fit their respective subject matters. Of course, a main goal is then to integrate all kinds of knowledge into an all-encompassing worldview that would describe the whole of reality

Uncanny valleys: sex, power, & the artificial person

This paper explores the impact of the creation of hyper-realistic animatronic sex rolls on the way in which the almost exclusively male customers view women’s autonomy. Through an examination of contemporary robotics theory as well as profiles on prospective clients for such dolls, the author outlines the highly gendered power dynamics inherent in their construction, marketing, and sale. Furthermore, this research utilizes three separate speculative fiction narratives to extrapolate out the social impact of the normalization of these dolls’ use. Through both the ethical theory and literary analysis, this paper concludes that the ethical implications of the sex robot is contingent upon its perceived personhood – a status which hinges on their ability to exhibit interiority and subjectivity

Conceptual Design of COD-E Humanoid Robots

The conceptualizing process plays an important role in assisting designers’ creativity in form and styling development. It contributes to representing the cultural elements before product transformation, which has a limited investigation. This research aims to identify the metaphorical form element that conveys the brain impaired as factors of selection and defining form development of the humanoid robot embodiment. Design Protocol Analysis obtains to into design linguistic interpretations and synthesizing design based on perceptual product experience. Findings have outlined the theory of metaphorical form element selection and identification that could represent brain impaired product in assisting humanoid robotic acceptance among autism. Keywords: Design-Inspire; Humanoid Robot; Children with Autism; Design Protocol Analysis. eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.253

Design Features for the Social Web: The Architecture of Deme

We characterize the "social Web" and argue for several features that are desirable for users of socially oriented web applications. We describe the architecture of Deme, a web content management system (WCMS) and extensible framework, and show how it implements these desired features. We then compare Deme on our desiderata with other web technologies: traditional HTML, previous open source WCMSs (illustrated by Drupal), commercial Web 2.0 applications, and open-source, object-oriented web application frameworks. The analysis suggests that a WCMS can be well suited to building social websites if it makes more of the features of object-oriented programming, such as polymorphism, and class inheritance, available to non-programmers in an accessible vocabulary.Comment: Appeared in Luis Olsina, Oscar Pastor, Daniel Schwabe, Gustavo Rossi, and Marco Winckler (Editors), Proceedings of the 8th International Workshop on Web-Oriented Software Technologies (IWWOST 2009), CEUR Workshop Proceedings, Volume 493, August 2009, pp. 40-51; 12 pages, 2 figures, 1 tabl

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future.

The Tannhäuser Gate. Architecture in science fiction films of the second half of the 20th and the beginning of the 21st century as a component of utopian and dystopian projections of the future. The films of science fiction genre from the second half of the 20th and early 21st century contained many visions of the future, which were at the same time a reflection on the achievements and deficiencies of modern times. In 1960s, cinematographic works were dominated by optimism and faith in the possibility of never-ending progress. The disappearance of political divisions between the blocs of states and the joint exploration of the cosmos was foreseen. The designers undertook cooperation with scientists, which manifested itself in showing cosmic constructions far exceeding the real technical capabilities. Starting from the 1970s, pessimism and the belief that the future will bring, above all, the intensification of negative phenomena of the present began to grow in films. Fears of the future were connected with indicating various possible defects and insoluble contradictions between them. When, therefore, some dystopian visions illustrated the threat of increase in crime, others depicted the future as saturated with state control mechanisms and the prevalence of surveillance. The fears shown on the screens were also aroused by the growth of large corporations, especially by their gaining political influence or staying outside the system of democracy. The authors of the films also presented their suspicions related to the creation of new types of weapons by corporations, the use of which might breach the current legal norms. Particular objections concerned research on biological weapons and the possible spread of lethal viruses. The development of robotics and research into artificial intelligence, which must have resulted in the appearance of androids and inevitable tensions in their relations with humans, also triggered fear. Another problem for film-makers has become hybrids that are a combination of people and electronic parts. Scriptwriters and directors likewise considered the development of genetic engineering, which led to the creation of mutant human beings. A number of film dystopias contemplated the possibility of the collapse of democratic systems and the development of authoritarian regimes in their place, often based on broad public support. This kind of dystopia also includes films presenting the consequences of contemporary hedonism and consumerism. The problem is, however, that works critical of these phenomena were themselves advertisements for attractive products

Alternative Presents and Speculative Futures: Designing fictions through the extrapolation and evasion of product lineages.

The core question addressed by this invited keynote and conference paper is how fictions are designed to negotiate, critique and realise the multiplicity of possible new technological futures. Focusing on methods, processes and strategies the presentation initially describes how things/technologies become products, employing the perspective of domestication to describe the transition from extraordinary to everyday. This development suggests a product history, a traceable lineage that goes back through generations, each one a small iteration of the previous. By modelling this lineage, design fictions can do two things: 1. Project current emerging technological development to create Speculative Futures: hypothetical products of tomorrow. 2. Break free of the lineage to speculate on Alternative Presents. These fictions effectively act as cultural litmus paper, either offering vignettes of how it might be to live with the technology in question or challenging contemporary applications of technology through demonstrable alternatives. The presentation focused on how these two types of fiction are created, how they differ from science fiction, other modes of future thinking and technological critique - more specifically how both methodologies utilise designed artefacts. What informs the development, aesthetics, behaviour, interactions and function of these objects? Once created, how and where do they operate? How can we gauge and understand their impact and meaning? As a consequence of the presentation Auger was invited to run workshops and projects in Basel (Hochschule für Gestaltung und Kunst) and HEAD (Haute école d’art et de design), Geneva and is advising on the design of a new masters programme at the Basel Hochschule