Inspædia, Inspiring a Collaborative Intelligence Network: Designing the User Experience

The main objective of this paper is to present the interface design concept of Inspædia focused on the userexperience, to create knowledge in innovation and design and to facilitate collaborative intelligence. We considerinnovation in the disciplinary context of the design to inspire new design processes and to expand and diversify theframe of references in order to stimulate ideation in design, as well as to offer to the inspædiers a stimulatinginteraction and knowledge experience. Whereas Inspædia is malleable enough to inspire and operating a network ofcollaborative intelligence in the areas of innovation and design - the results achieved are a significant contribution toknowledge in design and (hopefully) to the science of design (since not all knowledge is science).Research Centre for Territory, Architecture and Design - CITAD Faculty of Architecture and Arts, Lusíada University of Lisbon. Lisbon, Portugal Research Centre of Architecture, Urban Planning and Design - CIAUD Faculty of Architecture of Lisbon University. Lisbon, Portugal Special Visiting Researcher, Science Without Borders Program - CAPES Federal University of Rio Grande do Sul. Porto Alegre, Brazil CAPES/BRASIL / Grant by CAPES/BRAZIL PGDesign, Architecture Faculty, Federal University of Rio Grande do Sul. Porto Alegre, Brazi

Marshall McLuhan’s Theory of Communication: The Yegg

In this paper the methodological implications arising from Marshall McLuhan’s classic refrains—“I don’t have A Theory of Communication” and “I don’t use theories in my work”—are discussed. Absent a theory, the other way to work is by observation and investigative technique: first the evidence; then later, much later, the theory—if indeed one is necessary by then. Without a theory as a guide McLuhan was influenced by artists and poets in developing the analytical and conceptual tools he relied upon to examine media and communication. He referred to his procedure as starting with a problem and digging into the toolkit for something to open the matter up for elucidation. Chief among his tools of analysis was Practical Criticism, which he viewed as a kind of critic’s Swiss-Army Knife that worked equally incisively across all of the arts and through all areas of culture, from high-brow to low. The argument that emerges from this analysis of McLuhan’s investigative techniques is that many of the conundrums of modern media and culture are understood most effectively through research that transcends the constraints imposed by seeking to make the case for or against the truth of a particular theory. Begin with theory, you begin with the answer; begin with observation, you begin with questions

The Identity of Yoga: Contemporary Vs. Traditional Yogic Discourse

Modern yoga is a multibillion-dollar economy that penetrated many fields, from fitness to healthcare. Yoga’s popularity shows its relevance and adaptability. However, scholars found that modern yoga is synonymous with postural yoga. In this thesis, I establish that yoga’s identity is rooted in the Eight Limbs of the iconic Yoga Sutras of Patanjali ––postures being one of the limbs constituting yoga’s identifiers. Then, I link the yogic postural shift to the truncation of yoga’s identifiers in teacher training curricula. I argue that modern yoga schools focus more on postures and downplay the other limbs, especially the first two – ethical restraints and moral observances – cornerstones of all limbs per the Indian luminaries who brought yoga to the US. My cluster analysis of Yoga Alliance’s curriculum shows significant obliteration of the limbs in comparison to traditional teachings leading me to offer a prescriptive counter curriculum and practical recommendations to preserve yoga’s identity

The Appearance of Statistical Ideas in Prose, Poetry, and Drama: A Dictionary of Quotations, Aphorisms, Apothegms, Excerpts and Epigrams

It is not always easy to understand ideas that are statistical or probabilistic in character. It is even less easy to explain those ideas well. The quotations in this collection were assembled partly to understand how to understand, at least insofar as words (rather than statistical models) permit, and how writers think and explain. One of the motives here is also to assure that readers know from where the quotations come. Anybody nowadays can do a Google search and get what is alleged to a quote by someone famous. But the Googler might never know from where the thing came. Here, the intent is to assure that the right sources, properly cited, and the page numbers etc. are identified. The final motive is amusement. If these quotations amuse and entice others’ interest, that would be lovely

Deconstruction: Between Icon and Architectural Landmark, Two Spanish Examples

The 20th century was a period in the history of humanity that was marked by numerous technological advances, many discoveries and achievements in terms of knowledge, science and the arts, as well as numerous changes and political restructuring. In the Human Sciences, especially in Philosophy, new concepts and thoughts that marked and conquered the opinions of the intellectuals of that time emerged. One of these new concepts was the “Deconstruction” around the 60s of that century. The term “Deconstruction” was used for the first time by the philosopher Jacques Derrida in his work “De Grammatologie” in 1967. Deconstructivist Architecture emerged in the 80s of the 20th century. Deconstruction had as the main intention the rediscovery of new values, through the contrast of concepts, and the suppression of Modernism. Architecture was no exception, because new thoughts, styles, movements and new constructive techniques arose, which produced and caused a (re)affirmation of Architecture in society, through the implementation of new configurations and modern spatial conceptions. “Deconstruction”, as an architectural movement, arose from the fusion of the Russian Constructivism and other movements related to the philosophical concept of “Deconstruction” presented by Jacques Derrida. But it is the 1988 exhibition “Deconstructivist Architecture” organized by Marc Wigley and Philip Johnson at the Museum of Modern Art (MoMA), in New York, that acknowledges Deconstruction in Architecture. Frank Gehry, Peter Eisenman, Daniel Libeskind, Rem Koolhaas, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi were the avant-garde architects featured in this exhibition. On the 25th anniversary of the exhibition, MoMA curator Barry Bergdoll hosted “Deconstructivism: Retrospective Views and Actuality”, which traced the subsequent careers of that seven architects to examine the impact of the exhibition and the changes in architecture in those 25 years. This paper identifies the Deconstruction concepts that were the basis of deconstructivist architecture but keeping in mind that Iconic deconstructivist architects were not committed completely to all concepts of this philosophy as they produced their architectural objects. Two iconic buildings as Peter Eisenman’s City of Culture outside Santiago de Compostela (Spain) and Frank Gehry’s Guggenheim Museum Bilbao (Spain) are presented to achieve the debate.info:eu-repo/semantics/publishedVersio

TOO CLEVER FOR OUR OWN GOOD: A REFLECTIVE REVIEW OF TWELVE KEY ISSUES IN OUR WESTERN SOCIETIES

Many people in our Developed Western World believe that we are entering or are already in, an era of great societal change, redolent of the Renaissance and the Reformation periods from a cultural perspective and of the Industrial Revolution in terms of commerce, manufacturing industry and service provision. This study reviews and critiques a broad literature of developments from twelve areas namely 1. Loss of spiritual Faith by many; 2. Increasing Economic Inequality across the social strata; 3.The Increasing Incidence of Mental Illness in Western Societies; 4. Increasing Narcotic Drug Addiction; 5. Increasing Blue Screen Addiction; 6. Failure to Act on Global Warming and Erratic Weather Events; 7. Corruption of Democratically Elected Politicians and the resulting Public Protests Against Their Actions; 8. Trying to Fix the Symptoms of these maladies rather than the Cause; 9.Increasing Civil Unrest Worldwide and Increasing Militarization of Police Forces Worldwide; 10. Endocrine Disruptors; 11. Profit Before People; 12. Corona Virus (Covid 19). A selection of texts by well-established and specialist academic authors testify to the historic concern on these issues. These are supplemented by recent/current on-line sources. Academic journals are limited to past issues because immediate issues such as Covid -19 and racial issues such as the murder of George Floyd by police officers have yet to be published. This research identifies the unintended social and medical consequences which have arisen, in twelve of the most troubling social and medical issues of today. This research invites reflection and thoughtful critical comment from readers

20.2 Scientific Wonders

Rampike Vol. 20 / No. 2 (Scientific Wonders issue): Carol Stetser, Memoriam of Robert Kroetsch, Guy Laramée, Norman Cornett, John Oughton, Ryosuke Cohen, N.E.Thing Co., Iain Baxter, Adam Lauder, Richard Kostelanetz, Rosemary Nixon, Gordon W.F. Drake, Daniel King, Gail Scott, Karl Jirgens, Antanas Sileika, SS Prasad, Mike Marcon, Murali Sivaramakrishnan, Eric Zboya, Alan Lord, Ruggero Maggi, Daniel David Moses, Lorenzo Menoud, Reed Altemus, Stephen Humphrey, J.R. Carpenter, John Robert Colombo, Christen Thomas, Kevin McPherson, Francine P. Lewis, Joe Davies, Monica Radulescu, Norman Lock, Gustav Morin, Kim Goldberg, Edward Nixon, Stan Rogal, Scott Bentley, Aaron Tucker, Richard Truhlar, Fausto Bedoya, Christian Burgaud. Cover art: Guy Laramée

Music and time: tempomorphism: nested temporalities in perceived experience of music.

This thesis represents the results of a theoretical and practical investigation of acoustic and electro-acoustic elements of Western music at the start of the twentyfirst century, with specific attention to soundscapes. A commentary on the development of soundscapes is drawn from a multidisciplinary overview of concepts of time, followed by an examination of concepts of time in music. As a response to Jonathan Kramer's concept of `vertical' music (a characteristic aesthetic of which is an absence of conventional harmonic teleology), particular attention is paid to those theories of multiple nested temporalities which have been referred to by Kramer in support of non-teleological musical structures. The survey suggests that new musical concepts, such as vertical music, have emerged from sensibilities resulting from the musical and associated styles of minimalism, and represent an ontological development of aesthetics characteristic of the twentieth century. An original contention of the debate is that innovations in the practice of music as the result of technological developments have led to the possibility of defining a methodology of process in addition to auditive strategies, resulting in a duality defined as 'tempomorphic'. Further observations are supplied, using findings derived from original creative practical research, to define tempomorphic performance, which complete the contribution to knowledge offered by the investigation. Tempomorphism, therefore, is defined as a duality of process and audition: as auditive tool, tempomorphic analysis provides a listening strategy suited to harmonically static music; as a procedural tool, it affords a methodology based primarily on duration