The Stores Model of Code Cognition

Program comprehension is perhaps one of the oldest topics within the psychology of programming. It addresses a central issue: how programmers work with and manipulate source code to construct effective software systems. Models can play an important role in understanding the challenges developers and engineers contend with. This paper presents a model of program comprehension, or code cognition, which has been derived from literature found within the disciplines of computing and psychology. Drawing on direct experimentation, this paper argues that a model of code cognition should take account of the visual, spatial and linguistic abilities of developers. The strengths and weaknesses of this model are discussed and further research directions presented

How Do You Feel, Developer? An Explanatory Theory of the Impact of Affects on Programming Performance

Affects---emotions and moods---have an impact on cognitive activities and the working performance of individuals. Development tasks are undertaken through cognitive processes, yet software engineering research lacks theory on affects and their impact on software development activities. In this paper, we report on an interpretive study aimed at broadening our understanding of the psychology of programming in terms of the experience of affects while programming, and the impact of affects on programming performance. We conducted a qualitative interpretive study based on: face-to-face open-ended interviews, in-field observations, and e-mail exchanges. This enabled us to construct a novel explanatory theory of the impact of affects on development performance. The theory is explicated using an established taxonomy framework. The proposed theory builds upon the concepts of events, affects, attractors, focus, goals, and performance. Theoretical and practical implications are given.Comment: 24 pages, 2 figures. Postprin

Fifty years of the Psychology of Programming

This paper reflects on the evolution (past, present and future) of the ‘psychology of programming' over the 50 year period of this anniversary issue. The International Journal of Human-Computer Studies (IJHCS) has been a key venue for much seminal work in this field, including its first foundations, and we review the changing research concerns seen in publications over these five decades. We relate this thematic evolution to research taking place over the same period within more specialist communities, especially the Psychology of Programming Interest Group (PPIG), the Empirical Studies of Programming series (ESP), and the ongoing community in Visual Languages and Human-Centric Computing (VL/HCC). Many other communities have interacted with psychology of programming, both influenced by research published within the specialist groups, and in turn influencing research priorities. We end with an overview of the core theories that have been developed over this period, as an introductory resource for new researchers, and also with the authors’ own analysis of key priorities for future research

Lisp, Jazz, Aikido -- Three Expressions of a Single Essence

The relation between Science (what we can explain) and Art (what we can't) has long been acknowledged and while every science contains an artistic part, every art form also needs a bit of science. Among all scientific disciplines, programming holds a special place for two reasons. First, the artistic part is not only undeniable but also essential. Second, and much like in a purely artistic discipline, the act of programming is driven partly by the notion of aesthetics: the pleasure we have in creating beautiful things. Even though the importance of aesthetics in the act of programming is now unquestioned, more could still be written on the subject. The field called "psychology of programming" focuses on the cognitive aspects of the activity, with the goal of improving the productivity of programmers. While many scientists have emphasized their concern for aesthetics and the impact it has on their activity, few computer scientists have actually written about their thought process while programming. What makes us like or dislike such and such language or paradigm? Why do we shape our programs the way we do? By answering these questions from the angle of aesthetics, we may be able to shed some new light on the art of programming. Starting from the assumption that aesthetics is an inherently transversal dimension, it should be possible for every programmer to find the same aesthetic driving force in every creative activity they undertake, not just programming, and in doing so, get deeper insight on why and how they do things the way they do. On the other hand, because our aesthetic sensitivities are so personal, all we can really do is relate our own experiences and share it with others, in the hope that it will inspire them to do the same. My personal life has been revolving around three major creative activities, of equal importance: programming in Lisp, playing Jazz music, and practicing Aikido. But why so many of them, why so different ones, and why these specifically? By introspecting my personal aesthetic sensitivities, I eventually realized that my tastes in the scientific, artistic, and physical domains are all motivated by the same driving forces, hence unifying Lisp, Jazz, and Aikido as three expressions of a single essence, not so different after all. Lisp, Jazz, and Aikido are governed by a limited set of rules which remain simple and unobtrusive. Conforming to them is a pleasure. Because Lisp, Jazz, and Aikido are inherently introspective disciplines, they also invite you to transgress the rules in order to find your own. Breaking the rules is fun. Finally, if Lisp, Jazz, and Aikido unify so many paradigms, styles, or techniques, it is not by mere accumulation but because they live at the meta-level and let you reinvent them. Working at the meta-level is an enlightening experience. Understand your aesthetic sensitivities and you may gain considerable insight on your own psychology of programming. Mine is perhaps common to most lispers. Perhaps also common to other programming communities, but that, is for the reader to decide..

Design as conversation with digital materials

This paper explores Donald Schön's concept of design as a conversation with materials, in the context of designing digital systems. It proposes material utterance as a central event in designing. A material utterance is a situated communication act that depends on the particularities of speaker, audience, material and genre. The paper argues that, if digital designing differs from other forms of designing, then accounts for such differences must be sought by understanding the material properties of digital systems and the genres of practice that surround their use. Perspectives from human-computer interaction (HCI) and the psychology of programming are used to examine how such an understanding might be constructed.</p

Psychological consumption of culinary artistry in the Peak District

This paper is based upon the culture of culinary artistry, consumption and design. The ranges of sources are specific to The Peak District using Chatsworth House as a case study. It will attempt to conceptualise the heritage, sustainability and perception of culinary arts as a medium of culture. Elements of cultural heritage tourism will be incorporated into this paper and conceptualised to culinary arts. “Culture is a fascinating concept. Our favourite analogy is to compare it to a beautiful jewel – hold it to the light, and reveal its multiple dimensions. Culture is not just a tool for coping, but a means for creating awareness and for learning”. Harris and Moran (2001) Data collected through in-depth interviews, a questionnaire survey and observation will be presented and analysed which seeks to address the practical aspects to the theoretical models. The qualitative analysis of data suggests that there are parameters that have an important yet underlying resonance in the consumption of the product; cognition, perception and psychology. The fundamental feature of common sense psychology is the underlying belief system that underlies peoples overt behaviour are causes and that it is these causal patterns and NOT the way in which an activity is performed that represents the ‘real’ meaning of what people do. Initial research highlighted attribution theory as the underlying elements or associated discourses and is supported by Lewis (2006) who highlights Hofstedes definition of culture as the collective programming of the mind that distinguishes one member from the other. A more simplified definition highlighted by Baron and Byrne (2000) defines culture as an organized system of shared meanings, perception and beliefs held by persons belonging to any group. This ‘cultural sensitivity’ is enhanced by utilising its resources to understand the perception and behaviours influenced by the cultural values (organized system or collective programming) of the host and guest (Wood and Botherton 2008)

Logical model of Personality and Cognition with possible Applications

Although the cognition is significant in strategic reasoning, its role has been weakly analyzed, because only the average intelligence is usually considered. For example, prisoner's dilemma in game theory, would have different outcomes for persons with different intelligence. I show how various levels of intelligence influence the quality of reasoning, decision, or the probability of psychosis. I explain my original methodology developed for my MA thesis in clinical psychology in 1998, and grant research in 1999, demonstrating the bias of the classic IQ method, and how the intelligence limits thinking. Based on that I defined Personality Model, providing insight into understanding of psychosis (schizophrenia, bi-polar), which has not been explained yet by psychology or psychiatry. In addition, it enables to analyze and assess non-linear problems, utilizable in computer programming, visualization (animation) or other fields including Baduk game. I've already applied some principles in complex information system www.each.co.uk, and video-animations exhibited in London, Germany, Tokyo. I need to mention my experience in chess composition between 1994 and 2000, winning a few international prizes and inventing a special class of fairy rules redefining the mate. The chess composition principles or patterns show the way to organize logical series to higher advanced mechanisms (like calculus), applicable to other fields. One of such principles is a logical aesthetic innovation: new strategy, defined by Italian composers. Finally I show how the simple redefinition of the classic utility concept links economics and psychology to explain irrational / destructive behavior. All presented results (from the research) can be repeated

Special Education in Catholic Schools Viewed from a Liberatory Hermeneutic

This study explores anew the issue of providing special education in Catholic schools by viewing the ethical implications from a liberatory hermeneutic. By utilizing an interdisciplinary perspective, the research draws upon liberation theology, liberation psychology, liberation pedagogy, and liberation ethics to support the moral mandate for providing education for all God’s children, including those persons with disabilities. The study challenges Catholic educational leaders to reimagine their positions on how schools might promote a more inclusive, liberatory approach to serving the special needs of children with disabilities. Finally, this research provides a Catholic, liberatory, ethical framework for inclusive Catholic education to assist school leaders in the development of appropriate pedagogy and programming to address the issue of inclusion of students with disabilities