The aesthetic zone of interaction. How are aesthetic design qualities experienced?

The aim of the present position paper is to raise issues concerning aesthetic experience in relation to an ongoing work of designing an artefact encouraging video reporting of personal experiences. The work serves as an example of a design experiment where aesthetic qualities are emphasized, but where the resulting interactions have not yet been analyzed in relation to these qualities. Our position is that the aesthetics of an interactive artefact evolves in the interactive zone between people who use it and the artefact itself. The aesthetic qualities are, thus, crystallized in the use of the artefact – whether it ranks high on a usability scale or not. Just as usability qualities, the aesthetic qualities contain contextual factors of its users, such as their pre-comprehension of the artefact, their cultural background and their emotional states. Furthermore, they include the context of the artefact, such as its physical design and the environment of its use. Our standpoint is consistent with Shusterman’s pragmatist approach to aesthetics, as related by Petersen et al. [2]. This approach promotes aesthetics of use rather than aesthetics of appearance. The experience of aesthetics lies in the interaction with the artefact rather than merely in the visual perception of it

A design view of capability

In order to optimise resource deployment in a rapid changing operational environment, capability has received increasing concerns in terms of maximising the utilisation of resources. As a result of such extant research, different domains were seen to endow different meanings to capability, indicating a lack of common understanding of the true nature of capability. This paper presents a design view of capability from design artefact knowledge perspective. Capability is defined as an intrinsic quality of an entity closely related to artefact behavioural and structural knowledge. Design artefact knowledge was categorised across expected, instantiated, and interpreted artefact knowledge spaces (ES, IsS, and ItS). Accordingly, it suggests that three types of capability exist in the three spaces, which can be used in employing resources. Moreover, Network Enabled Capability (NEC), the capability of a set of linked resources within a specific environment is discussed, with an example of how network resources are deployed in a Virtual Integration Platform (VIP)

Topological acceleration in relativistic cosmology

Heuristic approaches in cosmology bypass more difficult calculations that would more strictly agree with the standard Einstein equation. These give us the well-known Friedmann-Lemaitre-Robertson-Walker (FLRW) models, and, more recently, the feedback effect of the global topology of spatial sections on the acceleration of test particles. Forcing the FLRW heuristic model on observations leads to dark energy, which, pending fully relativistic calculations, is best interpreted as an artefact. Could topological acceleration also be an artefact of using a heuristic approach? A multiply connected exact solution of the Einstein equation shows that topological acceleration is present in at least one fully relativistic case---it is not an artefact of Newtonian-like thinking.Comment: 4 pages, 1 figure, Multiverse and Fundamental Cosmology Conference, 10-14 September, 2012, Szczecin, Polan

Dynamics of Affordances and Implications for Design

Affordance is an important concept in HCI. There are various interpretations of affordances but it has been difficult to use this concept for design purposes. Often the treatment of affordances in the current HCI literature has been as a one-to-one relationship between a user and an artefact. According to our views, affordance is a dynamic, always emerging relationship between a human and his environment. We believe that the social and cultural contexts within which an artefact is situated affect the way in which the artefact is used. Using a Structuration Theory approach, we argue that affordances need also be treated at a much broader level, encompassing social and cultural aspects. We suggest that affordances should be seen at three levels: single user, organizational (or work group) and societal. Focusing on the organizational level affordances, we provide details of several important factors that affect the emergence of affordances

Blazar sequence - an artefact of Doppler boosting

The blazar sequence is a scenario in which the bolometric luminosity of the blazar governs the appearance of its spectral energy distribution. The most prominent result is the significant negative correlation between the synchrotron peak frequencies and the synchrotron peak luminosities of the blazar population. Observational studies of the blazar sequence have, in general, neglected the effect of Doppler boosting. We study the dependence of both the synchrotron peak frequency and luminosity with Doppler-corrected quantities. We determine the spectral energy distributions of 135 radio-bright AGN and find the best-fit parabolic function for the distribution to quantify their synchrotron emission. The corresponding measurements of synchrotron peak luminosities and frequencies are Doppler-corrected with a new set of Doppler factors calculated from variability data. The relevant correlations for the blazar sequence are determined for these intrinsic quantities. The Doppler factor depends strongly on the synchrotron peak frequency, the lower energy sources being more boosted. Applying the Doppler correction to the peak frequencies and luminosities annuls the negative correlation between the two quantities, which becomes positive. For BL Lacertae objects, the positive correlation is particularly strong. The blazar sequence, when defined as the anticorrelation between the peak frequency and luminosity of the synchrotron component of the spectral energy distribution, disappears when the intrinsic, Doppler-corrected values are used. It is an observational phenomenon created by variable Doppler boosting across the synchrotron peak frequency range.Comment: 9 pages, 5 figures + 2 tables. The published version with minor changes, the main conclusions are unchange

Mechanistic artefact explanation

One thing about technical artefacts that needs to be explained is how their physical make-up, or structure, enables them to fulfil the behaviour associated with their function, or, more colloquially, how they work. In this paper I develop an account of such explanations based on the familiar notion of mechanistic explanation. To accomplish this, I outline two explanatory strategies that provide two different types of insight into an artefact’s functioning, and show how human action inevitably plays a role in artefact explanation. I then use my own account to criticize other recent work on mechanistic explanation and conclude with some general implications for the philosophy of explanation.Keywords: Artefact; Technical function; Explanation; Levels of explanation; Mechanisms

Ceremonies and Models

A model is an artefact used by a group of specialists that inspires a conversation composed of specialised linguistic practices. From their use of their model, specialists will claim to make new, reliable predictions or explanations about some other artefact. While those outside the specialism may be at sea with the explanations, those inside the specialism identify themselves by showing satisfaction. Members of the group use the models because they find the ensuing discussions satisfying. The use of specialist language, by an identifiable group which imputes to objects the group's own special meanings and whose members engage in activities that give them satisfaction turns their activity, the use of the model, into a ceremony