Storytelling with objects to explore digital archives

Finding media in archives is difficult while storytelling with photos can be fun and supports memory retrieval. Could the search for media become a natural part of the storytelling experience? This study investigates spatial interactions with objects as a means to encode information for retrieval while being embedded in the story flow. An experiment is carried out in which participants watch a short video and re-tell the story using cards each of which shows a character or object occurring in the video. Participants arrange the cards when telling the story. It is analyzed what information interactions with cards carry and how this information relates to the language of storytelling. Most participants align interactions with objects with the sentences of the story while some arrange the cards corresponding to the video scene. Spatial interactions with objects can carry information on their own or complemented by language

An Inquiry into the Practice of Proving in Low-Dimensional Topology

The aim of this article is to investigate specific aspects connected with visualization in the practice of a mathematical subfield: low-dimensional topology. Through a case study, it will be established that visualization can play an epistemic role. The background assumption is that the consideration of the actual practice of mathematics is relevant to address epistemological issues. It will be shown that in low-dimensional topology, justifications can be based on sequences of pictures. Three theses will be defended. First, the representations used in the practice are an integral part of the mathematical reasoning. As a matter of fact, they convey in a material form the relevant transitions and thus allow experts to draw inferential connections. Second, in low-dimensional topology experts exploit a particular type of manipulative imagination which is connected to intuition of two- and three-dimensional space and motor agency. This imagination allows recognizing the transformations which connect different pictures in an argument. Third, the epistemic—and inferential—actions performed are permissible only within a specific practice: this form of reasoning is subject-matter dependent. Local criteria of validity are established to assure the soundness of representationally heterogeneous arguments in low-dimensional topology

Why 'scaffolding' is the wrong metaphor : the cognitive usefulness of mathematical representations.

The metaphor of scaffolding has become current in discussions of the cognitive help we get from artefacts, environmental affordances and each other. Consideration of mathematical tools and representations indicates that in these cases at least (and plausibly for others), scaffolding is the wrong picture, because scaffolding in good order is immobile, temporary and crude. Mathematical representations can be manipulated, are not temporary structures to aid development, and are refined. Reflection on examples from elementary algebra indicates that Menary is on the right track with his ‘enculturation’ view of mathematical cognition. Moreover, these examples allow us to elaborate his remarks on the uniqueness of mathematical representations and their role in the emergence of new thoughts.Peer reviewe

Flights in my hands : coherence concerns in designing Strip'TIC, a tangible space for air traffic controllers

Best Paper Honorable Mention awardInternational audienceWe reflect upon the design of a paper-based tangible interactive space to support air traffic control. We have observed, studied, prototyped and discussed with controllers a new mixed interaction system based on Anoto, video projection, and tracking. Starting from the understanding of the benefits of tangible paper strips, our goal is to study how mixed physical and virtual augmented data can support the controllers' mental work. The context of the activity led us to depart from models that are proposed in tangible interfaces research where coherence is based on how physical objects are representative of virtual objects. We propose a new account of coherence in a mixed interaction system that integrates externalization mechanisms. We found that physical objects play two roles: they act both as representation of mental objects and as tangible artifacts for interacting with augmented features. We observed that virtual objects represent physical ones, and not the reverse, and, being virtual representations of physical objects, should seamlessly converge with the cognitive role of the physical object. Finally, we show how coherence is achieved by providing a seamless interactive space

An optical fibre rereadable radiation dosimeter for use at high doses and at elevated temperature

A new type of radiation dosimeter for large radiation doses is described, which is based on silica fibre material. Conventional radioluminescence or thermoluminescence of silica produces emission in the blue region of the spectrum. However, in this new material irradiation, in conjunction with a heat treatment, generates a green emission band. The intensity of the green band can be monitored by either radioluminescence or thermoluminescence using a test dose. The signals are directly related to the total irradiation history of the material. The dosimeter is therefore rereadable. The production mechanism of the green emission centre requires a thermal processing stage, with an activation energy of 0.52 eV. Further, the dosimeter is effective at recording radiation during high-temperature exposure, to at least 400°C, with the subsequent dosimetry being performed below 200°C

Intelligent problem-solvers externalize cognitive operations

The use of forward models (mechanisms that predict the future state of a system) is well established in cognitive and computational neuroscience. We compare and contrast two recent, but interestingly divergent, accounts of the place of forward models in the human cognitive architecture. On the Auxiliary Forward Model (AFM) account, forward models are special-purpose prediction mechanisms implemented by additional circuitry distinct from core mechanisms of perception and action. On the Integral Forward Model (IFM) account, forward models lie at the heart of all forms of perception and action. We compare these neighbouring but importantly different visions and consider their implications for the cognitive sciences. We end by asking what kinds of empirical research might offer evidence favouring one or the other of these approaches

Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience

A recent version of the view that aesthetic experience is based in empathy as inner imitation explains aesthetic experience as the automatic simulation of actions, emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer

Towards an approach for analysing external representations created during sensemaking using generative grammar

During sensemaking, users often create external representations to help them make sense of what they know, and what they need to know. In doing so, they necessarily adopt or construct some form of representational language using the tools at hand. By describing such languages implicit in representations we believe that we are better able to describe and differentiate what users do and better able to describe and differentiate interfaces that might support them. Drawing on approaches to the analysis of language, and in particular, Mann and Thompson’s Rhetorical Structure Theory, we analyse the representations that users create to expose their underlying ‘visual grammar’. We do this in the context of a user study involving evidential reasoning. Participants were asked to address an adapted version of IEEE VAST 2011 mini challenge 3 (interpret a potential terrorist plot implicit in a set of news reports). We show how our approach enables the unpacking of the heterogeneous and embedded nature of user-generated representations and allows us to show how visual grammars evolve and become more complex over time in response to evolving sensemaking needs