Does Internet and computer 'addiction' exist? Some case study evidence

It has been alleged that social pathologies are beginning to surface in cyberspace (i.e., technological addictions). To date, there is very little empirical evidence that computing activities (i.e., internet use, hacking, programming) are addictive. Anecdotal evidence indicates that the typical “addict” is a teenager, usually male, with little or no social life, and little or no self-confidence. This article concentrates on five case studies of excessive computer usage. It is argued that of the five cases, only two of them describe “addicted” subjects. Addiction components criteria were used in the assessment. The excessive usage in the majority of cases was purely symptomatic and was highlighted how the subjects used the Internet/computer to counteract other deficiencies

Quantum Counterfactuals and Locality

Stapp's counterfactual argument for quantum nonlocality based upon a Hardy entangled state is shown to be flawed. While he has correctly analyzed a particular framework using the method of consistent histories, there are alternative frameworks which do not support his argument. The framework dependence of quantum counterfactual arguments, with analogs in classical counterfactuals, vitiates the claim that nonlocal (superluminal) influences exist in the quantum world. Instead it shows that counterfactual arguments are of limited use for analyzing these questions.Comment: 8 pages, 1 PSTricks figur

The Museum of Copying, Venice Architecture Biennale

The Museum of Copying was an exhibition conceived and executed by FAT Architecture for the Venice Architecture Biennale in 2012. It explored ideas of the copy as a way of establishing common ground between diverse publics over time. This represented a significant moment into themes that have been present in FAT’s work for the past 15 years. Its primary research questions were: Can copying be a creative technique in architecture? What potential does the figural section hold for architecture? How have photocopying, digital media and computer aided manufacture extended the repertoire of creative replication in architecture? Research methods included collaborative and curatorial work in conversation with the other contributors to the Museum: San Rocco and Ines Weizman. The museum challenged the idea of the copy as inauthentic pastiche and proposed ways of understanding and using it in more productive ways. FATs contribution, ‘Villa Rotunda Redux’ is a prefabricated replica of Palladio’s Villa Rotunda. This was designed by extraction and translation of essential information from the original Villa Rotunda into three dimensional material form using new fabrication techniques. It comprises two abstracted quarters of the Villa Rotunda, one a polystyrene mould, the other a foam cast. These were arranged diagonally across from one another, displaying not only the properties of the original, but also the process of their fabrication. This produced an iteration of the Villa Rotunda that was at once recognizable, yet utterly transformed and original. The project was seen by the 178,000 visitors who attended the biennale. It has also been widely reviewed in the popular and architectural press, including Phaidon, dezeen, Architects Journal, designboom, ArchDaily, Architectural Review, Los Angeles Times and Financial Times. On the basis of this project, FAT Architecture have been selected, to curate the British Pavilion at the 2014 Venice Architecture Biennale with Crimson Architectural Historians and Owen Hatherley

The Dara Building (Grote Koppel), Amersfoort, Netherlands

The Dara Building in Amersfoort, Netherlands, makes a significant contribution to FAT Architecture’s on-going research into the creative potential of historical reference and repetition, in combination with digital and prefabricated construction techniques to generate new meanings in architecture. Griffiths was the lead architect on the project. Its design responded to a number of questions: How can a modern building integrate with and extend the meanings of an historic context? How can differentiation and variety be achieved using repetition? How can precast concrete construction be used to create expressive popular iconography and communicate cultural values about architecture? Can an art-based architectural practice be successful in a market driven environment? Its methodology included numerous site visits to understand the site’s complexity and latent potential, discussions with local planning authorities to get a sense of the Dutch legislation and regulations for historic contexts and typological research, drawing on the traditions of baroque influenced, gable fronted Dutch architecture. A variety of programmatic solutions, spatial permutations, and the three-dimensional complexity of the building and its surroundings were tested through extensive physical model making and other forms of digital visualisation. The innovative external wall and window panels of the building were generated by drawing and re-drawing, then interpreting these design motifs in digital format, which were then transferred directly to Dutch prefabricated concrete manufacturer, Hibex. The architects then collaborated closely with the manufacturer to produce the building’s signature prefabricated façade panels. The building has been favourably reviewed in the architectural media, including in Building Design, Blue Print and Domus. It is regularly featured in lectures and exhibitions about the work of FAT delivered nationally and internationally including at London Metropolitan University in 2009, the Walker Art Center in Minneapolis in 2009 and the Strelka Institute in Moscow in 2010

Riverside One, Middlesbrough

Riverside One is an apartment block in Middlesbrough built as part of the regeneration of the former industrial Middlehaven Docks. The brief for the building was to deliver a highly sustainable, landmark housing project exceeding Eco Homes ‘Excellent’, in line with ‘One Planet Living’ sustainability goals. The building addresses the following research questions: How can a memorable building challenge the flatness of generic urban planning within the framework of market driven regeneration? How can the communicative surface perform architecturally? How can environmental principles be incorporated into an art based architecture practice? The design of Riverside One was driven by contextual concerns involving detailed fieldwork and a close reading of the site to discover the narratives of place and the specifics of its history. Found models were then reworked through collagist / dada-ist methods to create a new assemblage that carried with it old associations and meanings and created new ones. Methods used to reorganise existing information into a new constellation were the appropriation of images, references, history and values; collage, juxtaposition and humour. At the same time as this visual, aesthetic research, Riverside One required considerable environmental and technical research to meet its sustainability standards. This involved participation in numerous sustainability workshops and in depth, detail design of the building’s external façade to ensure water and airtightness. Riverside One is a contentious building that has been widely disseminated and debated in the architectural and public media. This includes articles in dezeen, Building Design, Architects Journal and The Guardian. Built at a time of financial plenty and when there was a great deal of optimism about urban regeneration, it is seen as both representative of that optimism and all that was unreal about it. Griffiths was the lead architect for FAT on the project

Consistent histories, quantum truth functionals, and hidden variables

A central principle of consistent histories quantum theory, the requirement that quantum descriptions be based upon a single framework (or family), is employed to show that there is no conflict between consistent histories and a no-hidden-variables theorem of Bell, and Kochen and Specker, contrary to a recent claim by Bassi and Ghirardi. The argument makes use of ``truth functionals'' defined on a Boolean algebra of classical or quantum properties.Comment: Latex 10 pages, no figure

The evolution of Internet addiction: A global perspective

Kimberly Young’s early work on Internet addiction (IA)has been pioneering and her early writings on the topic inspired many others to carry out research in the area. Young's (2015) recent paper on the 'evolution of Internet addiction' featured very little European research, and did not consider the main international evidence that has contributed to our current knowledge about the conceptualization, epidemiology, etiology, and course of Internet-related disorders. This short commentary paper elaborates on important literature omitted by Young that the present authors believe may be of use to researchers. We also address statements made in Young’s (2015) commentary that are incorrect (and therefore misleading) and not systematically substantiated by empirical evidence

Convergence of gambling and gaming: implications

Gaming and gambling are beginning to converge, as illustrated by the emergence of computer games where players are paid to kill other players or survive as long as possible. Professor Mark Griffiths of the International Gaming Research Unit at Nottingham Trent University, comments that as more gambling operators start to utilise gaming technology, the Gambling Commission may be forced to re-examine the exemption of such 'skill-based' games from Great Britain's Gambling Act 2005

Gambling, luck and superstition: a brief psychological overview

For what is generally accepted as almost endemic to many a gamblers' disposition - the ideas, practices and responses that combine gambling, luck and superstition - there has been surprisingly little scientific research in this field. As an indication of what can be undertaken subsequently, an intriguing picture emerges of how this affects players' character and motivations as gamblers according to the type of gambling engaged, including its relationship to chance and skill