Drawing on a series of exhibitions curated and installed at the Canadian Centre for Architecture in Montréal throughout the 1990s and the early millennium, this essay analyzes how architecture and its representation in museological exhibitions have innovated forms of communication and display practices, transcending the traditions established by the fine arts paradigm since the late eighteenth century. The author argues that in addition to providing a heightened recognition of the narrative and performative potential of the exhibitionary setting, the discourses and (...) tensions specific to architecture and architectural practice have led to a rethinking of the communicative potential of the exhibition environment. Principles inherent to architecture—spatiality, materiality, and the experiential—are fruitful when considering the possibilities of exhibition design to elucidate multiple levels of meaning, and these principles have led to architecture’s coming-of-age in the museological environment in ways that are specific to re aedificatoria—the art of building itself. (shrink)

Science museums aim to provide educational experiences for both children and adults. To achieve this goal, museum displays must convey scientifically-relevant relationships, such as the similarities that unite members of a natural category, and the connections between scientific models and observable objects and events. In this paper, we explore how research on comparison could be leveraged to support learning about such relationships. We describe how museum displays could promote educationally-relevant comparisons involving natural specimens and scientific models. We also discuss how (...) these comparisons could be supported through the design of a display—in particular, by using similarity, space, and language to facilitate relational thinking for children and their adult companions. Such supports may be pivotal given the informal nature of learning in museums. (shrink)

Intelligent design begins with a seemingly innocuous question: Can objects, even if nothing is known about how they arose, exhibit features that reliably signal the action of an intelligent cause? To see what’s at stake, consider Mount Rushmore. The evidence for Mount Rushmore’s design is direct—eyewitnesses saw the sculptor Gutzon Borglum spend the better part of his life designing and building this structure. But what if there were no direct evidence for Mount Rushmore’s design? What if humans (...) went extinct and aliens, visiting the earth, discovered Mount Rushmore in substantially the same condition as it is now? (shrink)

(1996). Designing mental health services to improve ethnic relations. World Futures: Vol. 47, Unity and Diversity in Contemporary Systems Tinking: Systematic Pictures at an Exhibition, pp. 15-23.

Ethics researchers advise managers of organizations to link rewards and punishments to ethical and unethical behavior, respectively. We build on prior research maintaining that organizations operate at Kohlbergs stages of moral reasoning, and explain how the over-reliance on rewards and punishments encourages employees to operate at Kohlbergs lowest stages of moral reasoning. We advocate designing organizations as ethical communities and relying on different assumptions about employees in order to foster ethical reasoning at higher levels. Characteristics associated with ethical communities are (...) identified and AES Corporation and Semco S/A serve as examples of corporations exhibiting the design characteristics and assumptions of ethical organizations. (shrink)

In museum settings, caregivers support children's learning as they explore and interact with exhibits. Museums have developed exhibit design and facilitation strategies for promoting families' exploration and inquiry, but these strategies have rarely been contrasted. The goal of the current study was to investigate how prompts offered through staff facilitation vs. labels printed on exhibit components affected how family groups explored a circuit blocks exhibit, particularly whether children set and worked toward their own goals, and how caregivers were involved (...) in children's play. We compared whether children, their caregivers, or both set goals as they played together, and the actions they each took to connect the circuits. We found little difference in how families set goals between the two conditions, but did find significant differences in caregivers' actions, with caregivers in the facilitation condition making fewer actions to connect circuits while using the exhibit, compared to caregivers in the exhibit labels condition. The findings suggest that facilitated and written prompts shape the quality of caregiver-child interactions in distinct ways. (shrink)

This volume presents 25 essays on the philosophy of design. With contributions originating from philosophy and design research, and from product design to architecture, it gives a rich spectrum of state of the art research and brings together studies on philosophical topics in which design plays a key role and design research to which philosophy contributes. Coverage zooms in on specific and more well-known design disciplines but also includes less-studied disciplines, such as graphic (...) class='Hi'>design, interior architecture and exhibition design. In addition, contributors take up traditional philosophical issues, such as epistemology, politics, phenomenology and philosophy of science. Some essays cover philosophical issues that emerge in design, for instance what design can do in addressing societal problems, while other essays analyze main-stream philosophical issues in which design is part of the argument, as for instance abduction and aesthetics. Readers will discover new research with insightful analyses of design research, design thinking and the specificity of design. Overall, this comprehensive overview of an emerging topic in philosophy will be of great interest to researchers and students. (shrink)

Previous accounts of how people develop expertise have focused on how deliberate practice transforms the cognitive and perceptual representations and processes that give rise to expertise. However, the likelihood of developing expertise with a particular tool may also depend on the degree to which that tool fits pre‐existing perceptual and cognitive abilities. The present studies explored whether the abacus—a descendent of the first human computing devices—may have evolved to exploit general biases in human visual attention, or whether developing expertise with (...) the abacus requires learning special strategies for allocating visual attention to the abacus. To address this question, we administered a series of visual search tasks to abacus experts and subjects who had little to no abacus experience, in which search targets and distractors were overlaid atop abacus “beads.” Across three studies, we found that both experts and naïve subjects were faster to detect targets in semantically relevant components of the abacus, suggesting that abacus training is not required to exhibit attentional biases toward these components of the abacus. This finding suggests that the attentional biases that scaffold numerical processing of the abacus may emerge from general properties of visual attention that are exploited by the design of the abacus itself. (shrink)

Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.

Context: The main aim in organizing academic conferences is to share and develop knowledge in the focus area of the conference. Most conferences, however, are organized in a traditional way: two or three keynote presentations and a series of parallel sessions where participants present their research work, mainly using PowerPoint or Prezi presentations, with little interaction between participants. Problem: Each year, a huge number of academic events and conferences is organized. Yet their typical design is mainly based on a (...) passive way of sharing knowledge. No models for an adequate conference design and an appropriate learning environment are available. The overall conference design, however, is a crucial aspect in the learning of the participants and deserves special attention from conference organizers. Method: I have organized around 15 carefully designed conferences and on the way knowledge sharing and knowledge development was stimulated at these events. These conferences included less traditional conference designs, collective learning and explicit sharing of understanding between participants. Results: Collaboration in small groups and joint plenary discussions, plenty of time for interaction and generous feedback to presenters turn out to be very valuable for consolidating knowledge and envisioning future developments in a discipline. Also, it is our experience that the presence of design objects as a trigger and catalyst for discussing and learning makes a huge difference in sharing and developing new knowledge. This paper aims to highlight the importance and raise awareness of different methods of stimulating the construction of knowledge by conference participants. I hope it will inspire future conference organizers and help them to induce more deliberate knowledge construction amongst participants. Implications: Insights from this paper are relevant for all conference organizers, especially those in the domain of architecture, arts and design. It has become clear that it is beneficial to have exhibit-type presentations as well as moments of collective learning. Organizers are recommended to adopt an explicit conference design. Constructivist content: Following a constructivist approach to learning environments, this paper stresses the importance of scheduling moments of active and collective learning and knowledge construction explicitly during academic conferences. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion (...) and interactivity. Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

In this essay I suggest that we view design principles in systems biology as minimal models, for a design principle usually exhibits universal behaviors that are common to a whole range of heterogeneous (living and nonliving) systems with different underlying mechanisms. A well-known design principle in systems biology, integral feedback control, is discussed, showing that it satisfies all the conditions for a model to be a minimal model. This approach has significant philosophical implications: it not only accounts (...) for how design principles explain, but also helps clarify one dispute over design principles, e.g., whether design principles provide mechanistic explanations or a distinct kind of explanations called design explanations. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie or, (...) in the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

The current investigation examines children’s learning about a novel machine in a local history museum. Parent–child dyads were audio-recorded as they navigated an exhibit that contained a novel artifact: a coffee grinder from the turn of the 20th century. Prior to entering the exhibit, children were randomly assigned to receive an experimental “component” prompt that focused their attention on the machine’s internal mechanisms or a control “history” prompt. First, we audio-recorded children and their caregivers while they freely explored the exhibit, (...) and then, we measured children’s learning by asking them two questions in a test phase. Children of all ages, regardless of the prompt given, discussed most aspects of the machine, including the whole machine, its parts, and, to a lesser extent, its mechanisms. In the test phase, older children recalled more information than younger children about all aspects of the machine and appeared more knowledgeable to adult coders. Overall, this suggests that children of all ages were motivated to discuss all aspects of a machine, but some scaffolding may be necessary to help the youngest children take full advantage of these learning opportunities. While the prompts did not significantly influence the number of children who discussed the machine’s mechanisms, children who received the component prompt were rated as more knowledgeable about the machine in the test phase, suggesting that this prompt influenced what they learned. Implications for visitor experience and exhibit design are discussed. (shrink)

Autoinhibition is a design principle realized in many molecular mechanisms in biology. After explicating the notion of a design principle and showing that autoinhibition is such a principle, we focus on how researchers discovered instances of autoinhibition, using research establishing the autoinhibition of the molecular motors kinesin and dynein as our case study. Research on kinesin and dynein began in the fashion described in accounts of mechanistic explanation but, once the mechanisms had been discovered, researchers discovered that they (...) exhibited a second phenomenon, autoinhibition. The discovery of autoinhibition not only reverses the pattern in terms of which philosophers have understood mechanism discovery but runs counter to the one phenomenon-one mechanism principle assumed to relate mechanisms and the phenomena they explain. The ubiquity of autoinhibition as a design principle, therefore, necessitates a philosophical understanding of mechanisms that recognizes how they can participate in more than one phenomenon. Since mechanisms with this design are released from autoinhibition only when they are acted on by control mechanisms, we advance a revised account of mechanisms that accommodates attribution of multiple phenomena to the same mechanism and distinguishes them from other processes that control them. (shrink)

The machines exhibit an intelligence which is artificial intelligence, and it is the design of intelligent agents. A system is represented by an intelligent agent who perceives its environment and the success rate is maximized by taking the action. The AI research is highly specialized and there are two subfields and each communication fails often. The popular AI approaches include the traditional symbolic AI and computational intelligence. In order to optimize the seismic design of the reinforced concrete pier (...) structure, the particle swarm optimization algorithm and the reaction spectrum analysis method are combined; they establish a regular bridge of the design variable with cross-sectional characteristics and reinforcement ratios, with the target function. The seismic optimization design framework of the pier is transformed into a multi-objective optimization problem. Calculations show that the method can quickly obtain the optimal design parameters that meet multi-objective requirements. The improved PSO main program and the calling push-over program run time are 4.32 and 1347.56 s, respectively; the push-over program running time is 99.68% of the run time of the total program. Optimization of the seismic performance of the rear bridge pier is significantly improved and is more in line with the design method; the design method proposed in this article is more practical. (shrink)

This study is intended to provide in-depth insights into how design thinking and creativity issues are understood and possibly evolve in the course of design discussions in a company context. For that purpose, we use the seminar transcripts of the Design Thinking Research Symposium 12 (DTRS12) dataset “Tech-centred Design Thinking: Perspectives from a Rising Asia,” which are primarily concerned with how Korean companies implement design thinking and what role designers currently play. We employed a novel (...) method of information processing based on constructed dynamic semantic networks to investigate the seminar discussions according to company representatives and company size. We compared the quantitative dynamics in two seminars: the first involved managerial representatives of four companies, and the second involved specialized designers and management of a design center of single company. On the basis of dynamic semantic networks, we quantified the changes in four semantic measures—abstraction, polysemy, information content, and pairwise word similarity—in chronologically reconstructed individual design-thinking processes. Statistical analyses show that design thinking in the seminar with four companies, exhibits significant differences in the dynamics of abstraction, polysemy, and information content, compared to the seminar with the design center of single company. Both the decrease in polysemy and abstraction and the increase in information content in the individual design-thinking processes in the seminar with four companies indicate that design managers are focused on more concrete design issues, with more information and less ambiguous content to the final design product. By contrast, specialized designers manifest more abstract thinking and appear to exhibit a slightly higher level of divergence in their design processes. The results suggest that design thinking and creativity issues are articulated differently depending on designer roles and the company size. (shrink)

In his book "frege: philosophy of language", M a e dummett criticizes kripke's distinction between rigid and accidental designators. According to dummett, The argument for kripke's distinction relies on an examination of the behavior of names and descriptions in modal contexts. Dummett challenges kripke's thesis that descriptions in these contexts differ from names in creating formal ambiguities of scope, By arguing that names for which the reference has been fixed by means of a description exhibit this characteristic also. However I (...) argue that dummett's case fails, Because the ambiguity he isolates for this sort of name is demonstrably an epistemic one, Not a genuine ambiguity of modal placement. (shrink)

Context: A tension exists between the needs and desires of the institutions providing the funding for academics to attend conferences and the potential for transforming the knowledge and understanding of conference participants - than in advancing their own careers and celebrity. Approaches to the problem can recognize the importance of funding and career-building in the current society, while still experimenting in ways that could generate new ideas. Method: Ideas from second-order cybernetics are used to derive design principles that might (...) alleviate the tension and encourage deep conversations, idea generation and experimentation. The author draws on experiences with designing, organizing and participating in cybernetics conferences over a period of 34 years. Results: An academic conference designed to a set of broad, second-order cybernetic principles, where participants are informed of the design intent before they decide to attend, can open an opportunity for learning, understanding and the creation of new ideas in ways that would not otherwise be available. Although there are no guarantees, such designs can attenuate the tension, often experienced at traditionally designed conferences, between advancing individual careers/celebrity and building new knowledge together. Implications: The design principles derived, already exhibited in some conferences, could be useful to organizers wishing to foster incompatible and opposing ideas and facilitate dialogue among conference participants. These same principles have implications for the design of other social systems and point to the possibility of a new and more humane society. Constructivist content: A feature of second-order cybernetics is that knowledge is continually changing as our desires change, and we must take responsibility for the consequences of the ideas we construct and use to satisfy our desires. Key Words: Design by constraint, dynamics of interaction, asynchronicity, tyranny of the clock, times of truth, moments of art. (shrink)

One of the most commonly-raised objections to the design argument is the so-called “who designed the designer?” objection, which charges that any designer invoked to explain complexity in the universe will feature complexity of its own, and thus require explanation in terms of design. There are two distinct versions of this objection in the contemporary literature, with it being couched in terms of: (1) Complexity of designer: a designer exhibits complexity, which calls for explanation in terms of (...) class='Hi'>design; (2) Complexity of ideas: a designer’s ideas exhibit complexity, which calls for explanation in terms of design. To each of these versions of the objection there corresponds various responses from proponents of design. These proponents adopt a very particular strategy when crafting their responses: they argue that the objection can be neutralised simply by appealing to one or more of God’s attributes. In this paper I argue that this strategy is inapt, and unable to yield a successful response to either version of the objection. I also argue that a more promising way of tackling the objections is to identify their own peculiar weaknesses, for once these are exposed the objections cease to be a credible threat to the design hypothesis. (shrink)

Agent computing, and in particular intelligent mobile agent computing, is at present awarded increasing prominence in the literature. This is partly due to the pervasive nature of available Internet technologies such as search engines and booking agents. It is within this context that the importance of investigating various characteristics demonstrated by mobile agent computing is becoming apparent. In order to perform specialized tasks on behalf of their owners, a certain amount of intelligence in mobile agents is often assumed or expected. (...) The attribute intelligent brings with it a concomitant human characteristic that is assigned to an inanimate technological object. In mobile agent systems, communities of agents already inhabit areas of cyberspace and interact with other agents, human users and hosts. Depending on the expected interaction with other entities, it is plausible to think that such a community can exhibit a social life of its own. This raises issues concerning information security as well as the ethical and social behaviour of mobile agents. In this paper we discuss a framework for dealing with the security and ethical design issues of this technology. (shrink)

Intelligent design creationism (ID) is a religious belief requiring a supernatural creator's interventions in the natural order. ID thus brings with it, as does supernatural theism by its nature, intractable epistemological difficulties. Despite these difficulties and despite ID's defeat in Kitzmiller v. Dover Area School District (2005), ID creationists' continuing efforts to promote the teaching of ID in public school science classrooms threaten both science education and the separation of church and state guaranteed by the U. S. Constitution. I (...) examine the ID movement's failure to provide either a methodology or a functional epistemology to support their supernaturalism, a deficiency that consequently leaves them without epistemic support for their creationist claims. My examination focuses primarily on ID supporter Francis Beckwith, whose published defenses of teaching ID, as well as his other relevant publications concerning education, law, and public policy, have been largely exempt from critical scrutiny. Beckwith's work exhibits the epistemological deficiencies of the supernaturally grounded views of his ID associates and of supernaturalists in general. I preface my examination of Beckwith's arguments with (1) philosopher of science Susan Haack's clarification of the established naturalistic methodology and epistemology of science and (2) discussions of the views of Beckwith's ID associates Phillip Johnson and William Dembski. Finally, I critique the religious exclusionism that Beckwith shares with his ID associates and the implications of his exclusionism for public policy. (shrink)

This article draws from cultural studies, political theory, international relations, art history and museum studies in order to consider `China Design Now' — the blockbuster exhibition, recently held at the V&A. It argues that, despite the inclusion of a number of interesting exhibits, the attempt to frame contemporary Chinese design independently of political contextualization has led to an exhibition which is largely unsatisfying. The approach taken by the V&A is further shown to have produced several ironic (...) outcomes. First, by attempting to avoid `contentious' political issues, the museum has, in fact, forced the `political' to the fore. Second, by taking such an approach, the V&A demonstrates that it has failed to understand the essentially political nature of the design problem. Third, it has produced an exhibition which appears to advocate a neoliberal agenda — one which insists on an inexorable drive towards greater global economic integration. Finally, it has failed to mention its own embeddedness within larger strategies of `cultural diplomacy' and the significance of such strategies for international relations and for cultural production. As well as drawing on a range of relevant literature, the article makes direct reference to exhibition wall texts, exhibit labels and quotations from the catalogue in order to support its argument. (shrink)

Using a design-based research approach, we studied ways to advance opportunities for children and families to engage in engineering design practices in an informal educational setting. 213 families with 5–11-year-old children were observed as they visited a tinkering exhibit at a children’s museum during one of three iterations of a program posing an engineering design challenge. Children’s narrative reflections about their experience were recorded immediately after tinkering. Across iterations of the program, changes to the exhibit design (...) and facilitation provided by museum staff corresponded to increased families’ engagement in key engineering practices. In the latter two cycles of the program, families engaged in the most testing, and in turn, redesigning. Further, in the latter cycles, the more children engaged in testing and retesting during tinkering, the more their narratives contained engineering-related content. The results advance understanding and the evidence base for educational practices that can promote engineering learning opportunities for children. (shrink)

I. The argument from design or ‘teleological argument’ purports to be an inductive proof for the existence of God, proceeding from the evidence of the order exhibited by natural phenomena to the probable conclusion of a rational agent responsible for producing that order. The argument was severely criticized by David Hume in his Dialogues Concerning Natural Religion , and it was widely conceded that Hume's objections had cast serious doubt on the adequacy of the teleological argument, if not destroyed (...) its credibility entirely. However, there has been a recent reappraisal of this claim by R. G. Swinburne, who maintains that none of Hume's criticisms have any validity against a ‘carefully articulated version of the argument’. Using an analogical argument based on temporal regularities rather than on spatial regularities , Swinburne claims to have shown that the teleological argument is a legitimate inference to the best explanation whose force depends only on the strength of the analogy and on the degree to which the resulting theory makes explanation of empirical matters simpler and more coherent. Moreover, he claims to have shown that the argument provides support for the Christian monotheistic hypothesis and not merely for the weak claim that the universe was designed . This is an important claim since it has long been thought that Hume's most devastating blow was dealt when he showed that the teleological argument provides just as much support for the negation of certain propositions considered essential to Christian monotheism as it does for their affirmation. (shrink)

The organization of the mobile atomic exhibition, Mostra Atomica, designed by the United States Information Service to travel through Italy in 1954–55, had to meet technical, scientific, artistic, and political challenges. The head of the group in charge of the exhibition was architect Peter G. Harnden whose pedigree in the intelligence and training in architecture were an ideal match for leading the unit dedicated to exhibitions. The political sensitivity of the Mostra Atomica also required the intervention of the (...) Italian Ministry of the Interior to guarantee safe mobility and secure shows. In every major town, American and British diplomats attended the local opening ceremony, while the very symbol of science diplomacy was Enrico Fermi, whose recorded message praised international cooperation. All in all, the USIS campaign promoting peaceful applications of nuclear physics was successful in reaching and involving Italian society. Visual and spatial aesthetics were particularly relevant: the geometrical design of the exposition rooms conveyed a strong sense of modernity that contrasted with the artistic heritage of Italian cities. The present article is based on archival files, newspaper reports, and photographs that document who was responsible for planning, setting up, and reporting this Cold War propaganda event. (shrink)

Cattle fair arenas are panopticon-like spaces that are instrumental in dissecting the cow's body into functional parts or traits. The arena aestheticizes a partitioning gaze that is codified in a marking system: the "linear evaluation protocol" for milk cows. The positioning of the nonhuman animal body into a highly artificial context allows one to view the cow as a self-standing object, ready to be partitioned. The exhibition space of the cattle fair and the surveying eye of the cattle fair (...) judge aim to recreate a laboratory space within the relatively "artisanal" and approximate context of the breeding practice. However, there are several limitations, down sides, and contingencies that contrast the project of standardization of the skilled practice of breeding. (shrink)

We claim that scientists working with deep learning (DL) models exhibit a form of pragmatic understanding that is not reducible to or dependent on explanation. This pragmatic understanding comprises a set of learned methodological principles that underlie DL model design-choices and secure their reliability. We illustrate this action-oriented pragmatic understanding with a case study of AlphaFold2, highlighting the interplay between background knowledge of a problem and methodological choices involving techniques for constraining how a model learns from data. Building successful (...) models requires pragmatic understanding to apply modelling strategies that encourage the model to learn data patterns that will facilitate reliable generalisation. (shrink)

In 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated courses in (...) practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete. (shrink)

Political philosophers tend to notice their differences more than their similarities. I suggest that contemporary analytic political philosophy in fact exhibits a 'dominant paradigm', the main features of which are a commitment to liberal capitalism and a preference for the designing of 'just institutions.' To subscribe to this paradigm involves making a decision about how to manage the philosophical 'agenda.' In order to focus on certain issues within this paradigm, alternatives, most notably socialism, have to be excluded from prolonged consideration. (...) A popular way of supporting this policy is by reference to the perceived failure of 'real existing socialism.' Taking the late political philosopher Brian Barry, among others, as an example, I argue that this argumentative strategy is unconvincing, and furthermore that its deployment tells a worrying story about the practice of political philosophy. (shrink)

Intelligent design creationism (ID) is a religious belief requiring a supernatural creator’s interventions in the natural order. ID thus brings with it, as does supernatural theism by its nature, intractable epistemological difficulties. Despite these difficulties and despite ID’s defeat in Kitzmiller v. Dover Area School District (2005), ID creationists’ continuing efforts to promote the teaching of ID in public school science classrooms threaten both science education and the separation of church and state guaranteed by the U.S. Constitution. I examine (...) the ID movement’s failure to provide either a methodology or a functional epistemology to support their supernaturalism, a deficiency that consequently leaves them without epistemic support for their creationist claims. My examination focuses primarily on ID supporter Francis Beckwith, whose published defenses of teaching ID, as well as his other relevant publications concerning education, law, and public policy, have been largely exempt from critical scrutiny. Beckwith’s work exhibits the epistemological deficiencies of the supernaturally grounded views of his ID associates and of supernaturalists in general. I preface my examination of Beckwith’s arguments with (1) philosopher of science Susan Haack’s clarification of the established naturalistic methodology and epistemology of science and (2) discussions of the views of Beckwith’s ID associates Phillip Johnson and William Dembski. Finally, I critique the religious exclusionism that Beckwith shares with his ID associates and the implications of his exclusionism for public policy. (shrink)

Biological systems exhibit complexity at all levels of organization. It has recently been argued by Michael Behe that at the biochemical level a type of complexity exists--irreducible complexity--that cannot possibly have arisen as the result of natural, evolutionary processes and must instead be the product of (supernatural) intelligent design. Recent work on self-organizing chemical reactions calls into question Behe's analysis of the origins of biochemical complexity. His central interpretative metaphor for biochemical complexity, that of the well-designed mousetrap that ceases (...) to function if critical parts are absent, is undermined by the observation that typical biochemical systems exhibit considerable redundancy and overlap of function. Real biochemical systems, we argue, manifest redundant complexity--a characteristic result of evolutionary processes. (shrink)

We highlight the limitations of formal methods by exhibiting two results in recursive function theory: that there is no effective means of finding a program that satisfies a given formal specification; or checking that a program meets a specification. We also exhibit a ‘simple’ MAS which has all the power of a Turing machine. We then argue that any ‘pure design’ methodology will face insurmountable difficulties in today’s open and complex MAS. Rather we suggest a methodology based on the (...) classic experimental method – that is ‘scientific foundations’ for the construction and control of complex MAS. (shrink)

Le catalogue d'une exposition s'inscrivant dans la suite de Design et merveilleux (MAMC Saint-Etienne, 2018) et la Fabrique du vivant (Centre Pompidou Paris, 2019). Elle présente le lien du biomorphisme du design moderniste au biomimétisme contemporain ainsi qu'à la biofabrication et à la recréation du vivant par le design numérique.--Exhibition: Centre Pompidou-Metz, France (11.06.2022-06.02.2023).

The European bison is one of the last remnants of the megafauna that once roamed through Europe. By the early modern period, it had already disappeared from most of its former range and had become a coveted natural curiosity as well as been designated as royal game. In the 18th century, the last population of lowland European bison surviving in the Białowieża Forest became an object of study for naturalists. When the forest became a part of the Russian Empire during (...) the 19th and early 20th centuries, it was the Russian Imperial family's attention to the species that ensured its survival. In the same period, the European bison was of the utmost importance to the scientific community—as a research subject (on the taxonomic position of the species, its relation to extinct Bovidae, etc.) and as a museum exhibit (to attract audiences interested in seeing the largest European mammal). Obtaining such a specimen demanded the scientific community's adept maneuvering through diplomatic and bureaucratic channels and depended on the Russian monarch's goodwill.The tsar's permission was only a start, as naturalists themselves had to organize hunts, process the pelt and bones, and deliver them to museums. Despite the considerable organizational and logistical difficulties, by the late 19th and early 20th centuries, many museums were displaying the European bison, which succeeded in making the species well known to the wider public. In 1919, the last wild Białowieża bison was killed, but the popularity of this species helped the reintroduction of the animal a decade later. Today, the historical specimens are a source of samples for both genetic and molecular research. (shrink)

In recent years, the design and production of information systems have seen significant growth. However, these information artefacts often exhibit characteristics that compromise their reliability. This issue appears to stem from the neglect or underestimation of certain crucial aspects in the application of Information Systems Design (ISD). For example, it is frequently difficult to prove when one of these products does not work properly or works incorrectly (falsifiability), their usage is often left to subjective experience and somewhat arbitrary (...) choices (anecdotes), and their functions are often obscure for users as well as designers (explainability). In this paper, we propose an approach that can be used to support the analysis and re-(design) of information systems grounded on a well-known theory of information, namely, teleosemantics. This approach emphasizes the importance of grounding the design and validation process on dependencies between four core components: the producer (or designer), the produced (or used) information system, the consumer (or user), and the design (or use) purpose. We analyze the ambiguities and problems of considering these components separately. We then present some possible ways in which they can be combined through the teleological approach. Also, we debate guidelines to prevent ISD from failing to address critical issues. Finally, we discuss perspectives on applications over real existing information technologies and some implications for explainable AI and ISD. (shrink)

The COVID-19 pandemic has significantly affected the exhibition of artworks in museums and galleries. Many have displayed their collection online. In this context, experiencing an online exhibition is essential for visitors to appreciate and understand the artwork. Compared with offline exhibitions, visitors to online exhibitions are often unable to communicate their experiences with other visitors. Therefore, in this study, by facilitating communication via Zoom call, we established a system that allows two people to visit the museum together through (...) the Google Arts and Culture website. To reduce the psychological distance between online visitors and help increase user engagement, we designed and developed a media device based on moiré pattern visualization of electroencephalography signals. The participants were divided into two groups to visit the online museum, communicating remotely through Zoom. The objective of this study was to test whether a real-time EEG signal visualization device could help close the psychological distance between participants and whether it could increase user engagement with the online exhibition. Participants were randomly assigned to either the normal online exhibition experience group or EEG signal visualization device group. Participants in the NOEE group experienced four online exhibitions together. The conditions for participants in the ESVD group remained the same, apart from adding a media device to enable them to visualize EEG signals. A total of 40 university students participated in this study. Independent samples t-tests revealed that participants in the ESVD group perceived a significantly closer psychological distance between themselves and the participants on the opposite side than those in the NOEE group. A one-way ANOVA revealed that participants experienced Task3 with significantly closer psychological distance assessments than Task1, Task2, and Task4. Repeated ANOVAs revealed that participants in the ESVD group had higher overall user engagement than those in the NOEE group, with marginal significance. Thus, this study shows that EEG visualization media devices can reduce the psychological distance between two participants when experiencing an online exhibition. Moreover, it can increase user engagement to some extent. (shrink)

Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it (...) challenged and altered their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl. (shrink)

We are living through a new phase in human development where much of everyday life – at least in the most technologically developed parts of the world – has come to depend upon our interaction with “smart” artefacts. Alongside this increasing adoption and ever-deepening reliance on intelligent machines, important changes have been taking place, often in the background, as to how we think of ourselves and how we conceptualize our relationship with technology. As we design, create and learn to (...) live with a new order of artefacts which exhibit behavior that, were it to be carried out by human beings would be seen as intelligent, the ways in which we conceptualize intelligence, minds, reasoning and related notions such as self and agency are undergoing profound shifts. We argue that the basic background assumptions informing our concepts of mind, and the underlying conceptual scheme structuring our reasoning about minds has recently been transformed in the process. This shift has changed the nature and quality of both our folk understanding of mind, our scientific psychology, and the philosophical problems that the interaction of these realms produce. Many of the traditional problems in the philosophy of mind have become reconfigured in the process. This introduction sets the scene for our book that treats this reconfiguration of our concepts of mind and of technology, and the new casting of philosophical problems this reconfiguration engenders. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 21-40 [Access article in PDF] Unifying the Curriculum with an Art Exhibition:In the American Grain Terry Barrett This is an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, In the American Grain, in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a (...) successful attempt of teachers, students, and administrators at one school, in one time and place, unifying the whole curriculum by having an art exhibit at the center of learning. The account is given through many voices, especially those of the students in the school who participated in the curriculum, and the teachers who invented it. I served the school as a faculty advisor and thus the telling is in the voice of a participant-observer but I rely heavily on the experiences of the participants and their ways of telling. The students and teachers are unabashedly enthused about what they were able to accomplish in teaching and learning, and are eager to share their experiences with other learningcommunities. This account begins with a short history of the recently founded school and an overview of its curricular mission. It proceeds with students telling about projects they did and their experiences of the curriculum, which evolved around In the American Grain; teachers talking about their experiences with the curriculum; and the founding principal's responses to the curriculum. It ends with my observations and conclusions. I hope that this account might encourage other educators to initiate their own attempts at school reform by placing the arts at the center of the curriculum. The School Vancouver School of Arts and Academics opened in September of 1996 with 525 middle and high school students (grades 6-11 with 12th grade added the following year) in a renovated building originally constructed as a high school in 1928. 2 The school has a new theater, recording studio, rehearsal rooms, and art studios. The school is dedicated to "the dual mission [End Page 21] of academic rigor and artistic excellence," with an evolving curriculum in which all areas of study (math, science, language arts, and social studies) and a full spectrum of arts disciplines (music, theater, dance, moving imagery, literature, and visual arts) are focused around artistic themes taught through interdisciplinary approaches. 3All students attend the school full-time. The mornings are devoted to "academics," subjects that are team-taught to "core groups" of students of combined grades (6-7-8, 9-10, 11-12) and the afternoons consist of three hours of arts instruction in elected classes of mixed-age students. There are four teachers for each core of about 100 students. Teaching and learning is project-based, interdisciplinary, on an art-centered school theme pre-selected for the year by the faculty. In selecting its theme for a year, the faculty follows the state of Washington's pattern for social studies concentrating one year on world history, the next on United States history, and the next on state history. The faculty also privileges an art form for the year: year one is visual arts; year two, music; year three drama; and so forth. Theme-related projects are conducted by students working individually or in small groups of two to three, and are usually teacher-suggested at the junior high level and student-initiated at the senior high level.Students enroll from all areas of the Vancouver school district and neighboring districts. 4 Students and their parents are interviewed and students are selected for the school on the basis of a demonstrated interest in the arts, not on portfolios or auditions, nor on the basis of special designations such as "gifted and talented." Most of the students are from working-class families, and most students graduating from the school go on to college.All faculty members applied to teach at the school, and all have personal interest and expertise in one or more art forms. For example, Mr... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 21-40 [Access article in PDF] Unifying the Curriculum with an Art Exhibition:In the American Grain Terry Barrett This is an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, In the American Grain, in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a (...) successful attempt of teachers, students, and administrators at one school, in one time and place, unifying the whole curriculum by having an art exhibit at the center of learning. The account is given through many voices, especially those of the students in the school who participated in the curriculum, and the teachers who invented it. I served the school as a faculty advisor and thus the telling is in the voice of a participant-observer but I rely heavily on the experiences of the participants and their ways of telling. The students and teachers are unabashedly enthused about what they were able to accomplish in teaching and learning, and are eager to share their experiences with other learningcommunities. This account begins with a short history of the recently founded school and an overview of its curricular mission. It proceeds with students telling about projects they did and their experiences of the curriculum, which evolved around In the American Grain; teachers talking about their experiences with the curriculum; and the founding principal's responses to the curriculum. It ends with my observations and conclusions. I hope that this account might encourage other educators to initiate their own attempts at school reform by placing the arts at the center of the curriculum. The School Vancouver School of Arts and Academics opened in September of 1996 with 525 middle and high school students (grades 6-11 with 12th grade added the following year) in a renovated building originally constructed as a high school in 1928. 2 The school has a new theater, recording studio, rehearsal rooms, and art studios. The school is dedicated to "the dual mission [End Page 21] of academic rigor and artistic excellence," with an evolving curriculum in which all areas of study (math, science, language arts, and social studies) and a full spectrum of arts disciplines (music, theater, dance, moving imagery, literature, and visual arts) are focused around artistic themes taught through interdisciplinary approaches. 3All students attend the school full-time. The mornings are devoted to "academics," subjects that are team-taught to "core groups" of students of combined grades (6-7-8, 9-10, 11-12) and the afternoons consist of three hours of arts instruction in elected classes of mixed-age students. There are four teachers for each core of about 100 students. Teaching and learning is project-based, interdisciplinary, on an art-centered school theme pre-selected for the year by the faculty. In selecting its theme for a year, the faculty follows the state of Washington's pattern for social studies concentrating one year on world history, the next on United States history, and the next on state history. The faculty also privileges an art form for the year: year one is visual arts; year two, music; year three drama; and so forth. Theme-related projects are conducted by students working individually or in small groups of two to three, and are usually teacher-suggested at the junior high level and student-initiated at the senior high level.Students enroll from all areas of the Vancouver school district and neighboring districts. 4 Students and their parents are interviewed and students are selected for the school on the basis of a demonstrated interest in the arts, not on portfolios or auditions, nor on the basis of special designations such as "gifted and talented." Most of the students are from working-class families, and most students graduating from the school go on to college.All faculty members applied to teach at the school, and all have personal interest and expertise in one or more art forms. For example, Mr... (shrink)

The article takes the world’s first exhibition on the geological and philosophical concept of the Anthropocene, »Welcome to the Anthropocene «, Deutsches Museum (2014-2016), as a starting point for initial theoretical reflections on the potential and limitations of exhibitions as media and designers of the Mediocene. On the basis of a discussion of image deployment, use of space and the materiality of objects, exhibitions are analyzed as ›slow media‹.

The article takes the world’s first exhibition on the geological and philosophical concept of the Anthropocene, »Welcome to the Anthropocene «, Deutsches Museum (2014-2016), as a starting point for initial theoretical reflections on the potential and limitations of exhibitions as media and designers of the Mediocene. On the basis of a discussion of image deployment, use of space and the materiality of objects, exhibitions are analyzed as ›slow media‹.

Large groups of people exhibit social intelligence: coherent behavior directed towards individual or collective goals. This paper examines ways in which such behavior is produced in face to face situations, and discusses how it can be supported in online systems used by geographically distributed groups. It describes the concept of a “social proxy,” a minimalist visualization of the presence and activities of participants in an online interaction that is used to make online social norms visible. It summarizes experience with an (...) implemented system, presents conceptual designs that illustrate the range of situations to which social proxies can be applied, and discusses how to go about designing these types of visualizations. (shrink)