Effects of a Robot's Aesthetic Design on the attribution of social capabilities

Author(s):  
Frank Hegel
Keyword(s):  
1996 ◽  
Vol 25 (2-3) ◽  
pp. 185-195 ◽  
Author(s):  
Hitoshi Furuta ◽  
Hideaki Hase ◽  
Eiichi Watanabe ◽  
Taro Tonegawa ◽  
Hiroyuki Morimoto

2000 ◽  
Vol 06 (02) ◽  
pp. 273-302 ◽  
Author(s):  
MARZIA FONTANA ◽  
FRANCA GIANNINI ◽  
MARIA MEIRANA

2021 ◽  
pp. xx-xx

Several scholars have focused on the different approaches in designing convivial urban spaces, but literary evidence shows that the essence of aesthetic design in public urban spaces, by referring to the main dimensions involved in the shaping of urban vitality, has not been adequately researched. In this regard, this study, by hypothesizing that the quality of urban design leads to a vital urban environment, focuses on urban vitality from the aesthetic point of view. Thus, in using qualitative grounded theory as a main methodological tool and using a systematic review of the related literature as the main induction approach for collecting qualitative data, five main dimensions of urban vitality, which are necessary to attain a correlation with the aesthetic quality of urban design, were conceptualized. The study concludes that the aesthetic design of an urban setting has a direct effect on the active involvement of its users and that this, therefore, has a direct consequence on the level of public urban vitality, manifested. Integrating the complexity theory with the five main dimensions used for assessing urban vitality was suggested as a viable area for further research.


SAGE Open ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 215824401668513 ◽  
Author(s):  
Virve Peteri

The article analyzes ergonomics as a social and cultural phenomenon, as something that is formulated and described by speakers in a specific social context; in a company that is specialized in producing ergonomic office furniture. Through a case study of an office chair, the article examines how ergonomics and its association with the vision of the potential users and their working spaces are constructed by the relevant actors in project meetings and individual interviews during the manufacturing process. The article is concerned with how, in the process of producing an office chair, the chair gains an identity of an aesthetic design object and how this comes to mean the reformulation of the idea of ergonomics. The empirical analysis also provides insight into how the somewhat grand discourses of soft capitalism or aesthetic economy are not abstract, but very much grounded in everyday practices of an organization. The article establishes how the vision shared by all the relevant actors invites active, flexible, and cooperative end-users and how the vision also has potential material effects. The research is an ethnographically inspired case study that draws ideas from discursive psychology.


Author(s):  
Gabriele Peters

Interaction in modern human-computer interfaces is most intuitively initiated in an image-based way. Often images are the key components of an interface. However, too frequently, interfaces are still designed by computer scientists with no explicit education in the aesthetic design of interfaces and images. This article develops a well-defined system of criteria for the aesthetic design of images, motivated by principles of visual information processing by the human brain and by considerations of the visual arts. This theoretic disquisition establishes a framework for the evaluation of images in terms of aesthetics and it serves as a guideline for interface designers by giving them a collection of criteria at hand; how to deal with images in terms of aesthetics for the purpose of developing better user interfaces. The proposed criteria are exemplified by an analysis of the images of the web interfaces of four well known museums.


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