In this work the distinguished physical chemist and philosopher, Michael Polanyi, demonstrates that the scientist's personal participation in his knowledge, in ...

What constitutes our human capacity to engage and be in the same frame of mind as another human? How do we come to share a sense of what ‘looks good’ and what ‘makes sense’? How do we handle differences and come to coexist with them? How do we come to feel that we understand what someone else is experiencing? How are we able to walk in silence with someone familiar and be sharing a peaceful space? All of these aspects are (...) part of human ‘interaction’. In designing interactive technologies designers have endeavoured to explicate, analyse and simulate, our capacity for social adaptation. Their motivations are mixed and include the desires to improve efficiency, improve consumption, to connect people, to make it easier for people to work together, to improve education and learning. In these endeavours to explicate, analyse and simulate, there is a fundamental human capacity that is beyond technology and that facilitates these aspects of being, feeling and thinking with others. That capacity, we suggest, is human entrainment. This is our ability to coordinate the timing of our behaviours and rhythmically synchronise our attentional resources. Expressed within the movements of our bodies and voices, it has a quality that is akin to music. In this paper, disparate domains of research such as pragmatics, social psychology, behaviourism, cognitive science, computational linguistics, gesture, are brought together, and considered in light of the developments in interactive technology, in order to shape a conceptual framework for understanding entrainment in everyday human interaction. (shrink)

Many recent studies of technological change have focussed on the implementation of computer-based high technology systems. The research described here deals with the introduction of a new but ‘low’ technology into an ancient craft tradition in India. The paper describes a project to capture and archive aspects of the tacit knowledge content of the traditional cire perdue brass foundry (Dhokra) craft of Bikna village, near Bankura, West Bengal. The research involved collaboration between the Indian National Institute for Science, Technology and (...) Development Studies (NISTADS) and School of Art, Media and Design, University of Wales, Newport, UK in the context of the EU-India Cross-Cultural Innovation Network Project. NISTADS were proposing to introduce a new fuel-efficient furnace technology in place of the traditional form used in Bikna. It was expected that the introduction of the new furnace would catalyse major changes in the entire dhokra craft at Bikna. What was not anticipated, however, was the speed and extent of this change, to the extent that the old traditional way of doing things was changed within the space of a few months. A Multimedia record of the craft and the process was developed. These technologies make it possible to develop adequate representations of skilled performance mediated by the craftsman him- or herself. Particularly valuable in this respect is the capacity of multimedia systems to use a full range of modalities of description, including video, sound, still image, conventional text and technical diagrams. This enables the presentation of very complex information in a variety of formats and contexts. The context and process of developing this knowledge archive are described. (shrink)