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David Good [3]David J. Good [1]
  1.  21
    Women Who Know Their Place.Ariane Burke, Anne Kandler & David Good - 2012 - Human Nature 23 (2):133-148.
    Differences between men and women in the performance of tests designed to measure spatial abilities are explained by evolutionary psychologists in terms of adaptive design. The Hunter-Gatherer Theory of Spatial Ability suggests that the adoption of a hunter-gatherer lifestyle (assuming a sexual division of labor) created differential selective pressure on the development of spatial skills in men and women and, therefore, cognitive differences between the sexes. Here, we examine a basic spatial skill—wayfinding (the ability to plan routes and navigate a (...)
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  2.  21
    Pragmatics and Presence.David Good - 1996 - AI and Society 10 (3-4):309-314.
    This paper considers the potentially important role played by non-verbal communication in constraining pragmatic processing. Attention is paid to claims about the role of emotion in memory encoding and recall, its role in the formulation of plans and goals, and the creation of a shared emotional sense through various interpersonal processes. It is argued that ignoring these factors can lead to pragmatic theories which overestimate the processing demands facing the conversationalist, and that this overestimation will be problematic for any systems (...)
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  3.  11
    Design as Communication: Exploring the Validity and Utility of Relating Intention to Interpretation.Nathan Crilly, David Good, Derek Matravers & P. John Clarkson - unknown
    This explores the role of intention in interpreting designed artefacts. The relationship between how designers intend products to be interpreted and how they are subsequently interpreted has often been represented as a process of communication. However, such representations are attacked for allegedly implying that designers' intended meanings are somehow ‘contained’ in products and that those meanings are passively received by consumers. Instead, critics argue that consumers actively construct their own meanings as they engage with products, and therefore that designers' intentions (...)
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