"One of the best known examples is to be found in our attitude towards the events and characters of the drama; they appeal to us like persons and incidents of normal experience, except that that side of their appeal, which would usually affect us in a directly personal manner, is held in abeyance. This difference, so well known as to be almost trivial, is generally explained by reference to the knowledge that the characters and situations are 'unreal,' imaginary. In this sense Witasek, oeprating with Meinong's theory of Annahem, has described the emotions involved in witnessing a drama as Scheingefuhle, a term which has so frequently been misunderstood in discussions of his theories. But, as a matter of fact, the 'assumption' upon which the imaginative emotional reaction is based is not necessarily the condition, but often the consequence, of distance; that is to say, the converse of the reason usually stated would then be true: viz. That distance, by changing our relation to the characters, renders them seemingly fictitious, not that the fictitiousness of the characters alters our feelings toward them. It is, of course, to be granted that the actual and admitted unreality of the dramatic action reinforces the effect of Distance. But surely the proverbial unsophisticated yokel whose chivalrous interference in the play on behalf of the hapless heroine can only be prevented by impressing upon him that 'they are only pretending,' is not the ideal type of theatrical audience. The proof of the seeming paradox that it is Distance which primarily gives to dramatic action the appearance of unreliability and not vice versa, is the observation that the same filtration of our sentiments and the same seeming 'unreality' of actual men and things occur, when at times, by a sudden change of inward perspective, we are overcome by the feeling that 'all the world's a stage.'"
(Edward Bullough, 1912)
Edward Bullough (1912). "Psychical Distance" British Journal of Psychology, Vol. 5, pp. 87-117 (excerpt cited by Julie Van Camp, 22 November 2006).
Fig.1 Patricia Piccinini/Drome Pty Ltd. (2010) [http://leecasey.carbonmade.com/projects/2594595#9]
"In their most basic form, learning communities employ a kind of co-registration or block scheduling that enables students to take courses together. The same students register for two or more courses, forming a sort of study team. In a few cases this may mean sharing the entire first-semester curriculum together so that all new students in that learning community are studying the same material. Sometimes it will link all freshmen by tying two courses together for all - most typically a course in writing with a course in selected literature, or biographies, or current social problems. In the larger universities such as the University of Oregon and the University of Washington, students in a learning community attend lectures with 200–300 other students but stay together for a smaller discussion section (Freshman Interest Group) led by a graduate student or upper division student. In a very different setting, Seattle Central Community College students in the Coordinated Studies Program take all their courses together in one block of time so that the community meets two or three times a week for four to six hours at a time."
(Vincent Tinto, 1997, p.2)
1). Vincent Tinto (1997). "Universities as Learning Organizations", About Campus 1(6) January/February 1997, Wiley Periodicals, Inc. [http://onlinelibrary.wiley.com/doi/10.1002/abc.v1:6/issuetoc]
"IDEO Method Cards is a collection of 51 cards representing diverse ways that design teams can understand the people they are designing for. They are used to make a number of different methods accessible to all members of a design team, to explain how and when the methods are best used, and to demonstrate how they have been applied to real design projects.
IDEO's human factors specialists conceived the deck as a design research tool for its staff and clients, to be used by researchers, designers, and engineers to evaluate and select the empathic research methods that best inform specific design initiatives. The tool can be used in various ways - sorted, browsed, searched, spread out, pinned up - as both information and inspiration to human-centered design teams and individuals at various stages to support planning and execution of design programs.
Inspired by playing cards, the cards are classified as four suits - Ask, Watch, Learn, Try - that define the types of activities involved in using each method. Each approach is illustrated by a real-life example of how the method was applied to a specific project. As new methods are developed all the time, the deck will grow and evolve over time.
In its first year, the Method Cards appeared to have unexpected relevance to groups that are not necessarily engaged in design initiatives. Clients report using the tool to explore new approaches to problem-solving, gain perspective, inspire a team, turn a corner, try new approaches, and to adapt and develop their own methods."
"The theme of the lecture addresses a question: how can we design spaces in the city which encourage strangers to cooperate? To explore this question, I'll draw on research in the social sciences about cooperation, based on my book, and relate this research to current issues in urban design."
(Harvard Graduate School of Design, 28 February 2012)
"Sherry Turkle is a professor, author, consultant, researcher, and licensed clinical psychologist who has spent the last 30 years researching the psychology of people's relationships with technology. She is the Abby Rockefeller Mauzé Professor of the Social Studies of Science and Technology in the Program in Science, Technology, and Society at MIT. Her many books include a trilogy on digital technology and human relationships: 'The Second Self: Computers and the Human Spirit,' 'Life on the Screen: Identity in the Age of the Internet,' and most recently, 'Alone Together: Why We Expect More From Technology and Less From Each Other.' Her investigations show that technology doesn't just catalyze changes in what we do -- it affects how we think."
(Sherry Turkle, 2011)
Fig.1 "TEDxUIUC - Sherry Turkle - Alone Together", Uploaded by TEDxTalks on 25 Mar 2011.