The Nature of Social Pasts and Their Use as Foundations for Situated Action

Katovich, Michael A.; Couch, Carl J.

doi:10.1525/si.1992.15.1.25

Cited by 69 publications

(56 citation statements)

References 33 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…The consistency in personal memory and place history can further strengthen the individual-place bond. Place memory is dynamic while independent from the length of stay, because it can be added or reinterpreted over time in terms of the experiences rather than the length of experiences (Katovich & Couch, 1992;Zerubavel, 1996). For some places…”

Section: Dimensionality: Experience/expectation Basedmentioning

confidence: 99%

Conceptualization and Measurement of Dimensionality of Place Attachment

2014

View full text Add to dashboard Cite

To extend the discussion and application of place attachment to tourism-relevant contexts, this article proposes two neglected dimensions: place memory and place expectation. Combining these dimensions, a six-dimension construct of place attachment is tested using confirmatory factor analysis and found to be a good fit for data collected from two places: Sydney, Australia and Shanghai, China. The new dimensionality includes an individual's past experience and future expectations of his/her attachment to a place, and thus has a potential to interpret one's attachment to a place based on a shorter term stay. The implications of the study for researchers and destination managers are discussed.

show abstract

Section: Dimensionality: Experience/expectation Basedmentioning

confidence: 99%

Conceptualization and Measurement of Dimensionality of Place Attachment

2014

View full text Add to dashboard Cite

show abstract

“…tions [36]. The presence of a memory of past supply chain episodes would, therefore, aid in linking up effectively with current partners for offering changes and in making better partnering decisions and adjusting processes and content for new partners.…”

Section: Design Principle 2: Dynamic Adjustmentmentioning

confidence: 99%

Coordinating for Flexibility in e-Business Supply Chains

Gosain

Malhotra

Sawy

2004

Journal of Management Information Systems

318

306

View full text Add to dashboard Cite

“…In the absence of designed procedures or intended outcomes, the socio-musical process is the central focus of interest that both problematises and constitutes the improvisation. (These transactions may be situated by a shared history of cultural understanding and social placements [27]). To situate a computer in this generic setting could be a grossly simplistic and anthropomorphising endeavour.…”

Section: Face-to-face Intimacymentioning

confidence: 99%

Identity and Intimacy in Human-Computer Improvisation

Young

2010

Leonardo Music Journal

View full text Add to dashboard Cite

Artificial intelligence invites a new approach to computing in live music performance. Computers and human performers might collaborate on an equal basis. The perceived identities of participants, both human and machine, are enriched but problematic. The conflicting relationships between these identities impact upon both performers' and listeners' experience. The film Orlacs Hände is a starting point for a speculative discussion about human-computer improvisation, problems of identity, the self and the Other, social intimacy and the therapeutic process. INTRODUCTIONComputational creativity offers the prospect of proactive, artificial performers able achieve Boden's key facets of creativity -newness, surprise and value [1] -in synergy with their human partners, but not dependent upon them at the moment of realisation. Such systems must have capabilities that are not attributable to encoded rules or overt direction. A novel performance practice is possible that admits computers as equal participants, not as glorified musical instruments. This is the central aim of the Live Algorithms for Music network [2].If human-computer improvisation is genuinely collaborative, this means computers should not be tethered to controllers, no more than a human performer might expect to be. But it also poses a problem of how machines might enjoy a performer-like identity, given that this socially situated praxis is normally understood to be the exclusive preserve of humans. Arguably, there is already a crisis in established computer-based performance, a confusion of identities and a problematical relationship with audiences. We can speculate how more general models of human interrelationships might further our understanding of a "live algorithmic" performance practice.My current experiments with real-time improvisation systems began with "piano_prosthesis" (2007), the first of a series of systems for solo musician and computer [3]. These semi-improvised duo "compositions" present an environment for interaction based on mutual listening, adaptation and creative action by both parties [4]. Both participants acquire knowledge about the other's behaviour, and this knowledge is represented ("expressed") in the music they produce. For the computer, the sound world in each version is closely allied to the timbre of the relevant instrument. This is intended to be a quasi-social process. The "prosthesis" of the title is used questioningly: do we hear the electronic element as only as extension of the performer's wishes and the solo instrument's capabilities, or as another, intentional agent?

show abstract

The Nature of Social Pasts and Their Use as Foundations for Situated Action

Cited by 69 publications

References 33 publications

Conceptualization and Measurement of Dimensionality of Place Attachment

Conceptualization and Measurement of Dimensionality of Place Attachment

Coordinating for Flexibility in e-Business Supply Chains

Identity and Intimacy in Human-Computer Improvisation

Contact Info

Product

Resources

About