The Computers Are Social Actors (CASA) paradigm asserts that human computer users interact socially with computers, and has provided extensive evidence that this is the case. In this experiment (n = 134), participants received either praise or criticism from a computer. Independent variables were the direction feedback (praise or criticism), and voice channel (verbal or text-only). Dependent va...

Nietzsche’s criticisms were directed against what he reckons as the progressive ‘moral’ disintegration of late 19 century Germany. He described morality as “the doctrine of the relations of supremacy (Herrschafts-Verhältnissen) under which the phenomenon of ‘life’ comes to be.” This definition, however, is broad and mired in ambiguity, and as will be pointed out later, escapes multitudinous ‘mo...

Put differently: is it possible to find the conceptual means with which to oppose the central postulate of internal, text-based literary criticism—the total rupture between text and world? Can we propose any theoretical and practical tools that could combat the governing principle of the autonomy of the text, or the alleged independence of the linguistic sphere? To date, the answers given to th...

Studies on user experience in the digital medium are often related to Human-Computer Interaction (HCI) and the construction of user models or the performance of usability tests in order to support design and evaluation of digital artefacts. User modelling research has mainly focused on the construction of “usable” and “useful” tools providing the users with “experiences fitting their specific b...

Résumé When thinking of Adorno and music criticism, two strategies suggest themselves. The one is to look at the kind of criticism, cultural criticism in general and music criticism in particular, propagated by Adorno. It is, after all, difficult to overestimate the degree of his influence on musical thought in the twentieth century (whether one agrees with his views or not) and of the intellec...