Conceptual Design Quotes

Brother Cavil: In all your travels, have you ever seen a star go supernova? ... I have. I saw a star explode and send out the building blocks of the Universe. Other stars, other planets and eventually other life. A supernova! Creation itself! I was there. I wanted to see it and be part of the moment. And you know how I perceived one of the most glorious events in the universe? With these ridiculous gelatinous orbs in my skull! With eyes designed to perceive only a tiny fraction of the EM spectrum. With ears designed only to hear vibrations in the air. ... I don't want to be human! I want to see gamma rays! I want to hear X-rays! And I want to - I want to smell dark matter! Do you see the absurdity of what I am? I can't even express these things properly because I have to - I have to conceptualize complex ideas in this stupid limiting spoken language! But I know I want to reach out with something other than these prehensile paws! And feel the wind of a supernova flowing over me! I'm a machine! And I can know much more! I can experience so much more. But I'm trapped in this absurd body! And why? Because my five creators thought that God wanted it that way!

Conceptual integrity in turn dictates that the design must proceed from one mind, or from a very small number of agreeing resonant minds.

Let us narrow the arguments down further. In certain respects, the theme of supplementarity is certainly no more than one theme among others. It is in a chain, carried by it. Perhaps one could substitute something else for it. But it happens that this theme describes the chain itself, the being-chain of a textual chain, the structure of substitution, the articulation of desire and of language, the logic of all conceptual oppositions taken over by Rousseau…It tells us in a text what a text is, it tells us in writing what writing it, in Rousseau’s writing it tells us Jean-Jacque’s desire etc…the concept of the supplement and the theory of writing designate textuality itself in Rousseau’s text in an indefinitely multiplied structure—en abyme.

What if some games, and the more general concept of ‘play,’ not only provide outlets for entertainment but also function as means for creative expression, as instruments for conceptual thinking, or as tools to help examine or work through social issues.

If something can cross over from conceptual space into reality, taking physical form, then something can cross in the opposite direction. It must be possible to take a physical entity, mechanically extract the idea which it embodies, amplify that idea and broadcast it up into conceptual space. A bigger idea. A better idea, one designed specifically to fight SCP-3125. An ideal. A movement. A hero.

yoga occurs when we let opposites move right through our pores, only to see that opposition is a conceptual designation that falls away when we are with the energy of the moment rather than with our storytelling.

I have little interest in illustration, which lacks a kind of transcendental quality. It is too literal. I find typography more straightforward, conceptual, and appealing, with its strict geometric vocabulary. There is a bridge between typographic design and fine art, especially since typography possesses a complex subtlety. The idea, the method, and the honesty in expression are central to a designer who works with type.

The second key maneuver, which flowed naturally from the first, was to redefine racism itself. Confronted with civil rights headlines depicting unflattering portrayals of KKK rallies and jackbooted sheriffs, white authority transformed those damning images of white supremacy into the sole definition of racism. This simple but wickedly brilliant conceptual and linguistic shift served multiple purposes. First and foremost, it was conscience soothing. The whittling down of racism to sheet-wearing goons allowed a cloud of racial innocence to cover many whites who, although 'resentful of black progress' and determined to ensure that racial inequality remained untouched, could see and project themselves as the 'kind of upstanding white citizen(s)' who were 'positively outraged at the tactics of the Ku Klux Klan". The focus on the Klan also helped to designate racism as an individual aberration rather than something systemic, institutional and pervasive.

Today I am more convinced than ever. Conceptual integrity is central to product quality. Having a system architect is the most important single step toward conceptual integrity. These principles are by no means limited to software systems, but to the design of any complex construct, whether a computer, an airplane, a Strategic Defense Initiative, a Global Positioning System. After teaching a software engineering laboratory more than 20 times, I came to insist that student teams as small as four people choose a manager and a separate architect. Defining distinct roles in such small teams may be a little extreme, but I have observed it to work well and to contribute to design success even for small teams.

To deliver both power and pleasure to users, interaction designers think first conceptually, then in terms of behavior, and last in terms of interface.

A conceptual model is an explanation, usually highly simplified, of how something works. It doesn’t have to be complete or even accurate as long as it is useful. The

Indeed, one could define a mental representation as a conceptual structure designed to sidestep the usual restrictions that short-term memory places on mental processing.

Here is one way to conceptualize NASA's heroic era: in 1961, Kennedy gave his "moon speech" to Congress, charging them to put an American on the moon "before the decade is out." In the eight years that unspooled between Kennedy's speech and Neil Armstrong's first historic bootprint, NASA, a newborn government agency, established sites and campuses in Texas, Florida, Alabama, California, Ohio, Maryland, Mississippi, Virginia, and the District of Columbia; awarded multi-million-dollar contracts and hired four hundred thousand workers; built a fully functioning moon port in a formerly uninhabited swamp; designed and constructed a moonfaring rocket, spacecraft, lunar lander, and space suits; sent astronauts repeatedly into orbit, where they ventured out of their spacecraft on umbilical tethers and practiced rendezvous techniques; sent astronauts to orbit the moon, where they mapped out the best landing sites; all culminating in the final, triumphant moment when they sent Neil Armstrong and Buzz Aldrin to step out of their lunar module and bounce about on the moon, perfectly safe within their space suits. All of this, start to finish, was accomplished in those eight years.

Often people will use their own conceptual models of the world to determine the perceived causal relationship between the thing being blamed and the result. The word perceived is critical: the causal relationship does not have to exist; the person simply has to think it is there.

It is important to note that the design of an entire brain region is simpler than the design of a single neuron. As discussed earlier, models often get simpler at a higher level—consider an analogy with a computer. We do need to understand the detailed physics ofsemiconductors to model a transistor, and the equations underlying a single real transistor are complex. A digital circuit that multiples two numbers requires hundreds of them. Yet we can model this multiplication circuit very simply with one or two formulas. An entire computer with billions of transistors can be modeled through its instruction set and register description, which can be described on a handful of written pages of text and formulas. The software programs for an operating system, language compilers, and assemblers are reasonably complex, but modeling a particular program—for example, a speech recognition programbased on hierarchical hidden Markov modeling—may likewise be described in only a few pages of equations. Nowhere in such a description would be found the details ofsemiconductor physics or even of computer architecture. A similar observation holds true for the brain. A particular neocortical pattern recognizer that detects a particular invariant visualfeature (such as a face) or that performs a bandpass filtering (restricting input to a specific frequency range) on sound or that evaluates the temporal proximity of two events can be described with far fewer specific details than the actual physics and chemicalrelations controlling the neurotransmitters, ion channels, and other synaptic and dendritic variables involved in the neural processes. Although all of this complexity needs to be carefully considered before advancing to the next higher conceptual level, much of it can be simplified as the operating principles of the brain are revealed.

To articulate more precisely the way in which the Lacanian phallic signifier entails the impossibility of metalanguage, let us return to the poststructuralist understanding of the idea that 'there is no metalanguage'. Its starting point is the fact that the zero level of all metalanguages - natural, ordinary language - is simultaneously the last interpretative framework of all of them: it is the ultimate metalanguage. Ordinary language is its own metalanguage. It is self-referential; the place of an incessant auto-reflexive movement. In this conceptualization one does not mention the object too much. Usually, one gets rid of it simply by pointing out how 'reality' is already structured through the medium of language. In this way post-structuralists can calmly abandon themselves to the infinite self-interpretative play of language. 'There is no metalanguange' is actually taken to mean its exact opposite: that there is no pure object-language, any language that would function as a purely transparent medium for the designation of pre-given reality. Every 'objective' statement about things includes some kind of self-distance, a rebounding of the signifier from its 'literal meaning'. In short, language is always saying, more or less, something other than what it means to say.

We tend to think of grand organizations like corporations or empires coming about through deliberate human planning: designing the conceptual architecture for each imposing structure, brick by brick. But the shape an institution ultimately takes is not so much designed in advance by a master engineer as it is carved away by challenges to its outer boundaries, the way a coastline is partly formed by an endless battering of much smaller waves.

When you are asked, “What am I holding in my hand?” and answer, “a cup,” you have just grasped on to “cup-ness.” You have identified an object within the context of a conceptual framework—a word, a sign. So the mind that latches on to a sign—here an image commonly designated as a “cup”—does so through grasping. Although you are merely identifying “That’s a cup,” this is also a form of grasping. It may not be the kind of grasping that will lead to endless misery, but it is a subtle form of grasping.

Lurking behind this connecting silence is a brooding suspicion over the extent to which the perceptual user-preferences of the human animal limit and distort its experience of reality, and the consequently unreliable nature of much of its thought. Poetry is the means by which we correct the main tool of that thought, language, for its anthropic distortions: it is language's self-corrective function, and everywhere challenges our Adamite inheritance - the catastrophic, fragmenting design of our conceptualizing machinery - through the insistence on a counterbalancing project, that of lyric unity.

Because ease of use is the purpose, this ratio of function to conceptual complexity is the ultimate test of system design. Neither function alone nor simplicity alone defines a good design. This point is widely misunderstood. Operating System/360 is hailed by its builders as the finest ever built, because it indisputably has the most function. Function, and not simplicity, has always been the measure of excellence for its designers. On the other hand, the Time-Sharing System for the PDP-10 is hailed by its builders as the finest, because of its simplicity and the spareness of its concepts. By any measure, however, its function is not even in the same class as that of OS/360. As soon as ease of use is held up as the criterion, each of these is seen to be unbalanced, reaching for only half of the true goal.

Sound waves, regardless of their frequency or intensity, can only be detected by the Mole Fly’s acute sense of smell—it is a little known fact that the Mole Fly’s auditory receptors do not, in fact, have a corresponding center in the brain designated for the purposes of processing sensory stimuli and so, these stimuli, instead of being siphoned out as noise, bypass the filters to be translated, oddly enough, by the part of the brain that processes smell. Consequently, the Mole Fly’s brain, in its inevitable confusion, understands sound as an aroma, rendering the boundary line between the auditory and olfactory sense indistinguishable. Sounds, thus, come in a variety of scents with an intensity proportional to its frequency. Sounds of shorter wavelength, for example, are particularly pungent. What results is a species of creature that cannot conceptualize the possibility that sound and smell are separate entities, despite its ability to discriminate between the exactitudes of pitch, timbre, tone, scent, and flavor to an alarming degree of precision. Yet, despite this ability to hyper-analyze, they lack the cognitive skill to laterally link successions of either sound or smell into a meaningful context, resulting in the equivalent of a data overflow. And this may be the most defining element of the Mole Fly’s behavior: a blatant disregard for the context of perception, in favor of analyzing those remote and diminutive properties that distinguish one element from another. While sensory continuity seems logical to their visual perception, as things are subject to change from moment-to-moment, such is not the case with their olfactory sense, as delays in sensing new smells are granted a degree of normality by the brain. Thus, the Mole Fly’s olfactory-auditory complex seems to be deprived of the sensory continuity otherwise afforded in the auditory senses of other species. And so, instead of sensing aromas and sounds continuously over a period of time—for example, instead of sensing them 24-30 times per second, as would be the case with their visual perception—they tend to process changes in sound and smell much more slowly, thereby preventing them from effectively plotting the variations thereof into an array or any kind of meaningful framework that would allow the information provided by their olfactory and auditory stimuli to be lasting in their usefulness. The Mole flies, themselves, being the structurally-obsessed and compulsive creatures that they are, in all their habitual collecting, organizing, and re-organizing of found objects into mammoth installations of optimal functional value, are remarkably easy to control, especially as they are given to a rather false and arbitrary sense of hierarchy, ascribing positions—that are otherwise trivial, yet necessarily mundane if only to obscure their true purpose—with an unfathomable amount of honor, to the logical extreme that the few chosen to serve in their most esteemed ranks are imbued with a kind of obligatory arrogance that begins in the pupal stages and extends indefinitely, as they are further nurtured well into adulthood by a society that infuses its heroes of middle management with an immeasurable sense of importance—a kind of celebrity status recognized by the masses as a living embodiment of their ideals. And yet, despite this culture of celebrity worship and vicarious living, all whims and impulses fall subservient, dropping humbly to the knees—yes, Mole Flies do, in fact, have knees!—before the grace of the merciful Queen, who is, in actuality, just a puppet dictator installed by the Melic papacy, using an old recycled Damsel fly-fishing lure. The dummy is crude, but convincing, as the Mole flies treat it as they would their true-born queen.

The need for challenge and exploration arises mostly out of the blockage of fulfillment of lower level needs, giving rise to a pervading restlessness. Out of this restlessness there arises much pathology as searchers collide with established structuring and functioning of the environment. Out of this restlessness there also arises a small cadre of creative deviants whose insights and inventions have provided the leverage which has enabled man to increase his standard of living and his compassionate concern for his fellows. Our success in being human has so far derived from our honoring deviance more than tradition. Template changing has always gained a slight, though often tenuous, lead over template obeying. Now we must search diligently for those creative deviants from whom alone will come the conceptualizations of an evolutionary designing process which can assure us an open ended future -- toward whose realization we can all participate.

Thus specifically does Jesus declare himself against personality, against the view that his essence possessed an individuality opposed to that of those who had attained the culmination of friendship with him (against the thought of a personal God),[23] for the ground of such an individuality would be an absolute particularity of his being in opposition to theirs. A remark about the unity of lovers is also relevant here (Matthew xix. 5-6): Man and wife, these twain, become one, so that they are no longer two. What therefore God hath joined, let no man put asunder. If this “joining” were supposed to have reference solely to the original designation of the man and the woman for one another, this reason would not suffice against divorce, since divorce would not cancel that designation, that conceptual unification; it would remain even if a living link were disrupted. It is a living link that is said to be something divine, effected by God’s agency.

To speak conventionally - and I think it is easier for the general reader to see Zen thus presented - there are unknown recesses in our minds which lie beyond the threshold of the relatively constructed consciousness. To designate them as “sub-conciousness” or “supra-consciousness” is not correct. The word “beyond” is used simply because it is a most convenient term to indicate their whereabouts. But as a matter of fact there is no “beyond”, no “underneath”, no “upon” in our consciousness. The mind is one indivisible whole and cannot be torn in pieces. The so-called terra incognita is the concession of Zen to our ordinary way of talking, because whatever field of consciousness that is known to us is generally filled with conceptual riffraff, and to get rid of them, which is absolutely necessary for maturing Zen experience, the Zen psychologist sometimes points to the presence of some inaccessible region in our minds. Though in actuality there is no such region apart from our everyday consciousness, we talk of it as generally more easily comprehensible by us.

Why is programming fun? What delights may its practitioner expect as his reward? First is the sheer joy of making things. As the child delights in his first mud pie, so the adult enjoys building things, especially things of his own design. I think this delight must be an image of God’s delight in making things, a delight shown in the distinctness and newness of each leaf and each snowflake. Second is the pleasure of making things that are useful to other people. Deep within, we want others to use our work and to find it helpful. In this respect the programming system is not essentially different from the child’s first clay pencil holder “for Daddy’s office.” Third is the fascination of fashioning complex puzzle-like objects of interlocking moving parts and watching them work in subtle cycles, playing out the consequences of principles built in from the beginning. The programmed computer has all the fascination of the pinball machine or the jukebox mechanism, carried to the ultimate. Fourth is the joy of always learning, which springs from the nonrepeating nature of the task. In one way or another the problem is ever new, and its solver learns something; sometimes practical, sometimes theoretical, and sometimes both. Finally, there is the delight of working in such a tractable medium. The programmer, like the poet, works only slightly removed from pure thought-stuff. He builds his castles in the air, from air, creating by exertion of the imagination. Few media of creation are so flexible, so easy to polish and rework, so readily capable of realizing grand conceptual structures. (As we shall see later, this very tractability has its own problems.) Yet the program construct, unlike the poet’s words, is real in the sense that it moves and works, producing visible outputs separate from the construct itself. It prints results, draws pictures, produces sounds, moves arms. The magic of myth and legend has come true in our time. One types the correct incantation on a keyboard and a display screen comes to life, showing things that never were nor could be. Programming then is fun because it gratifies creative longings built deep within us and delights sensibilities we have in common with all men.

The three main mediaeval points of view regarding universals are designated by historians as realism, conceptualism, and nominalism. Essentially these same three doctrines reappear in twentieth-century surveys of the philosophy of mathematics under the new names logicism, intuitionism, and formalism. Realism, as the word is used in connection with the mediaeval controversy over universals, is the Platonic doctrine that universals or abstract entities have being independently of the mind; the mind may discover them but cannot create them. Logicism, represented by Frege, Russell, Whitehead, Church, and Carnap, condones the use of bound variables to refer to abstract entities known and unknown, specifiable and unspecifiable, indiscriminately. Conceptualism holds that there are universals but they are mind-made. Intuitionism, espoused in modern times in one form or another by Poincaré, Brouwer, Weyl, and others, countenances the use of bound variables to refer to abstract entities only when those entities are capable of being cooked up individually from ingredients specified in advance. As Fraenkel has put it, logicism holds that classes are discovered while intuitionism holds that they are invented—a fair statement indeed of the old opposition between realism and conceptualism. This opposition is no mere quibble; it makes an essential difference in the amount of classical mathematics to which one is willing to subscribe. Logicists, or realists, are able on their assumptions to get Cantor’s ascending orders of infinity; intuitionists are compelled to stop with the lowest order of infinity, and, as an indirect consequence, to abandon even some of the classical laws of real numbers. The modern controversy between logicism and intuitionism arose, in fact, from disagreements over infinity. Formalism, associated with the name of Hilbert, echoes intuitionism in deploring the logicist’s unbridled recourse to universals. But formalism also finds intuitionism unsatisfactory. This could happen for either of two opposite reasons. The formalist might, like the logicist, object to the crippling of classical mathematics; or he might, like the nominalists of old, object to admitting abstract entities at all, even in the restrained sense of mind-made entities. The upshot is the same: the formalist keeps classical mathematics as a play of insignificant notations. This play of notations can still be of utility—whatever utility it has already shown itself to have as a crutch for physicists and technologists. But utility need not imply significance, in any literal linguistic sense. Nor need the marked success of mathematicians in spinning out theorems, and in finding objective bases for agreement with one another’s results, imply significance. For an adequate basis for agreement among mathematicians can be found simply in the rules which govern the manipulation of the notations—these syntactical rules being, unlike the notations themselves, quite significant and intelligible.

The risibility of our altruistic 'understanding' is rivalled only by the profound contempt it is designed to conceal. For 'We respect the fact that you are different' read: 'You people who are underdeveloped would do well to hang on to this distinction because it is all you have left' . (The signs of folklore and poverty are excellent markers of difference.) Nothing could be more contemptuous - or more contemptible - than this attitude, which exemplifies the most radical form of incomprehension that exists. It has nothing to do, however, with what Segalen calls 'eternal incomprehensibility' . Rather, it is a product of eternal stupidity - of that stupidity which endures for ever in its essential arrogance, feeding on the differentness of other people. Other cultures, meanwhile, have never laid claim to universality. Nor did they ever claim to be different - until difference was forcibly injected into them as part of a sort of cultural opium war. They live on the basis of their own singularity, their own exceptionality, on the irreducibility of their own rites and values. They find no comfort in the lethal illusion that all differences can be reconciled - an illusion that for them spells only annihilation. To master the universal symbols of otherness and difference is to master the world. Those who conceptualize difference are anthropologically superior - naturally, because it is they who invented anthropology. And they have all the rights, because rights, too, are their invention. Those who do not conceptualize difference, who do not play the game of difference, must be exterminated. The Indians of America, when the Spanish landed, are a case in point. They understood nothing about difference; they inhabited radical otherness. (The Spaniards were not different in their eyes: they were simply gods, and that was that.) This is the reason for the fury with which the Spaniards set about destroying these peoples, a fury for which there was no religious justification, nor economic justification, nor any other kind of justification, except for the fact that the Indians were guilty of an absolute crime: their failure to understand difference. When they found themselves obliged to become part of an otherness no longer radical, but negotiable under the aegis of the universal concept, they preferred mass self-immolation - whence the fervour with which they, for their part, allowed themselves to die: a counterpart to the Spaniards' mad urge to kill. The Indians' strange collusion in their own extermination represented their only way of keeping the secret of otherness.

To become a fashion designer, you must be a very creative person with an eye for style. Fashion designers are people who conceptualize and create outfits that clothing company will sell to customers. They follow current fashion trends and determine what people will consider stylish and fashionable.

This really does attack essence. Because the build-on-package phenomenon does not today affect the average MIS programmer, it is not yet very visible to the software engineering discipline. Nevertheless, it will grow rapidly, because it does attack the essence of fashioning conceptual constructs. The shrink-wrapped package provides a big module of function, with an elaborate but proper interface, and its internal conceptual structure does not have to be designed at all. High-function software products such as Excel or 4th Dimension are big modules indeed, but they serve as known, documented, tested modules with which to build customized systems. Next-level application builders get richness of function, a shorter development time, a tested component, better documentation, and radically lower cost. The difficulty, of course, is that the shrink-wrapped software package is designed as a stand-alone entity whose functions and interfaces metaprogrammers cannot change. Moreover, and more seriously, shrink-wrapped package builders seemingly have little incentive to make their products suitable as modules in a larger system. I

Any product that is sufficiently big or urgent to require the effort of many minds thus encounters a peculiar difficulty: the result must be conceptually coherent to the single mind of the user and at the same time designed by many minds.

Underlying this book is the assumption that governing a company and managing it are different activities requiring different job designs. We maintain that governance is best seen as existing outside the phenomenon of management and inside the phenomenon of ownership. Governance operates at a level that transcends current issues and specific company traditions and elevates people to a higher conceptual plane, one from which accountability can be seen more clearly. Governance requires and engenders a passion for leadership, leadership that is not just over others but on others' behalf.

In the absence of external information, people can let their imagination run free as long as the conceptual models they develop account for the facts as they perceive them.

Learners are changing in their approaches to education—they use digital technologies, they multi-task, they collaborate and they are becoming less patient with teacher-centric styles of education.

Creation and Existence If creation is the act of bringing something into existence, we must ask what constituted existence in the ancient world. In our culture, we consider existence to be either material (i.e., having molecules/taking up space and extending to energy and subatomic particles) or experiential (e.g., abstractions such as love or time). Those definitions, however, are culturally determined. By contrast, in the ancient world something existed when it had a function—a role to play. In Mesopotamia one way to accomplish this was to name something, because a name designated a thing’s function or role. Thus, in the Babylonian creation account, bringing the cosmos into existence begins “When on high no name was given in heaven, nor below was the netherworld called by name . . . When no gods at all had been brought forth, none called by names, none destinies ordained, then were the gods formed.” In Egyptian accounts existence was associated with something having been differentiated. The god Atum is conceptualized as the primordial monad—the singularity embodying all the potential of the cosmos, from whom all things were separated and thereby created. The Genesis account includes both of these concepts as God separates and names.

Creation and Existence If creation is the act of bringing something into existence, we must ask what constituted existence in the ancient world. In our culture, we consider existence to be either material (i.e., having molecules/taking up space and extending to energy and subatomic particles) or experiential (e.g., abstractions such as love or time). Those definitions, however, are culturally determined. By contrast, in the ancient world something existed when it had a function—a role to play. In Mesopotamia one way to accomplish this was to name something, because a name designated a thing’s function or role. Thus, in the Babylonian creation account, bringing the cosmos into existence begins “When on high no name was given in heaven, nor below was the netherworld called by name . . . When no gods at all had been brought forth, none called by names, none destinies ordained, then were the gods formed.” In Egyptian accounts existence was associated with something having been differentiated. The god Atum is conceptualized as the primordial monad—the singularity embodying all the potential of the cosmos, from whom all things were separated and thereby created. The Genesis account includes both of these concepts as God separates and names. The actual Hebrew verb “create” (bara) also focuses our attention in this direction. In the Bible, only God can perform this action of bringing something into existence. What is even more intriguing is that the objects of this verb point consistently toward its connection to functional existence rather than material existence; e.g., God “creates” fire, cloud, destruction, calamity, darkness, righteousness and purity. This is much like the ancient Near Eastern way of thinking that it was more important to determine who controlled functions rather than who/what gave something its physical form. In the ancient world something was created when it was given a function. In the ancient world, the cosmos is less like a machine, more like a kingdom. ◆

In Mesopotamia one way to accomplish this was to name something, because a name designated a thing’s function or role. Thus, in the Babylonian creation account, bringing the cosmos into existence begins “When on high no name was given in heaven, nor below was the netherworld called by name . . . When no gods at all had been brought forth, none called by names, none destinies ordained, then were the gods formed.” In Egyptian accounts existence was associated with something having been differentiated. The god Atum is conceptualized as the primordial monad—the singularity embodying all the potential of the cosmos, from whom all things were separated and thereby created. The Genesis account includes both of these concepts as God separates and names. The actual Hebrew verb “create” (bara) also focuses our attention in this direction. In the Bible, only God can perform this action of bringing something into existence. What is even more intriguing is that the objects of this verb point consistently toward its connection to functional existence rather than material existence; e.g., God “creates” fire, cloud, destruction, calamity, darkness, righteousness and purity. This is much like the ancient Near Eastern way of thinking that it was more important to determine who controlled functions rather than who/what gave something its physical form. In the ancient world something was created when it was given a function. In the ancient world, the cosmos is less like a machine, more like a kingdom. ◆

Process Plant Design provides a complete “design and build” service to the customer such as oil & gas, petrochemical, chemical, power generation, waste water treatment, pulp and paper mill plants and cement plant according to the client's requirement in Pendik/Istanbul, Turkey.

A conceptual model is an explanation, usually highly simplified, of how something works. It doesn’t have to be complete or even accurate as long as it is useful.

​•  ​What do I believe makes people unwell? ​•  ​How long do I think the process of achieving wellness takes? ​•  ​Is wellness a reasonable treatment goal? And if so, what is wellness? ​•  ​Do I have to go through someone’s past to get to make sense of their present? ​•  ​Am I in the business of symptom management or symptom relief? ​•  ​Do I believe in practicing with a sense of orthodoxy or with a sense of eclecticism? ​•  ​What does case conceptualization mean to me? The answers to these questions, individual to all of us, are threaded into the theoretical weave that substantiates the design of clinical social work.

The success of the scaling-up process depends upon the fact that the conceptual integrity of each piece has been radically improved—that the number of minds determining the design has been divided by seven. So it is possible to put 200 people on a problem and face the problem of coordinating only 20 minds, those of the surgeons. For that coordination problem, however, separate techniques must be used, and these are discussed in succeeding chapters. Let it suffice here to say that the entire system also must have conceptual integrity, and that requires a system architect to design it all, from the top down. To make that job manageable, a sharp distinction must be made between architecture and implementation, and the system architect must confine himself scrupulously to architecture.

I will contend that conceptual integrity is the most important consideration in system design. It is better to have a system omit certain anomalous features and improvements, but to reflect one set of design ideas, than to have one that contains many good but independent and uncoordinated ideas.

Conceptual integrity does require that a system reflect a single philosophy and that the specification as seen by the user flow from a few minds. Because of the real division of labor into architecture, implementation, and realization, however, this does not imply that a system so designed will take longer to build. Experience shows the opposite, that the integral system goes together faster and takes less time to test. In effect, a widespread horizontal division of labor has been sharply reduced by a vertical division of labor, and the result is radically simplified communications and improved conceptual integrity.

I believe the hard part of building software to be the specification, design, and testing of this conceptual construct, not the labor of representing it and testing the fidelity of the representation. We still make syntax errors, to be sure; but they are fuzz compared to the conceptual errors in most systems. If this is true, building software will always be hard. There is inherently no silver bullet.

If, as I believe, the conceptual structures we construct today are too complicated to be accurately specified in advance, and too complex to be built faultlessly, then we must take a radically different approach. Let us turn to nature and study complexity in living things, instead of just the dead works of man. Here we find constructs whose complexities thrill us with awe. The brain alone is intricate beyond mapping, powerful beyond imitation, rich in diversity, self-protecting, and self-renewing. The secret is that it is grown, not built. So it must be with our software systems. Some years ago Harlan Mills proposed that any software system should be grown by incremental development.[11] That is, the system should first be made to run, even though it does nothing useful except call the proper set of dummy subprograms. Then, bit by bit it is fleshed out, with the subprograms in turn being developed into actions or calls to empty stubs in the level below. I have seen the most dramatic results since I began urging this technique on the project builders in my software engineering laboratory class. Nothing in the past decade has so radically changed my own practice, or its effectiveness. The approach necessitates top-down design, for it is a top-down growing of the software. It allows easy backtracking. It lends itself to early prototypes. Each added function and new provision for more complex data or circumstances grows organically out of what is already there. The morale effects are startling. Enthusiasm jumps when there is a running system, even a simple one. Efforts redouble when the first picture from a new graphics software system appears on the screen, even if it is only a rectangle. One always has, at every stage in the process, a working system. I find that teams can grow much more complex entities in four months than they can build.

The first cause of the Universe — no matter how you name it, God or something else — could only created a physical substance but not the reality itself. Although reality can be associated with the physical world, reality and the physical world do not coincide. Only the brain can create reality, -- for that reason, reality is an individual phenomenon, being dependent on the physical characteristics of the individual brain, such as the brain-design, neurodynamic activity, etc. -- reality cannot be created by God, or something else. Reality cannot be a universal phenomenon, that is, can be the same for everyone. What happens in the brain causes the conceptualization of the outer world and creates a mental image of this world in the brain. You see, sense or perceive the outer world only through this mental image within you. You cannot be sure of the characteristics of any physical object, because your mental apparatus has a strong influence on the interpretation of signals coming from that object. You characterize something ‘so-and-so’ not because it is inseparable attribute, but because the chemicals acting in your brain cause you to do it, creating appropriate mental apparatus inside you in that moment. The reality cannot be immutable, it is changeable as well as the outer world. The reality changes over and over again, but it does not change symmetrically with the change in the physical world, and not only because of this change. Your reality is changing within your lifespan because of chemical changing inside your brain more than due to merely changing of the outer world. You cannot control the physical world’s changing, but you can do it with respect to your reality, to a considerable extent, influencing for what is going on in your brain in different ways, ranging from nourishment and sexual satisfaction in life to meditation.

I have lived and worked in the Washington, D. C., metropolitan area for almost four decades. During this period I have watched families and institutions recycle their problems for several generations, despite enormous efforts to be innovative. The opportunity to observe this firsthand was provided by my involvement in the major institutions designed by our civilization to foster change: religion, education, psychotherapy, and politics (I have been here since Eisenhower). That experience included twenty years as a pulpit rabbi, an overlapping twenty-five years as an organizational consultant and family therapist with a broadly ecumenical practice, and several years of service as a community relations specialist for the Johnson White House helping metropolitan areas throughout the United States to voluntarily desegregate housing, before Congress passed appropriate civil rights legislation. Eventually, the accumulation of this experience began to show me how similar all of our “systems of salvation” are in their structure, the way they formulate problems, the range of their approaches, and their rationalizations for their failures. It was, indeed, the basic similarity in their thinking processes, despite their different sociological classifications, that first led me to consider the possibility that our constant failure to change families and institutions fundamentally has less to do with finding the right methods than with misleading emotional and conceptual factors that reside within society itself. For

These examples do not show that theoretical knowledge is worthless. Quite the reverse. A conceptual framework is vital even for the most practical men going about their business. In many circumstances, new theories have led to direct technological breakthroughs (such as the atom bomb emerging from the Theory of Relativity). The real issue here is speed. Theoretical change is itself driven by a feedback mechanism, as we noted in chapter 3: science learns from failure. But when a theory fails, like say when the Unilever mathematicians failed in their attempt to create an efficient nozzle design, it takes time to come up with a new, all-encompassing theory. To gain practical knowledge, however, you just need to try a different-sized aperture. Tinkering, tweaking, learning from practical mistakes: all have speed on their side. Theoretical leaps, while prodigious, are far less frequent.

Worship took place at temples, but temples were not designed primarily to provide a place for worship.[1] They were designed to be residences for deities and, as such, places for the performance of cultic rituals. The implications of this distinction are far-reaching and affect our understanding of deity and the role of the temple in the cosmos. Temples

The residence of the deity in the temple required the recognition of sacred space. This objective is evident in the earliest steps of temple building. The selection of the site was determined by oracle so that the god could designate a sacred site.[22] In the ancient world they believed that certain locations had gained sacred status as portals through which the gods traversed.[23] Thus sacred space was identified even before the temple was built. The construction was then carried out in such a way as to preserve the sanctity of the space. The presence of the image endorsed the sacred status of the space. All of the architecture of the temple was designed to represent and preserve the sanctity of the site, generally through the establishment of sacred zones, barriers between those zones, and limited sight lines.[24] The result of this architecture was that accessibility was limited so that nothing profane could approach. Likewise, the eyes of the curious were prevented from glimpsing the sacred image except as permitted in occasional festival processions. Israel shared in this ideology of sacred space at nearly every point.

The ziggurat was the most dominant building of the temple complex, so it is no surprise that it draws the attention of the author of Genesis. In summary, the project is a temple complex featuring a ziggurat, which was designed to make it convenient for the god to come down to his temple, bless his people, and receive their worship. This understanding of ziggurats makes an important point drawn from the ancient Near Eastern context to clarify the biblical text: the tower of Babel was not built for people to go up, but for the god to come down.

The literature from throughout the ancient Near East clearly addresses the fact that the gods have needs that are met by human beings. As mentioned in the last chapter, rituals and other cultic activities were designed to address those needs.[4] The king and the priests each had duties in the process. All public worship revolved around the image. It marked the deity’s presence and was the center of any ceremony involving the divine.[5] It was awakened in the morning, washed, clothed, fed two sumptuous meals each day (while music was played in its presence), and put to bed at night.[6] Thus worship took place by caring for the needs of the god through his image. This care was intended to ensure the continued presence of the deity in the image.

In the view offered in Genesis, God does not operate within a society of gods, and people function in a different role. The role of people will be explored in chapter 9, but here what is important is that the order imposed through the creation narrative in Genesis 1 sees people, rather than the gods, as the keystone in the definition of order. The biblical text repeatedly offers the formula “it was good” to describe the successful setting of each piece in its ordered place. The functions described are designed for the benefit of humans.

The conceptual ban on contradiction proceeds from the belief that we are able to form concepts, that the concept not only designates the essence of a thing but comprehends it--In fact, logic (like geometry and arithmetic) applies only to fictitious entities that we have created. Logic is the attempt to comprehend the actual world by means of a scheme of being posited by ourselves; more correctly, to make it formulatable and calculable for us.

All the electrical components on a computer chip are clocked to operate in sync. A microelectronic crystal beats billions of times each second, switching the digital circuitry on and off in concert, which helps the millions of circuits on the chip communicate with one another efficiently. This centralized design, with all components slaved to a tyrannical master clock, has some notable disadvantages: 15 percent of the circuitry is wasted on distributing the clock signal, and the clock itself consumes 20 percent of the power. But engineers still favor this design because of its conceptual simplicity, and because the alternative—a democracy of many local clocks, as in firefly swarms and circadian pacemaker cells—is still not well enough understood to be easily imitated in practice.

If you’re looking for a full-service design-build construction company in Toronto that can help you conceptualize, design, and deliver your dream environment, turn to the experienced team at BUILD IT Toronto. We’ve been responsible for some of Toronto’s most popular restaurants, retail, and commercial destinations. We offer our clients a start-to-finish project management model that reduces costs and eliminates your need to hire our countless contractors. Regardless of the industry that you’re in, we’ll bring your vision to life.

Basically, action is, and always will be, faster than reaction. Thus, the attacker is the one that dictates the fight. They are forcing the encounter with technique after technique that are designed to overcome any defensive techniques initiated by the defender. Much of this exchange, and determining which of the adversaries is victorious, is all a matter of split seconds. That is the gap between action and reaction. That attacker acts; the defender reacts. Military history is saturated with an uneven amount of victorious attackers compared to victorious defenders. It is common to observe the same phenomenon in popular sports, fighting competitions, in the corporate world of big business. The list goes on and on. So, how do we effectively defend ourselves when we can easily arrive at the conclusion that the defender statistically loses? It is by developing the mentality that once attacked that you immediately counter-attack. That counter-attack has to be ferocious and unrelenting. If someone throws a punch, or otherwise initiates battle with you, putting you, for a split second, on the wrong side of the action versus reaction gap. Your best chance of victory is to deflect, smoother, parry, or otherwise negate their attack and then immediately launch into a vicious counter-attack. Done properly, this forces your adversary into a reactive state, rather than an action one. You turn the table on them and become the aggressor. That is how to effectively conceptualizes being in a defensive situation. Utilizing this method will place you in a greater position to be victorious. Dempsey, Sun Tzu and General Patton would agree. Humans are very violent animals. As a species, we are capable of high levels of extreme violence. In fact, approaching the subject of unarmed combatives, or any form of combatives, involves the immersion into a field that is inherently violent to the extreme of those extremes. It is one thing to find yourself facing an opponent across a field, or ring, during a sporting match. Those contests still pit skill verses skill, but lack the survival aspects of an unarmed combative encounter. The average person rarely, if ever, ponders any of this and many consider various sporting contests as the apex of human competition. It is not. Finding yourself in a life-or-death struggle against an opponent that is completely intent on ending your life is the greatest of all human competitions. Understanding that and acknowledging that takes some degree of courage in today’s society.

A great perfume can express the intangible, but essential, intentions of a designer and convey the constant, enduring, and driving identity of the fashion house. It was through Marc Rosen's advocacy that I came to realize that the greatest modern perfume bottles were an art reflecting art. They exist as design objects in their own right, but are directly responsive to the composition of the scents they hold. A perfume, based on a series of layers and combinations of scent and composed of "notes" in a system that is at once science and subjectivity, is dependent on the sensory and the intuitive. With evocative qualities that are an amalgam of references framing it conceptually, a perfume can inspire possibilities of representation through graphics and the form of its flacon. Perfume bottles reside at the intersection of aesthetics and technology. They are, at their most artful, the sculptural manifestations of the ideas, emotions, and poetry elicited by a fragrance.

But mapping time in any network, as computer scientist Chaomei Chen recognizes, "is one of the toughest challenges for research in information technology....[It is] technically challenging as well as conceptually complex." Due to the extremely demanding nature of charting the passage of time within a network, most scientists and designers feel apprehensive about incorporating this dimension in many of their executions, which in part explains the lack of projects in this realm. There is no doubt that when we embrace time, the difficulty of the task at hand increases tenfold, but if visualization is to become a fundamental tool in network discovery, it needs make this substantial jump. Most networked systems are affected by the natural progression of time, and their depiction is never complete unless the critical dimension becomes part of the equation.

Everything is conceptual, designed and created by man to differentiate between the eternal and the ephemeral.

Freedom and responsibility themselves are at stake. One does not find freedom or enact responsibility by surrendering to another’s conceptualization of these ideas. Living out the rules of conscience laid down by someone else for the attainment of an unquestioned goal, a freedom designed and articulated by someone else, is the surrender of human imagination and intuition. In the more extreme versions of this, we end up with a collective momentum resulting in events such as Nazi extermination of millions of Jews, the Inquisition, or similar events recently in Africa and elsewhere. That comes from allocating one’s conscience to someone else, not attending to one’s own deeper intuitive sense of right and wrong.

Conceptual Design If I had an hour to solve a problem I’d spend 55 minutes thinking about the problem and 5 minutes thinking of solutions. —Albert Einstein

The standards should reflect the psychological conceptual models, not the physical mechanics.

Complex environments for social interventions and innovations are those in which what to do to solve problems is uncertain and key stakeholders are in conflict about how to proceed. Informed by systems thinking and sensitive to complex nonlinear dynamics, developmental evaluation supports social innovation and adaptive management. Evaluation processes include asking evaluative questions, applying evaluation logic, and gathering realtime data to inform ongoing decision making and adaptations. The evaluator is often part of a development team whose members collaborate to conceptualize, design, and test new approaches in a long-term, ongoing process of continuous development, adaptation, and experimentation, keenly sensitive to unintended results and side effects. The evaluator’s primary function in the team is to infuse team discussions with evaluative questions, thinking, and data, and to facilitate systematic data-based reflection

Focus, specialization, and analysis have been important in the Information Age, but in the Conceptual Age, the ability to synthesize seemingly unrelated pieces to form and articulate the big picture is crucial—even a differentiator.

In a simple description, Hyperloop is conceptualized to be the 5th mode of transportation that has the speed of a bullet train, powered by solar energy, and the overall design that seemed to have been taken from a SyFy film.  This hyper-speedy transportation also targets to transport people in just a matter of minutes.

Long-Term Results The practical value of the solutions obtained is one way to determine if the subjective reports of accomplishments might be temporary euphoria. The nature of these solutions covered a broad spectrum, including: A new approach to the design of a vibratory microtome A commercial building design, accepted by the client Space-probe experiments devised to measure solar properties Design of a linear electron accelerator beam-steering device An engineering improvement to a magnetic tape recorder A chair design modeled and accepted by the manufacturer A letterhead design approved by the customer A mathematical theorem regarding NOR-gate circuits Completion of a furniture-line design A new conceptual model of a photon found to be useful A design of a private dwelling approved by the client Table 9.3

Once the prototype is tangible, Romero stressed that the process does not end:”The prototype is the center. Products and services are not finished items; they’re in continuous development. Even though an item is put on the market conceptually, it isn’t finished for the company and we must continue working on it”.

We hope you enjoy using this text. We also hope that it helps you in reading the journal articles that make use of ANOVA techniques in their data analysis sections, and that it encourages you to explore the use of ANOVA designs in your own research applications.

In the absence of external information, people can let their imagination run free as long as the conceptual models they develop account for the facts as they perceive them. As

We bridge the Gulf of Execution through the use of signifiers, constraints, mappings, and a conceptual model. We bridge the Gulf of Evaluation through the use of feedback and a conceptual model.

The debate between the emergent and design schools of strategy became increasingly polarized in the first half of the 1990s. By the late 1990s the debate had become colossal, and was a fundamental factor in the conceptual development of strategy. In

Thus, novices are more likely to make mistakes than slips, whereas experts are more likely to make slips. Mistakes often arise from ambiguous or unclear information about the current state of a system, the lack of a good conceptual model, and inappropriate procedures. Recall that most mistakes result from erroneous choice of goal or plan or erroneous evaluation and interpretation. All of these come about through poor information provided by the system about the choice of goals and the means to accomplish them (plans), and poor-quality feedback about what has actually happened.

These are conceptual entities designed to deal with certain philosophical issues. It is well to remind ourselves not to impute to them ontological status, else we get caught in these intellectual structures rather than keeping our attention on the experience they point to.

The main reason we were close and worked in the way we did was that it was a collaboration that was based on more than just the traditional view of design,” Ive says. “We both perceived objects in our environment, and people, and organizational structures intuitively in the same way. Beauty can be conceptual, it can be symbolic, it can stand as testament to progress and what humankind has managed to achieve in the last fifteen years. In that sense, it could represent progress, or it could be something as trivial as the machined face on a screw. That’s why we got on well, ’cause we both thought that way. If my contribution was simply to the shapes of things, we wouldn’t have spent so much time together. It makes no sense that the CEO of a company this size would spend nearly every lunchtime and big chunks of the afternoon with somebody who just was preoccupied with form.

Knowledge in the head includes conceptual models; cultural, semantic, and logical constraints on behavior; and analogies between the current situation and previous experiences with other situations.

Designers should strive to minimize the chance of inappropriate actions in the first place by using affordances, signifiers, good mapping, and constraints to guide the actions. If a person performs an inappropriate action, the design should maximize the chance that this can be discovered and then rectified. This requires good, intelligible feedback coupled with a simple, clear conceptual model. When people understand what has happened, what state the system is in, and what the most appropriate set of actions is, they can perform their activities more effectively.

one could define a mental representation as a conceptual structure designed to sidestep the usual restrictions that short-term memory places on mental processing. The

Social marketing is distinguished from other planning frameworks discussed in this book by four principles: (1) a commitment to create satisfying exchanges, (2) the use of marketing’s conceptual framework to design interventions, (3) a data-based consumer orientation, and (4) segmentation of populations and careful selection of target audiences.

Good design speaks to the conscious mind, but great design taps into the subconscious, guiding behavior without the user even realizing it.

The Very Difference Between Game Design & 3D Game Development You Always Want to Know Getting into the gaming industry is a dream for many people. In addition to the fact that this area is always relevant, dynamic, alive and impenetrable for problems inherent in other areas, it will become a real paradise for those who love games. Turning your hobby into work is probably the best thing that can happen in your career. What is Game Designing? A 3D Game Designer is a creative person who dreams up the overall design of a video game. Game design is a large field, drawing from the fields of computer science/programming, creative writing, and graphic design. Game designers take the creative lead in imagining and bringing to life video game worlds. Game designers discuss the following issues: • the target audience; • genre; • main plot; • alternative scenarios; • maps; • levels; • characters; • game process; • user interface; • rules and restrictions; • the primary and secondary goals, etc Without this information, further work on the game is impossible. Once the concept has been chosen, the game designers work closely with the artists and developers to ensure that the overall picture of the game is harmonized and that the implementation is in line with the original ideas. As such, the skills of a game designer are drawn from the fields of computer science and programming, creative writing and graphic design. Game designers take the creative lead in imagining and bringing to life video game stories, characters, gameplay, rules, interfaces, dialogue and environments. A game designer's role on a game development outsourcing team differs from the specialized roles of graphic designers and programmers. Graphic designers and game programmers have specific tasks to accomplish in the division of labor that goes into creating a video game, international students can major in those specific disciplines if desired. The game designer generates ideas and concepts for games. They define the layout and overall functionality of the Game Animation Studio. In short, they are responsible for creating the vision for the game. These geniuses produce innovative ideas for games. Game designers should have a knack for extraordinary and creative vision so that their game may survive in the competitive market. The field of game design is always in need of artists of all types who may be drawn to multiple art forms, original game design and computer animation. The game designer is the artist who uses his/her talents to bring the characters and plot to life. Who is a Game Development? Games developers use their creative talent and skills to create the games that keep us glued to the screen for hours and even days or make us play them by erasing every other thought from our minds. They are responsible for turning the vision into a reality, i.e., they convert the ideas or design into the actual game. Thus, they convert all the layouts and sketches into the actual product. It may involve concept generation, design, build, test and release. While you create a game, it is important to think about the game mechanics, rewards, player engagement and level design. 3D Game development involves bringing these ideas to life. Developers take games from the conceptual phase, through *development*, and into reality. The Game Development Services side of games typically involves the programming, coding, rendering, engineering, and testing of the game (and all of its elements: sound, levels, characters, and other assets, etc.). Here are the following stages of 3D Game Development Service, and the best ways of learning game development (step by step). • High Concept • Pitch • Concept • Game Design Document • Prototype • Production • Design • Level Creation • Programming

Thus all apparent things that appear or exist are empty of any essence, and have only a conceptual or nominal identity. Not the slightest distinction exists between the designation and the nature of things that it symbolizes. For there is a constant coemergence, which cannot be realized by external means.

I believe the hard part of building software to be the specification, design, and testing of this conceptual construct, not the labor of representing it and testing the fidelity of the representation. We still make syntax errors, to be sure; but they are fuzz compared to the conceptual errors in most systems.

Saipem, an Italian-based company founded in 1957, has built some of the world's largest energy and infrastructure projects. It is organized into five business divisions that focus on onshore and offshore drilling, engineering and construction, and conceptual design services. Given its connection to oil and gas contracts, which effectively collapsed in 2014 with a plunge in oil prices, it has had to set a course beyond fossil fuels and rethink everything about its business. This "change or die" scenario sets the tone for its reporting and disclosure. Its 2019 sustainability report acknowledges the scenario it is facing and tackles the issue of the low-carbon transition head-on. At its core is the organziations rallying call, or "the four challenges," which describe the context and frame the opportunities it must capture to remain competitive.

Discoverability results from appropriate application of five fundamental psychological concepts covered in the next few chapters: affordances, signifiers, constraints, mappings, and feedback. But there is a sixth principle, perhaps most important of all: the conceptual model of the system.

Unless there is a real intention to distribute code on different servers, keep all the code that implements a single conceptual object in the same MODULE, if not the same object.

Creativity is a major factor in AI. How you conceptualize and deploy AI technology will make all the difference in your business or professional life.

The harm done by excluding certain disorders from those based in trauma is particularly evident for categories such as schizophrenia and bipolar disorders. In this, an apparent conceptual separation exists that deems experiences like hearing voices or paranoia as “psychotic-like” in those individuals (usually White women) whose trauma is easily recognized as being associated with such experiences, while others (usually Black men) are designated as having a brain disease (i.e., schizophrenia ) and truly psychotic for expressing these same internal experiences in a more confusing or symbolic manner (Chap. 3). Perhaps more troubling are those individuals whose trauma is recognized but whose responses to this trauma are dismissed as a personality defect, manipulative, fake, and/or representative of a multitude of different diseases (i.e., comorbidity; Chaps. 2 and 4).

Stochastic and Reactive Effects Replication may be difficult to achieve if the phenomenon under study is inherently stochastic, that is, if it changes with time. Moreover, the phenomenon may react to the experimental situation, altering its characteristics because of the experiment. These are particularly sticky problems in the behavioral and social sciences, for it is virtually impossible to guarantee that an individual tested once will be exactly the same when tested later. In fact, when dealing with living organisms, we cannot realistically expect strict stability of behavior over time. Researchers have developed various experimental designs that attempt to counteract this problem of large fluctuations in behavior. Replication is equally problematic in medical research, for the effects of a drug as well as the symptoms of a disease change with time, confounding the observed course of the illness. Was the cure accelerated or held back by the introduction of the test drug? Often the answer can only be inferred based on what happens on average to a group of test patients compared to a group of control patients. Even attempts to keep experimenters and test participants completely blind to the experimental manipulations do not always address the stochastic and reactive elements of the phenomena under study. Besides the possibility that an effect may change over time, some phenomena may be inherently statistical; that is, they may exist only as probabilities or tendencies to occur. Experimenter Effects In a classic book entitled Pitfalls in Human Research, psychologist Theodore X. Barber discusses ten ways in which behavioral research can go wrong.11 These include such things as the “investigator paradigm effect,” in which the investigator’s conceptual framework biases the way an experiment is conducted and interpreted, and the “experimenter personal attributes effect,” where variables such as age, sex, and friendliness interact with the test participants’ responses. A third pitfall is the “experimenter unintentional expectancy effect”; that is, the experimenter’s prior expectations can influence the outcome of an experiment. Researchers’ expectations and prior beliefs affect how their experiments are conducted, how the data are interpreted, and how other investigators’ research is judged. This topic, discussed in chapter 14, is relevant to understanding the criticisms of psi experiments and how the evidence for psi phenomena has often been misinterpreted.

One can classify Judaism, Christianity, and Islam variously. From one perspective, they are monotheisms, religions that uphold God's singularity. Islam itself provides another view, linking them by a tradition of continued divine revelation disclosed in scripture and culminating in the Quran. Muslims regard Jews and Christians as "People of the Book"—a name that outside observers occasionally apply to Muslims too. As apt as these designations may be, however, they do not entirely differentiate these three religions from others. Sikhism and ancient Egyptian Atenism, for example, also qualify as monotheisms, and Muslims came to include Zoroastrians and Hindus as other "People of the Book." The most useful term for collating Judaism, Christianity, and Islam into a single category is "Abrhamic," which distinguishes them by stressing the significance they accord to Abraham: Israel's founding patriarch for Jews, guarantor of the covenant for Christians, and a prophet for Muslims. These Abrahamic identities unite the religions conceptually, even while frequently polarizing their adherents.

Defining the user set. The larger and more amorphous the user set, the more necessary it is to define it explicitly if one is to achieve conceptual integrity. Each member of the design team will surely have an implicit mental image of the users, and each designer's image will be different. Since an architect's image of the user consciously or subconsciously affects every architectural decision, it is essential for a design team to arrive at a single shared image. And that requires writing down the attributes of the expected user set, including: • Who they are • What they need • What they think they need • What they want

The Human Genome Project, in effect, began with an elephant, while Apollo began with a conceptual system design. One succeeded through almost independent inquiry; the other demanded the tightest project integration that the world had ever seen.

But America’s history is disturbing, and a healthy society would be disturbed. Banning discussions of structural racism is an unforgivably cruel type of structural racism designed to deny marginalized people both the affirmation that comes from learning their stories matter and the conceptual tools that help them understand and alter their position.

Can we really use the methods of modern economics, which were designed to understand how contemporary economic institutions operate, to describe the political battles that led to the creation of those very institutions? This is not just a conceptual problem. There are moral dangers here. To take what might seem an “objective” economic approach to the origins of the world economy would be to treat the behavior of early European explorers, merchants, and conquerors as if they were simply rational responses to opportunities—as if this were just what anyone would have done in the same situation. This is what the use of equations so often does: make it seem perfectly natural to assume that, if the price of silver in China is twice what it is in Seville, and inhabitants of Seville are capable of getting their hands on large quantities of silver and transporting it to China, then clearly they will, even if doing so requires the destruction of entire civilizations.

As mentioned, this conceptual knowledge, generated through the Scientific Tradition, has come to be used in the creation of designs in practical fields, such as mechanical engineering, chemical engineering, agriculture, pharmaceuticals, medicine, clinical psychology, social work, and education. It is easiest to measure the impact of scientific research on the economy. A study looked at the impact of research on economic growth in 65 countries over the period 1980–2016.19 They found that the amount of research output in a country increased economic growth, primarily through structural changes favoring the industrial sector. They found that academic knowledge was applied in a broad set of industries and that social and physical sciences impact economic growth the most. The impact of the research output of clinical and health sciences, and arts and humanities was characterized by low levels of applications, although they also led to positive economic growth.

Starting the design process focused on graphic design instead of interaction design is a common and costly amateur mistake. However, to deliver a professional quality experience, the execution stage must finish strong in this area. One of the economic advantages of conceptual model-based IxD is that, by the time high-fidelity mockup generation becomes appropriate, the foundation will be so stable that the graphic design work will require far fewer iterations.

Specific Architectural Topics Is the overall organization of the program clear, including a good architectural overview and justification? Are major building blocks well defined, including their areas of responsibility and their interfaces to other building blocks? Are all the functions listed in the requirements covered sensibly, by neither too many nor too few building blocks? Are the most critical classes described and justified? Is the data design described and justified? Is the database organization and content specified? Are all key business rules identified and their impact on the system described? Is a strategy for the user interface design described? Is the user interface modularized so that changes in it won’t affect the rest of the program? Is a strategy for handling I/O described and justified? Are resource-use estimates and a strategy for resource management described and justified for scarce resources like threads, database connections, handles, network bandwidth, and so on? Are the architecture’s security requirements described? Does the architecture set space and speed budgets for each class, subsystem, or functionality area? Does the architecture describe how scalability will be achieved? Does the architecture address interoperability? Is a strategy for internationalization/localization described? Is a coherent error-handling strategy provided? Is the approach to fault tolerance defined (if any is needed)? Has technical feasibility of all parts of the system been established? Is an approach to overengineering specified? Are necessary buy-vs.-build decisions included? Does the architecture describe how reused code will be made to conform to other architectural objectives? Is the architecture designed to accommodate likely changes? General Architectural Quality Does the architecture account for all the requirements? Is any part overarchitected or underarchitected? Are expectations in this area set out explicitly? Does the whole architecture hang together conceptually? Is the top-level design independent of the machine and language that will be used to implement it? Are the motivations for all major decisions provided? Are you, as a programmer who will implement the system, comfortable with the architecture?

Logo Designing is an art to transform the Strong build and Conceptual Imagination into the reality

The result is that today, text is the cornerstone of our global digital, fast-paced world. Indeed, requirements concerning accessibility and media management are not the only reasons for the use of text. Interestingly, text is also the response to the growing complexity and range of application of information communication technologies. Interface design is rapidly progressing toward a full conversion from flashy buttons, animations, icons, images, audio and video to plain text. This process, combined with the systematic process of digitisation and hybridization of daily life objects with digital technology, results in a progressive translation of identity, objects, activities, places and material and conceptual artefact in a text-based form.

If we know how metaphors work on a conceptual level, we can control their effects. We can avoid using metaphors that are confusing or distracting, and we can design metaphors that do exactly what we want. When we encounter metaphoric language, we can analyse what makes it effective or not. We can avoid being manipulated by subconscious metaphors, and we can accept the benefits of a metaphor while rejecting any aspects we find unhelpful or inaccurate.

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