This study investigated the effects with training and graphical icons on task performance for elderly novice users on automatic teller machines (ATMs). 124 elderly novice users who had no prior ATM ...experience participated in the training and test of ATM usage. Participants in the control group (n = 62) were training to use the traditional text-based ATM interface meanwhile those in the experimental group (n = 62) were training to use the alternative ATM interface with graphical icons. They were asked to learn how to perform three major tasks of ATMs. A test immediately following the training and a test one month after training was carried out. Task completion score was used for measuring user performance. The results showed although training could help elderly novice users succeed in learning to use ATMs, they still had a significant decline in user performance in the test one month later compared with the immediate test. Participants of the experimental group outperformed those of the control group in both the immediate test and one month test after training, especially in the latter. The finding suggested graphical icons could help to improve the learning and retention of ATM usage for elderly novice users, especially the latter, which would compensate for the drawback of training and reduce forgetting rate to some extent. Well-designed graphical icons could benefit elderly novice users much from learning phase to retention phase. The findings of this study can be applied to guide the design and development of ATMs or other public technology devices considering elderly novice users.
•Training helped elderly novice users succeed in learning to use ATMs but user performance still declined as time elapsed.•Graphical icons improved the learning and retention of ATM usage for elderly novice users, especially the latter.•Using graphical icons compensated for the drawback of training and reduced forgetting rate to some extent.•Text-icon combined format was beneficial to learning a new device for elderly novice users by minimizing the mental load.•The findings can assist the design and training of ATMs or other public devices considering elderly novice users.
The new student acceptance (NSA) system is a design system to automate the selection of new student admissions, starting from the registration process, and the selection process to announce the ...results of online elections. It executes usability evaluation to determine the level of effectiveness, efficiency, and user satisfaction. This study focuses on testing the usability of the NSA system using usability testing methods on aspects of effectiveness, efficiency, and user satisfaction at SMAN 1 Pringgarata. This study is quantitative with a descriptive research method approach. The population in this study was 40 people and the number of samples in this study was eight people. Performance measurements, retrospective think-aloud, and questionnaire techniques are techniques used for data collection. The task scenario and System Usability Scale (SUS) questionnaire with a Likert scale is the instrument used. Data analysis used descriptive statistics, user success rates and Mann Whitney U-tests. The results showed that, (1) the NSA system is effective with value 98.5%, (2) it system is efficient with the value 6 over 0, (3) after implementing the NSA system, it satisfies users (80 >68). The recommendation given is the addition of images and icons on the main page of verification so that the pages on the system are more interesting and varied.
This two-part transdisciplinary article elaborates on the autobiographical account of the Georgian Social-Democrat Grigol Uratadze regarding the oath pledged by protesting peasants from Guria in ...1902. The oath inaugurated their mobilization in Tsarist Georgia in 1902, culminating in full peasant self-rule in the “Gurian Republic” by 1905. The study aims at a historical-anthropological assessment of the asymmetries in the alliance formed by peasants and the revolutionary intelligentsia in the wake of the oath as well as the tensions that crystallized around the oath between the peasants and Tsarist officials. In trying to recover the traces of peasant politics in relation to multiple hegemonic forces in a modernizing imperial borderland, the article invites the reader to reconsider the existing assumptions about historical agency, linguistic conditions of subjectivity, and the relationship between politics and the material and customary dimensions of religion. The ultimate aim is to set the foundations for a future subaltern reading of the practices specific to the peasant politics in the later “Gurian Republic”. The first part of the article starts with a reading of Uratadze’s narration of the 1902 inaugural oath “against the grain”.
This two-part transdisciplinary article elaborates on the autobiographical account of the Georgian Social-Democrat Grigol Uratadze regarding the oath pledged by protesting peasants from Guria in ...1902. The oath inaugurated their mobilization in Tsarist Georgia in 1902, culminating in full peasant self-rule in the “Gurian Republic” by 1905. The study aims at a historical-anthropological assessment of the asymmetries in the alliance formed by peasants and the revolutionary intelligentsia in the wake of the oath as well as the tensions that crystallized around the oath between the peasants and Tsarist officials. In trying to recover the traces of peasant politics in relation to multiple hegemonic forces in a modernizing imperial borderland, the article invites the reader to reconsider the existing assumptions about historical agency, linguistic conditions of subjectivity, and the relationship between politics and the material and customary dimensions of religion. The ultimate aim is to set the foundations for a future subaltern reading of the practices specific to the peasant politics in the later “Gurian Republic”. The second part of the article delves into Uratadze’s account of the aftermath of the inaugural oath and the conflicts it triggered between peasants, intelligentsia and the Tsarist administration.
Metaphors could be used to help older adults build mental models of Information and Communication Technology (ICT) applications and services and thereby reduce the number of interaction problems, but ...currently, metaphors generally are not tailored to these older adults, and their construction remains vague. Inspired by concrete icons, this study proposes concrete metaphors to help novice older adults understand ICT applications and services and retains their knowledge over time. A new communication application based on concrete metaphors was designed, developed, and comparatively tested against another application based on abstract metaphors over a period of 9 days. The results indicated that the application with concrete metaphors contributed to fewer perception and cognition errors, higher usage intention, higher satisfaction, and higher preference compared to the application with abstract metaphors. In addition, the advantage of concrete metaphors was lasting, unlike concrete icons. These findings indicated that concrete metaphors could be an icebreaker or stepping stone to draw novice older adults into the information society. To further increase the impact of concrete metaphors, representing real-world operations is an essential challenge.
With the advancement of digital technology in contemporary art, new hybrid forms of interaction emerge that invite viewers to make images present in physical space as events that claim a life of ...their own. In breaking away from representational and performance art theories that have dominated the critique of new media artwork since the 1980s, this article analyses an iconic vision of mobile touchscreens based on the medieval Byzantine chorographic inscription of the sacred in profane spaces. As defined in recent art historical studies on Byzantine icons, chorography (chôra/space + chorós/movement) builds on a multisensory spatial interaction between the beholders of icons that results in feeling the presence of a divine, invisible image. In light of postmodern critique of digital images’ capacity to manipulate notions of reality, new media aesthetic theory hardly addresses this Byzantine iconic vision that is fundamental to western visual culture. Jeffrey Shaw’s installation, The Golden Calf, is discussed to offer an alternative in understanding how digital and physical spaces function together to evoke something essentially real.
In this essay I show developments in Aisthetics of Religion, a new discipline of Science of Religion, towards the inclusion of the body, and the senses, departing from an approach of naturalistic ...reductionism towards the integration of the category or dimension of the transcendent”. Here, recourse is taken to the philosophical aesthetics of German Idealism, that integrates ‘body’ and ‘soul, by its concept of the faculty of ‘imagination’ as instrument of aisthesis and divination. Hesychasm is presented as sharing the same principles of spiritual aesthetics of the phenomenology of the divine, including supernatural paradigmatic iconic event, as of Jesus’ Transfiguration and St. Paul’s mystical flight. The epistemic basis regarding the role of body, soul, and mind, with their specific aisthesis, and their formation towards it, recognised. Affinity between these Aisthetics of Religion, and Hesychastic epistemics are recognised as inspiration for theology and hermeneutics beyond the limits of ‘logo-centrism’.
The Hesychastic approach towards sensoriform perception of paradigmatic ‘iconic’ manifestations of the divine, in embodied perception, and preparation to such aisthesis is recognised as inspiration and theological challenge in response to Aisthetics of Religion.
Статья посвящена меднолитой пластике XVIII – начала XX века. Предметом исследования является художественная эмаль главных центров старообрядческого искусства. Источниковой базой выступила коллекция ...Государственного художественного музея Алтайского края. В качестве вспомогательного материала также привлечены произведения из частных коллекций. В исследовании использованы сравнительно-исторический и сравнительно-стилистический методы. Описаны отличия старообрядческой эмали от древнерусской. Установлено влияние некоторых тенденций ювелирного искусства второй половины XIX века на эмальерное дело московских старообрядческих меднолитейных мастерских.
The study is composed of three phases to describe the paintings at normal and several aging times: modeling of new icons similar to an ancient one, aging of the icons by heat and ultraviolet ...irradiation, and characterization of the icons. The results showed a change in the chemical structure of the painting materials, the crystallinity of the wood and canvas materials, and the chromaticity coordinates with darkening in the heat treatment and fading in the UV irradiation treatment. There is a correlation between the exposure time, the chemical properties of the materials, and the optical properties of the paintings.
When faith traditions confront postmodern uncertainties regarding historical liturgical practices, political and cultural ideologies, the self and sacred space, the assurance of truth claims, ...allegorical readings and interpretations of sites where divine presence is found are equally questioned. Can allegorical interpretations offer a valuable strategy in postmodern understandings for identifying how Divine presence is embodied? One possibility is to discover how two Anglican women embody their faith community’s via media and in turn these women may be read as an “open icon.” To provide contrasting views, Orthodox Icons are particularly noted for their allegorical certainties that identify and point with sharp clarification to Tradition and the Church’s sacramental understandings. An allegorical frame “closes” the Orthodox icon. In a postmodern view, allegory “opens” said frame to a vast horizontal landscape that discovers spaces, places, and persons in which the Holy Spirit works mysteriously and unexpectedly. Both Evelyn Underhill and Barbara Brown Taylor writing almost a century apart and each encountering their respective historical reactions to “modernism,” trace the margins of their faith along the Anglican understanding of the via media. In doing so, both suggest the notion of “open” icon—the body itself.
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