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<p>Introduction xi<br /> <i>Everado REYES-GARCIA</i></p> <p><b>Chapter 1 From Controversies to Decision-making: Between Argumentation and Digital Writing 1<br /> </b><i>Orélie DESFRICHES-DORIA</i></p> <p>1.1 Introduction 1</p> <p>1.2 Hypertexts and hypermedia 2</p> <p>1.3 From decision-making to the study of controversies 3</p> <p>1.3.1 Definition of the concept of controversy 3</p> <p>1.3.2 Shifts from one situation to another 4</p> <p>1.3.3 Controversy representation 5</p> <p>1.3.4 Some controversy visualization and processing tools and methods 7</p> <p>1.4 Detailed presentation of Vesta Cosy 9</p> <p>1.5 What is the content of argument representations? 14</p> <p>1.5.1 Interactions between the two fields 14</p> <p>1.5.2 Theoretical approaches to argumentation 16</p> <p>1.5.3 Hypermedia structure in the process of decision-making map construction with Vesta Cosy 19</p> <p>1.6 Application of Vesta Cosy to controversy analysis 22</p> <p>1.6.1 Characterization of the nature of a controversy 22</p> <p>1.6.2 Methodological principles of controversy analysis 24</p> <p>1.7 New digital writings with hypermedia 29</p> <p>1.7.1 Extension of reasoning and paradigm shift 29</p> <p>1.7.2 Hyperlinked content according to diversified details 30</p> <p>1.7.3 Disorientation, hypernarrativity and interactions 32</p> <p>1.8 Conclusion 33</p> <p>1.9 Bibliography 33</p> <p><b>Chapter 2 Training in Digital Writing Through the Prism of Tropisms: Case Studies and Propositions 37<br /> </b><i>Stéphane CROZAT</i></p> <p>2.1 Abstract 37</p> <p>2.2 Introduction 37</p> <p>2.3 Issue: theoretical approach to digital technology 38</p> <p>2.3.1 The possibility of mechanizing intellectual labor 38</p> <p>2.3.2 Digitization of content 39</p> <p>2.3.3 “It has been manipulated”: manipulation as a source of digital content 40</p> <p>2.3.4 “And it will be again”: manipulation as the future of digital content 41</p> <p>2.4 Proposition: tropisms of digital content 42</p> <p>2.4.1 The concept of tropism 42</p> <p>2.4.2 Modeling of functional tendencies of digital objects 44</p> <p>2.5 Detailed description of tropisms 44</p> <p>2.5.1 Abstraction: it has been coded and will be recoded 44</p> <p>2.5.2 Addressing: it has been found and will be found again 45</p> <p>2.5.3 Connection: it has been transmitted and will be retransmitted 46</p> <p>2.5.4 Duplication: it has been copied and will be recopied 46</p> <p>2.5.5 Transformation: it has been changed and will be changed again 47</p> <p>2.5.6 Universality: it has been integrated and will be reintegrated 48</p> <p>2.6 Application: training in digital technology with tropisms 48</p> <p>2.6.1 Training in ordinary digital writing at the University of Technology of Compiègne (UTC) 48</p> <p>2.6.2 BABA strings (abstraction and polymorphism) 49</p> <p>2.6.3 SolSys string (staging, hypertextualization) 51</p> <p>2.6.4 BD string (transclusion, interactivity) 53</p> <p>2.7 Case study: training in digital writing at IFCAM 53</p> <p>2.7.1 Introduction to training 53</p> <p>2.7.2 Training scenario 54</p> <p>2.7.3 An experience to increase awareness using Etherpad 54</p> <p>2.7.4 Understanding the properties of digital technology and theoretical content 56</p> <p>2.7.5 Assignment 1: analysis of practices 57</p> <p>2.7.6 Part two: reading and writing, second assignment (critical observation) 57</p> <p>2.8 Perspective: a MOOC “digital literacy” project 57</p> <p>2.8.1 Defining information literacy 58</p> <p>2.8.2 Defining digital technology 59</p> <p>2.8.3 Issue: teaching information literacy 60</p> <p>2.8.4 Components of teaching information literacy 61</p> <p>2.8.5 Format: challenges of MOOCs 62</p> <p>2.8.6 Proposition: content and scenario for an information literacy MOOC 64</p> <p>2.9 Conclusion and perspectives 65</p> <p>2.10 Acknowledgments 66</p> <p>2.11 Further reading 66</p> <p>2.12 Bibliography 67</p> <p><b>Chapter 3 Assessing the Design of Hypermedia Interfaces: Differing Perspectives 69<br /> </b><i>María Inés LAITANO</i></p> <p>3.1 Man–machine interaction 70</p> <p>3.1.1 Fundamental principles of usability 70</p> <p>3.1.2 Cognitive engineering 72</p> <p>3.2 Mediated human activity 74</p> <p>3.2.1 The Danish school 76</p> <p>3.2.2 Instrumental psychology 78</p> <p>3.3 Meaningful systems 80</p> <p>3.3.1 Semiotic engineering 80</p> <p>3.3.2 The sociocognitive model 84</p> <p>3.3.3 Semiotic scenario 86</p> <p>3.4 Three mediations: three ways of evaluating a design? 88</p> <p>3.5 Bibliography 93</p> <p><b>Chapter 4 Experience Design: Explanation and Best Practices 97<br /> </b><i>Leslie MATTÉ GANET</i></p> <p>4.1 Several problems identified with interface creation 99</p> <p>4.1.1 Users have difficulty too often 99</p> <p>4.1.2 An awkward practice of Experience Design 99</p> <p>4.1.3 A difficult beginning for Experience Design in France 100</p> <p>4.1.4 Ill-defined jobs 101</p> <p>4.1.5 Manufacturers at various XD maturity levels 102</p> <p>4.2 What is good Experience Design? 104</p> <p>4.3 How does Experience Design work? 106</p> <p>4.3.1 A method, more than a result 106</p> <p>4.3.2 Focused on humans 106</p> <p>4.3.3 A transformed project management 106</p> <p>4.3.4 New professions 108</p> <p>4.3.5 Tools in DX 112</p> <p>4.4 A powerful approach 114</p> <p>4.4.1 XD protects from rejection 114</p> <p>4.4.2 XD allows for an important gain in time 115</p> <p>4.4.3 The XD facilitator 116</p> <p>4.5 Example of XD contribution to an industrial project 116</p> <p>4.5.1 Creating the Website with classic project management 117</p> <p>4.5.2 Revising the Website with XD project management 121</p> <p>4.6 How can we improve the quality of Experience Design in the ICT industries? 124</p> <p>4.6.1 A team with an open mind and empathy 124</p> <p>4.6.2 Co-design, creativity, ideation and respiration 124</p> <p>4.6.3 Good skills for appropriate responsibilities 125</p> <p>4.6.4 The systematic presence of the user and going into the field 126</p> <p>4.6.5 No longer using the term UX 126</p> <p>4.7 Conclusion 127</p> <p>4.8 Bibliography 128</p> <p><b>Chapter 5 Designing Authoring Software Environments for the Interactive Arts: An Overview of Mobilizing.js 131<br /> </b><i>Dominique CUNIN</i></p> <p>5.1 Research context: artistic practices of interactivity 131</p> <p>5.1.1 Art and technique in the face of the digital 131</p> <p>5.1.2 An idea: an authoring software environment 134</p> <p>5.2 Computer graphics, game engine, art engine? 138</p> <p>5.2.1 Reusability 138</p> <p>5.2.2 Game engine: when the metaphor and the objective design the tool 140</p> <p>5.2.3 Programming for the interactive arts: toward complexity 142</p> <p>5.2.4 Art engine, an authoring environment possibility? 149</p> <p>5.3 Mobilizing.js: an attempt at a multi-paradigmatic authoring software environment 151</p> <p>5.3.1 Artistic technical conduct and critical technical practice 153</p> <p>5.3.2 An engine with many speeds 157</p> <p>5.4 Structure and results of Mobilizing.js 163</p> <p>5.4.1 Overview of a technical sequence 163</p> <p>5.4.2 Constructing interactivities 170</p> <p>5.4.3 Interactive, immersive and collaborative system 175</p> <p>5.5 Conclusion 181</p> <p>5.6 Bibliography 182</p> <p><b>Chapter 6 Clues Anomalies Understanding Detecting Underlying Assumptions and Expected Practices in the Digital Humanities through the AIME Project 185<br /> </b><i>Donato RICCI, Robin DE MOURAT, Christophe LECLERCQ and Bruno LATOUR</i></p> <p>6.1 Abstract 185</p> <p>6.2 Introduction 186</p> <p>6.3 AIME and its digital humanities set-up 188</p> <p>6.4 Methodology: multiplying listening devices 193</p> <p>6.5 Anomaly family #1: displacements in acknowledging on-and-offline practices ecosystem 197</p> <p>6.6 Anomaly family #2: interface-driven methodology and its encounters with scholarly publics 199</p> <p>6.7 Anomaly family #3: the shock of collaboration’s ethoses 204</p> <p>6.8 Qualifying anomalies for a better understanding of Digital Humanities projects 207</p> <p>6.9 Bibliography 209</p> <p>List of Authors 213</p> <p>Index 215 </p>

<p><b>Everardo Reyes-Garcia</b>, Associate Professors at Université Paris 8, France.</p> <p><b>Nasreddine Bouhaï</b>, Associate Professors at Université Paris 8, France.</p>

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