Brains display very high-level parallel computation, fault-tolerance, and adaptability, all of which are what we struggle to recreate in engineered systems. The neurocomputer (an organic computer built from living neurons) seems possible and may lead to a new generation of computing device that can operate in a brain-like manner. Cultured neuronal networks on multi-electrode arrays (MEAs) are one of the best candidates for the neurocomputer for their controllability, accessibility, flexibility, and the ability to self-organize. I explored the possibility of the neurocomputer by studying whether we can show goal-directed learning, one of the most fascinating behavior of brains, in cultured networks. Inspired by the brain, which needs to be embodied in some way and interact with its surroundings in order to give a purpose to its activities, we have developed tools for closing the sensory-motor loop between a cultured network and a robot or an artificial animal (an animat), termed a ¡§hybrot¡¨. In order to efficiently find an effective closed-loop design among infinite potential options, I constructed a biologically-inspired simulated network. By using this simulated network, I designed: (1) a statistic that can effectively and efficiently decode network functional plasticity, and (2) feedback stimulations and an adaptive training algorithm to encode sensory information and to direct network plasticity. By closing the sensory-motor loop with these decoding and encoding designs, we successfully demonstrated a simple adaptive goal-directed behavior: learning to move in a user-defined direction, and further showed that multiple tasks could be learned simultaneously. These results suggest that even though a cultured network lacks the 3-D structure of the brain, it still can be functionally shaped and show meaningful behavior. To our knowledge, this is the first demonstration of goal-directed learning in embodied cultured networks. Extending from these findings, I further proposed a research plan to optimize closed-loop designs for evaluating the maximal learning capacity (or even true intelligence) of the cultured network. Knowledge gained from effective closed-loop designs provides insights about learning and memory in the nervous system, which could influence the design of neurocomputers, future artificial neural networks, and more effective neuroprosthetics.

This study investigates the concept of adaptivity in relation to the evolution of software and hence software embedded products. Whilst laying out the benefits of adaptivity in products, it discusses the potential future threats engendered by the actual change observed in the functionality principles of adaptive products. The discussion is based upon cybernetic theory which defines control technology in the 20th century anew. Accordingly, literature survey on cybernetic theory, evolution of software from conventional to adaptive structure is presented. The changes in the functionality principles of adaptive systems and the similarities that these changes show with living autonomous systems is also investigated. The roles of product and user are redefined in relation to changing control mechanisms. Then, the new direction that the conventional product-user relationship has taken with adaptive products is examined. Finally, the potential future threats this new direction might bring is discussed with the help of two control conflict situations.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 95-98). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2002. / Typescript. Vita. Includes bibliographical references (leaves 95-98). Also available on the Internet.

This thesis presents the findings from two case study examinations of strategic performance measurement systems within two turbulent environmental contexts: the U.S. security software industry and the U.S. health care industry. Despite a three-­‐decade emphasis on performance measurement research, little empirical work has been carried out inside turbulent settings—contexts characterized by rapid change, high levels of instability and complex configurations among environmental variables. This research targets that gap. Through exploratory case studies from seven security software firms paired with a single in-­‐ depth case investigation within a transforming health care system, this study addresses the question: “how do firms in turbulent environments measure strategic performance?” The research found that in turbulent environments, an effective strategic performance measurement system contains six interrelated elements: management aims, performance objectives, uncertainty areas, decision data, management attention and performance measures. Top managers focus on their aims and performance objectives to meet requirements via a closed-­‐loop approach while monitoring uncertainty areas and gathering decision data in an open-­‐loop way. This union of feedback and feedforward control enables dynamic interaction among the various elements of the system all of which are informed by performance measure data. Effective use is moderated by management’s focus of attention. The research has implications for information processing and management control literature; it extends existing theory to incorporate the use of semi-­‐structures within the framework of the strategic performance measurement system as a means of overcoming the challenges of uncertainty. Further, the research contradicts both extant literature and practice convention that claims strategic performance measurement frameworks need to be balanced to be effective. Practitioners are provided with a strategic performance measurement framework for use in turbulent environments. The framework would benefit from further examination in a variety of different, equally turbulent, contexts.

This dissertation is a case study of the public performances of Gregory Bateson at The Esalen Institute. The case study is a reconsideration of the work of Gregory Bateson from the perspective of performance studies. The author brings together performativity, cybernetics, and the sacred to argue that Gregory Bateson, in his public performances, was striving for grace in encounters with others. The author has conducted archival research into Bateson’s presentations and has spoken with several close to Bateson to get a sense of how his process of public presentation paralleled his ideas—a process of continually working through ideas in conversation with others. In his dissertation the author tries to present the work in a form fitting with Bateson's own process.

This dissertation examines the early works of the Russian artist Ilya Kabakov and traces the beginning of a linguistic trend in the development of Moscow Conceptualism. Analyzing the drawings and paintings that the artist created between 1962 and 1966, I place Kabakov’s artistic style and ideas in the context of the cultural, theoretical and scientific phenomena that affected Soviet art and society in the early 1960s. Kabakov’s works are shown as evolving in a process that renders the artist’s techniques increasingly polysemantic, dialogic and conceptual. The dissertation then demonstrates that Kabakov’s visual images and linguistic titles participated, indirectly yet actively, in the cultural debates of Moscow’s artistic underground and the Soviet society. The dynamic correspondence between a fervent cultural context, growing interest in linguistic and scientific ideas, increasing conceptualization of visual means of expression and intellectualization of the artistic approach to the image led to the appropriation of language in the works of Moscow underground artists. The dissertation establishes such a development in the early works of Ilya Kabakov, proposing that his earliest “conversational” work Whose Fly is This? was the first conceptual painting to display text in the form of a written dialogue. The colloquial style and conversational character of the depicted discourse are examined as an ironic gesture that takes its genesis from the polyphonic theory of Mikhail Bakhtin and reverses the official non-dialogical imperatives of Soviet newspeak and ideology. The main figural image of the painting—the fly—is seen as articulating the utopias and anti-utopias of avant-garde figures such as Kharms or Malevich and interpreted as alluding to a key contemporaneous scientific discovery—the chromosomes of the drosophila. In the end, the words and the image of Whose Fly is This? form the two mutually exclusive and mutually complementary aspects of a compound conceptual signifier. That is the signifier of the free artistic spirit, evanescent human existence and mundane, yet resilient human nature that ironically survives—against all odds and despite all absurdities—beyond the boundary of the social utopia and the limits of epistemological systems. / text

This thesis reports an exploratory, quantitative study into the implementation of strategic decisions. Implementation was viewed as a discontinuous organisational activity involving strategic change. The organisational vehicle of change is seen as "the project" and the specific unit of analysis adopted is the capital investment project. Manufacturing organisations were studied because these were shown to most frequently undertake such projects. Adopting a theoretical perspective derived from systems theory and cybernetics a model of implementation was developed which recognises two dimensions of implementation success (modes of organisational change) to be contingent upon a dimension of project uncertainty and two dimensions of information. From this model ten hypotheses were developed. Data on 45 projects was collected from a diversity of manufacturing companies. This was obtained using a structured questionnaire instrument administered to a single informant during a retrospective personal interview. Initially the data was analysed using principal components factor analysis to determine the factorial compositions and reliabilities of scales measuring theoretical constructs. Subsequently, causal modelling and stepwise regression techniques were employed to test the hypotheses. Analysis demonstrated that the essentially structural approach to implementation taken in the study adequately explained many of the observed associations between constructs. Hypothesised associations between organisational structure and implementation success could not, generally, be supported. Finally, the theoretical model adopted was not able to account for a number of empirically observed associations. These associations were explicable in terms of a behavioural or social dimension. The wider implications of the study are also discussed.

In 1963, architect Cedric Price, theatre producer Joan Littlewood, and cybernetician Gordon Pask proposed a new kind of leisure centre called the Fun Palace. Though never built, the project continues to influence architecture and is the inspiration for this thesis. Known also as the “Laboratory of Fun,” the Fun Palace developed a compelling yet problematic narrative: people would have the freedom to design their own spatial experiences, but their behaviours would be monitored and probed. Innovations from the cybernetic committee had propelled the Fun Palace beyond mundane reality and into the virtual. In fact, the Fun Palace was more than a building; it was an information interface where architecture and humans were connected by cybernetic feedback. Of particular importance to this thesis is the way the Fun Palace antici- pated how digital technology would transform the world, and how it can be understood as an early prototype of the digital city. The model of space that the Fun Palace proposed shifted our understanding of architecture from autonomous and static to complex and dynamic; from an architecture of walls to an architecture of fields. This thesis is organized along three lines of inquiry. Firstly, that architecture is participatory. Secondly, that architecture is multidimensional. Thirdly, that architecture is generated by real-time transactions. The thesis concludes with a speculation called In The Fields: a mobile laboratory for co-creation in the digital city.

Because the first year of university education is for students a concentrated point of turbulence (in the form of failing, dropping out, changing courses or degrees, making changes in future plans and present priorities, and suffering anxieties about the same), it has been the focus of much study by education specialists, along the lines of "What are we doing wrong?" and "How can we do better?" "The teflon degree" is a metaphor derived from the image of a mess-preventing armour plating. The assumption that turbulence in the first year is naturally a bad thing fits by extension with an idea that turbulence, mess, and so on are to be avoided. Better than avoidance would be the construction of a system which would make it impossible for such things to happen. "The teflon degree" is a fantasy of a program of study that one can embark on, knowing what one will do and how one will do it, and then slide through, essentially unchanged, "augmented" by the acquisition of skills and qualifications. This thesis is a critique of the conceptual underpinnings of such an ideal. It is also an evocation of the qualities in university education which are obscured or harmed by the pursuit of such an ideal, foremost among them being love. I argue that love is not a sentimental afterthought, but an essential component of all genuine learning. This critique is carried out through the conceptual framework established by the work of Gregory Bateson in cybernetics. The empirical component of the thesis is drawn from interviews with individual students; these are intended both to illustrate and to make concrete the theoretical concerns which are its primary focus. With Bateson, both an anthropologist and a philosopher, as my central theorist, I have drawn on both anthropological and philosophical texts in the development of my argument, including Buber, Durkheim, Gaita, Hegel, Murdoch, Sartre, Serres, Simmel, and Weber.