In this article, I will consider the moral issues that might arise from the possibility of creating more complex and sophisticated autonomous intelligent machines or simply artificial intelligence (AI) that would have the human capacity for moral reasoning, judgment, and decision-making, and (the possibility) of humans enhancing their moral capacities beyond what is considered normal for humanity. These two possibilities raise an urgency for ethical principles that could be used to analyze the moral consequences of the intersection of AI and transhumanism. In this article, I deploy personhood-based relational ethics grounded on Afro-communitarianism as an African ethical framework to evaluate some of the moral problems at the intersection of AI and transhumanism. In doing so, I will propose some Afro-ethical principles for research and policy development in AI and transhumanism.

Loneliness and social isolation are prevalent concerns among older adults and can lead to negative health consequences and a reduced lifespan. New technologies are increasingly being developed to help address loneliness and social isolation in older adults, including monitoring systems, social networks, robots, companions, smart televisions, augmented reality (AR) and virtual reality (VR) applications. This systematic review maps human-centered design (HCD) and user-centered design (UCD) approaches, human needs, and contextual factors considered in current technological interventions designed to address the problems of loneliness and social isolation in older adults. We conducted a scoping review and in-depth examination of 98 papers through a qualitative content analysis. We found 12 studies applying either an HCD or UCD approach and observed strengths in continuous user involvement and implementation in field studies but limitations in participant inclusion criteria and methodological reporting. We also observed the consideration of important human needs and contextual factors. However, more research is needed on stakeholder perspectives, the functioning of applications in different housing environments, as well as studies that include diverse socio-economic groups.

Project-based learning (PBL) has gained widespread acceptance as a cutting-edge teaching approach in universities, particularly for imparting engineering design skills. PBL allows students to showcase their design skills and put into practice the theoretical concepts acquired through instruction. Throughout the various phases of the design process and project execution, students prepare design artifacts, which serve as tangible indicators of their design skills – an essential competency for engineers. The objective of this research is to evaluate and compare the application of engineering design skills among first-year and third-year engineering students as evidenced by their design artifacts. This comparative analysis aims to pinpoint areas of strength and opportunities for growth, thereby offering a holistic view of student development in design proficiency throughout their undergraduate education. Employing a standardized rubric to evaluate these artifacts allows for an unbiased assessment of the students’ design process acumen. The findings offer insights into the design skill proficiency of two student groups at different points in the design process. It is imperative for engineering educators to strategically highlight every aspect of the design process within PBL, ensuring the comprehensive development of design competencies.

Advances in artificial intelligence (AI) have great potential to help address societal challenges that are both collective in nature and present at national or transnational scale. Pressing challenges in healthcare, finance, infrastructure and sustainability, for instance, might all be productively addressed by leveraging and amplifying AI for national-scale collective intelligence. The development and deployment of this kind of AI faces distinctive challenges, both technical and socio-technical. Here, a research strategy for mobilising inter-disciplinary research to address these challenges is detailed and some of the key issues that must be faced are outlined.

Evaluation approaches are needed to ensure the development of effective design support. These approaches help developers ensure that their design support possesses the general design support characteristics necessary to enable designers to achieve their desired outcomes. Consequently, evaluating design support based on these characteristics ensures that the design support fulfils its intended purpose.

This work reviews design support definitions and identifies and describes 11 design support characteristics. The characteristics are applied to evaluate a proposed design support that uses additive manufacturing (AM) design artefacts (AMDAs) to explore design uncertainties. Product-specific design artefacts were designed and tested to investigate buildability limits and the relationship between surface roughness and fatigue performance of a design feature in a space industry component. The AMDA approach aided the investigation of design uncertainties, identified design solution constraints, and uncovered previously unknown uncertainties. However, the results provided by product-specific artefacts depend on how well the user frames their problem and understands their AM process and product. Hence, iterations can be required. Based on the evaluation of the AMDA process, setting test evaluation criteria is recommended, and the AMDA method is proposed.

Extensible continuum robots (ECRs) offer distinct advantages over conventional continuum robots due to their ability to enhance workspace adaptability through length adjustments. This makes ECRs particularly promising for applications that require variable lengths involving the manipulation of objects in challenging environments, such as risky, cluttered, or confined. The development of ECRs necessitates careful consideration of mechanical structures, actuation methods, methods of stiffness variability, and control methods. The selection of papers is based on their relevance to ECRs within the period of 2010 to 2023 in the databases of Scopus and Web of Science. Distinguishing itself from other review papers, this paper aims to deliver a comprehensive and critical discussion about the advantages and disadvantages of ECRs concerning their mechanical structures, actuation methods, stiffness variability, and control methods. It is a beneficial resource for researchers and engineers interested in ECRs, providing essential insights to guide future developments in this field. Based on the literature, existing ECRs exhibit an inherent trade-off between flexibility and structural strength due to the absence of systematic design methods. Additionally, there is a lack of intelligent and effective controllers for achieving complex control performance and autonomous stiffness variability.

Incorporating contextual factors into engineering design processes is recommended to develop solutions that function appropriately in their intended use contexts. In global health settings, failing to tailor solutions to their broader context has led to many product failures. Since prior work has thus far not investigated the use of contextual factors in global health design practice, we conducted semi-structured interviews with 15 experienced global health design practitioners. Our analysis identified 351 instances of participants incorporating contextual factors in their previous design experiences, which we categorized into a taxonomy of contextual factors, including 9 primary and 32 secondary classifications. We summarized and synthesized key patterns within all the identified contextual factor categories. Next, this study presents a descriptive model for incorporating contextual factors developed from our findings, which identifies that participants actively sought contextual information and made conscious decisions to adjust their solutions, target markets and implementation plans to accommodate contextual factors iteratively throughout their design processes. Our findings highlight how participants sometimes conducted formal evaluations while other times they relied on their own experience, the experience of a team member or other stakeholder engagement strategies. The research findings can ultimately inform design practice and engineering pedagogy for global health applications.

Several real-world optimization problems are dynamic and involve a number of objectives. Different researches using evolutionary algorithms focus on these characteristics, but few works investigate problems that are both dynamic and many-objective. Although widely investigated in formulations with multiple objectives, the evolutionary approaches are still challenged by the dynamic multiobjective optimization problems defining a relevant research topic. Some models have been proposed specifically to attack them as the well-known DNSGA-II and MS-MOEA algorithms, which have been extensively investigated on formulations with two or three objectives. Recently, the D-MEANDS algorithm was proposed for dynamic many-objective problems (DMaOPs). In a previous work, D-MEANDS was confronted to DNSGA-II and MS-MOEA solving dynamic many-objective scenarios of the knapsack problem: up to six objectives with five changes or four objectives with ten changes. In this work, we evaluate the behavior of such algorithms in instances up to eight objectives and twenty environmental changes. These enabled us to better understand D-MEANDS weak points which led us to the proposition of D-MEANDS-MD. The proposal offers a better balance between memory and diversity. We also included a more recent MOEA in this comparison: the DDIS-MOEA/D-DE. From the results obtained using 27 instances of the dynamic multiobjective knapsack problem, D-MEANDS-MD showed promise for solving discrete DMaOPs compared with the others.

A detailed exploration is presented of the integration of human–machine collaboration in governance and policy decision-making, against the backdrop of increasing reliance on artificial intelligence (AI) and automation. This exploration focuses on the transformative potential of combining human cognitive strengths with machine computational capabilities, particularly emphasizing the varying levels of automation within this collaboration and their interaction with human cognitive biases. Central to the discussion is the concept of dual-process models, namely Type I and II thinking, and how these cognitive processes are influenced by the integration of AI systems in decision-making. An examination of the implications of these biases at different levels of automation is conducted, ranging from systems offering decision support to those operating fully autonomously. Challenges and opportunities presented by human–machine collaboration in governance are reviewed, with a focus on developing strategies to mitigate cognitive biases. Ultimately, a balanced approach to human–machine collaboration in governance is advocated, leveraging the strengths of both humans and machines while consciously addressing their respective limitations. This approach is vital for the development of governance systems that are both technologically advanced and cognitively attuned, leading to more informed and responsible decision-making.

Sound and new media arts appear to be both historical and contemporary means to invest in the notion of more-than-human. Although the concept was formulated in the late 1990s (Abram 1996), certain related practices in art works exploring machine or animal agency have existed since the 1960s, especially in new media arts using sound, video, and electronic and computational technologies.

This article maps out some of the relationships between performers and their instruments in live and improvised electronic music. In these practices, musical machines – be they computers, mechanical assemblages or combinations of different sound-makers and processors – act as generators of musical material and sources of unpredictability with which to improvise. As a lens through which to consider these practices, we examine a number of different roles these musical machines may take on during improvised performances. These include running, playing, surprising, evolving, malfunctioning, collaborating and learning. We explore the values of these different roles to the improvising musician, and contextualise them within some broad and historical trends of contemporary music. Finally, we consider how this taxonomy may make us more open to the vital materialism of musical instruments, and offer novel insights into the flows of agency and interaction possibilities in technologically mediated musical practices.

The article takes Boethius’s theory of musical harmony as a starting point, in particular studying the collective dimension embedded in this concept. The dynamics of contact and interdetermination, between humans and other-than-human, are explored and understood as factors co-involved in the possibility of common living. The role of the notions of ecology and economy in rereading the concept of harmony provided by Boethius’s theory is also reviewed. The text then explores a site-specific work that experiments with these issues through the creation of an acousmatic patch that is superimposed onto a broken ecology, showing how this serves as an agent for a reharmonisation of a drought-ravaged river. The article concludes by addressing the implications that a territorially situated musical approach might represent for recovery of the broken link between humans and the other-than-human.

Machine listening takes place through sonification. Sound is treated as data by a computer that listens by deconstructing and reconstructing sound. To better explore the aesthetic, relational and ontological aspects of machine listening, this article reflects upon the Fourier analysis, which is vital for machine learning algorithms. It then outlines the listening modes articulated by French composer Pierre Schaeffer and updates them for the new material conditions of contemporary listening. It proposes that a new mode, identified while working with sonification, be added to Schaeffer’s classic array. It explores non-human listening among machines that listen with other concerns beyond the human need to interpret content. Thus, this article makes a particular strategic move: it centres around machine listening, which enables computers to perform analyses of a soundscape, and resynthesis, a mode of sonification that treats sound as data, to reintroduce the ‘sound object’ nature of resynthesised sounds. It looks at sonification through discourse analysis and media archaeology, and gives importance to experiments in art that privilege sensorial and affective dimensions often ignored by scientific approaches. It proposes that thinking about machine listening through sonification can assist in developing sensibilities that are more responsive to the present sonic ecologies between human and non-human listeners.

While mathematics and technologic systems have been intrinsically developed with purposes of representing and computing problems with a human-centric orientation, they nonetheless can be considered to have non-human agency. Drawing on anthropology and architecture studies, this article argues that the human-based logics underpinning mathematics and technologies does not delimit them as human entities, and that they can exhibit influential capacities when engaged with during processes of artistic making. This idea is demonstrated through the development of a visitor-interactive audiovisual artwork. The software environments IanniX and Max were actants in the experimental process of sonifying hyperbolic paraboloid (hypar) planes, as well as the mathematic equations themselves. This article discusses how mathematic and technologic agency affected the development of three hypar models used in the piece, as well as an initial unused version. It also discusses how hardware interface objects influenced human-computer interaction design. The article will interest scholars of technologic agency and practitioners interested in converting three-dimensional planes into sound or creating interactive exhibition technology.

This article presents the concept of a ‘haptic aurality’ in soundscape composition, an aesthetic and perceptual model derived from visual art theory, media studies and phenomenology that extends the haptic beyond its common association to vibroacoustic phenomena in the sonic arts. Included in this framework are both the standard haptic arguments, from psychology and engineering, including notions of kinaesthesia and proprioception, and varied definitions of the haptic as a not necessarily tactile mode of knowing touch that involves synaesthesia, transmodal perception and philosophical notions of sensory dedifferentiation. In adapting this survey of sometimes contradictory accounts of the haptic as parameters for compositional analysis and application, the article simultaneously creates novel engagements between soundscape composition and acousmatic practice.

This article analyses the author’s modular synthesis practice through the lens of Simondonian philosophy, arguing that modular synthesis represents a dynamic example of technical ontogenesis in artistic practice. With its emphasis on technical becoming, Gilbert Simondon’s philosophy of technology provides a detailed framework for the analysis of modular synthesis patching. Following a practice-based methodology, the article references two ‘think-aloud’ videos filmed of the author patching on two modular synthesis systems. Tracing the genesis of sound sources throughout each session, aspects of Simondonian technical invention are analysed with respect to this creative practice. As these patches concretise, an increasingly saturated associated milieu is shown to emerge as the driving force behind technical invention. Seeking resolutions between incompatibilities arising between the internal milieu of a sound source and the external milieu of the modular system, the analysis reveals the appearance of metastable states within the ontogenesis of each patch. By detailing the various forms of recurrent causality in these patches, this article reveals how modular synthesis practice can serve as the site for the co-evolution of musical ideas and technical objects; a theatre of individuation that is both more-than-human in its evolutionary potential, and more-than-music in its practical application.