Relevant bibliographies by topics / Aesthetics of the error

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Aesthetics of the error'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Aesthetics of the error"

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Morgan, Carleigh. "Calculated error." A Peer-Reviewed Journal About 8, no. 1 (August 15, 2019): 204–17. http://dx.doi.org/10.7146/aprja.v8i1.115426.

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This paper proposes a reconsideration of the aesthetic category of ‘glitch’ and advocates for a more careful theorisation around indexing — in the sense of both locating and naming — errors of a digital kind. Glitches are not as random as they seem: they are ordered and shaped by computational hardware and software, which impose a mathematical rubric on how glitches visually manifest and set ontological and technological constrains on glitch that limit how digital errors can and cannot be made to appear. Most crucially, this paper thinks about how one particular type of glitch — a compression artefact called a macroblock — can often appear as random, erratic, or unpredictable but is, in fact, materially constrained and visually conditioned according to the principles of computing and computer design. At its core, compression aesthetics can shed light on the operations of algorithms, the structures of digital technologies, and the priorities and patterns which occur as a function of algorithmic manipulation. The randomness, unpredictability, or messiness which glitch studies invokes around the glitch is in danger of overlooking the ways that the material architectures and algorithmic protocols structure the digital glitch by organising, constraining, and given form to its appearance.
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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.e. parts of the human body. The position of photography within Egypt and much of the Arab world is a contested one shaped by the visual formations of Orientalism created by the impact of European colonial empires in the region. This archival project examines the intersection of visual cultures embedded behind the series of photographic images that have been transformed through acts of censorship in Egypt. This frames how these doctored photographic images impose particular meanings on the original photographs and the potential merits, if any, of iconoclastic intervention. Parallax Error examines the political and aesthetic status of the image object in the transformation from the original photograph to censored image. The ink and paint marks on the surface of the photograph create a tension between the censorship act and its impact on the original. These hybrid images provide a political basis to rethink visual culture encounters in our interconnected and increasingly globalised contemporary image world. Keywords: aesthetics, censorship, iconoclasm, images, representation
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Braude, Stephen. "Cosmic Aesthetics." Journal of Scientific Exploration 34, no. 1 (March 23, 2020): 5–12. http://dx.doi.org/10.31275/20201755.

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In my book Immortal Remains (Braude, 2003), I considered an intriguing argument William James offered against the suggestion that mediumistic evidence for postmortem survival could be explained away in normal, or at least non-survivalist, terms—that is, either by appealing to what I’ve called The Usual Suspects (e.g., misperception, hidden memories, fraud) or The Unusual Suspects (e.g., dissociation + latent abilities, exceptional memory, or living-agent psi). More specifically, James was concerned with a fascinating, but frustrating, feature of the material gathered from mental mediumship—namely, that even the best cases present a maddening mixture of (a) material suggesting survival, (b) material suggesting psi among the living, and (c) apparent rubbish.At their best, of course, mediums furnish detailed information for which no normal explanation will suffice. In the cases most strongly suggesting survival, that information concerns the past lives of the deceased. But sometimes mediums also provide information on the present actions, thoughts, and feelings of the living, and that’s one reason why some cases suggest psi among the living, and why a living-agent–psi interpretation of mediumship is difficult to rule out. After all, information about present states of affairs is not something to which the deceased would enjoy privileged access.Moreover, to complicate matters further,. . . gems of correct, detailed, and relevant information are nearly always imbedded in an immense matrix of twaddle, vagueness, irrelevance, ignorance, pretension, positive error, and occasional prevarication. (Broad, 1962, p. 259)
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Pasek, Anne. "The Pencil of Error: Glitch Aesthetics and Post-Liquid Intelligence." Photography and Culture 10, no. 1 (January 2, 2017): 37–52. http://dx.doi.org/10.1080/17514517.2017.1295711.

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Benzon, Paul. "Lost in Transcription: Postwar Typewriting Culture, Andy Warhol's Bad Book, and the Standardization of Error." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 92–106. http://dx.doi.org/10.1632/pmla.2010.125.1.92.

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This essay considers the instability of the typewriter as a writing machine and as an object within the media history of the twentieth century, examining how the typewriter keyboard and the transcriptive protocols of the modern office materially shape writing practice. The standardization of the typewriter system produces a textual aesthetics of error and uncertainty rather than of mechanized circumscription. Andy Warhol's a is a novel whose mode of production explores the limits of the typewriter's transcriptive uncertainty. Written by a distributed network of typists and inundated with errors and ambiguities, a offers a radically defamiliarizing representation of how the typewriter system opens new pathways of authorship, embodiment, and literary production. Drawing on a's aesthetic experimentation, this essay argues that the localized, idiosyncratic, yet often suppressed disruptions produced by the typewriter suggest the possibility of an alternative to linear, teleological conceptions of media history. (PB)
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Maity, Ranjan, and Samit Bhattacharya. "A Quantitative Approach to Measure Webpage Aesthetics." International Journal of Technology and Human Interaction 16, no. 2 (April 2020): 53–68. http://dx.doi.org/10.4018/ijthi.2020040105.

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Aesthetics measurement is important in determining and improving the usability of a webpage. Wireframe models, the collection of the rectangular objects, can approximate the size and positions of the different webpage elements. The positional geometry of these objects is primarily responsible for determining aesthetics as shown in studies. In this work, the authors propose a computational model for predicting webpage aesthetics based on the positional geometry features. In this study, the authors found that ten out of the thirteen reported features are statistically significant for webpage aesthetics. Using these ten features, the authors developed a computational model for webpage aesthetics prediction. The model works on the basis of support vector regression. The authors rated the wireframe models of 209 webpages by 150 participants. The average users' ratings and the ten significant features' values were used to train and test the aesthetics prediction model. Five-fold cross-validation technique shows the model can predict aesthetics with a Root Mean Square Error (RMSE) of only 0.42.
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Madzoski, Vesna. "Profile: Darko Fritz: Error to Mistake: Notes on the Aesthetics of Failure." Leonardo Electronic Almanac: Mish Mash 17, no. 1 (August 2011): 52–55. http://dx.doi.org/10.5900/su_9781906897116_2011.17(1)_52.

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Haas, Andreas F., Marine Guibert, Anja Foerschner, Tim Co, Sandi Calhoun, Emma George, Mark Hatay, et al. "Can we measure beauty? Computational evaluation of coral reef aesthetics." PeerJ 3 (November 10, 2015): e1390. http://dx.doi.org/10.7717/peerj.1390.

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The natural beauty of coral reefs attracts millions of tourists worldwide resulting in substantial revenues for the adjoining economies. Although their visual appearance is a pivotal factor attracting humans to coral reefs current monitoring protocols exclusively target biogeochemical parameters, neglecting changes in their aesthetic appearance. Here we introduce a standardized computational approach to assess coral reef environments based on 109 visual features designed to evaluate the aesthetic appearance of art. The main feature groups include color intensity and diversity of the image, relative size, color, and distribution of discernable objects within the image, and texture. Specific coral reef aesthetic values combining all 109 features were calibrated against an established biogeochemical assessment (NCEAS) using machine learning algorithms. These values were generated for ∼2,100 random photographic images collected from 9 coral reef locations exposed to varying levels of anthropogenic influence across 2 ocean systems. Aesthetic values proved accurate predictors of the NCEAS scores (root mean square error < 5 forN≥ 3) and significantly correlated to microbial abundance at each site. This shows that mathematical approaches designed to assess the aesthetic appearance of photographic images can be used as an inexpensive monitoring tool for coral reef ecosystems. It further suggests that human perception of aesthetics is not purely subjective but influenced by inherent reactions towards measurable visual cues. By quantifying aesthetic features of coral reef systems this method provides a cost efficient monitoring tool that targets one of the most important socioeconomic values of coral reefs directly tied to revenue for its local population.
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Hamill, Louis. "ON THE PERSISTENCE OF ERROR IN SCHOLARLY COMMUNICATION: THE CASE OF LANDSCAPE AESTHETICS." Canadian Geographer/Le Géographe canadien 29, no. 3 (September 1985): 270–73. http://dx.doi.org/10.1111/j.1541-0064.1985.tb00374.x.

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Rodríguez-Ferrándiz, Raúl. "Faith in fakes: Secrets, lies, and conspiracies in Umberto Eco’s writings." Semiotica 2019, no. 227 (March 5, 2019): 169–86. http://dx.doi.org/10.1515/sem-2017-0137.

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AbstractThis paper offers a re-reading of the works of Umberto Eco, be they academic, journalistic or literary, with a pseudologic tone: his desire to investigate the mechanisms of lying, and their relation with fiction, falsification, error, secrecy, and conspiracy. The study will review some of his main academic texts in the fields of semiotics, rhetoric, and aesthetics, and will make some references to his recent novels and essay compilations, as well as offer an explanation of how the evolution of his thoughts takes a pessimistic turn. The face of the lie, which initially was aesthetic consolation and consumerist delusion, and then a game of intelligence, a creative stimulus and an interpretive challenge, changes when serves the purpose of extortion, manipulation, and war. In short, it could be argued that Eco became increasingly disappointed by deceptions, and lost faith in fakes and forgeries.
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Dissertations / Theses on the topic "Aesthetics of the error"

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Gazana, Cleber [UNESP]. "Glitch Art: uso do erro digital como procedimento artístico e possibilidade estética." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/136255.

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Esta pesquisa tem como objetivo constatar a possibilidade e potencialidade estética por meio do uso do erro digital e de usos não projetados dos dispositivos técnicos e softwares na Glitch Art. Por ser um tema quase inédito, foi importante explicar o significado dos termos tilt, bug, failure, fault, error e mistake em relação ao campo técnico e artístico da Glitch Art, à sua prática e a nossa experiência, assim como a definição do termo glitch e de seu uso como designação deste recente gênero artístico. Seguiu-se para a investigação de suas bases fundamentais, classificações, características visuais, procedimentos artísticos, relação com o passado da arte, seus artistas visuais mais expressivos e sua aplicação para além da arte digital. Para tanto, este trabalho apoiou-se, principalmente, nos pensamentos de Moradi, Manon, Temkin e Menkman nos aspectos exclusivos da Glitch Art. Por fim, de modo teórico-prático, resultou a criação da obra Decode, de minha autoria, onde se dialogou e se experienciou as teorias e os procedimentos aqui discutidos.
This research aims to verify the possibility and aesthetic potential through the use of digital error and not designed uses of technical devices and software in Glitch Art. For being an almost unheard subject, it was important to explain the meaning of tilt, bug, failure, fault, error and mistake terms in relation to the technical and artistic field of Glitch Art, its practice and our experience as well the definition of glitch term and its use as designation of this recent artistic genre. We proceed to the investigation of its fundamental basis, classifications, visual characteristics, artistic procedures, relationship with the past of art, its more expressive visual artists and its application beyond the digital art. Therefore, this research grounds on mainly thoughts of Moradi, Manon, Temkin, and Menkman in exclusive aspects of Glitch Art. Finally, with theoretical and practical way has resulted in the creation of my own work Decode, where was connected and experienced the theories and procedures discussed herein.
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Fernandes, José Carlos Silvestre. "A estética do erro digital." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/18260.

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This dissertation proposes an outline of an aesthetics of the error in Digital Art. We start with a survey of works in Digital Art that explore the theme of the error, and advance a rigorous definition of what we call error, to introduce our main hypothesis: that the error is a revealing of the Materiality of Informatics. We investigate the particularities of this materiality and this revealing, fundamented in authors such as Hayles, Kittler, Simondon and Fuller. Next, we consider the cultural reverberations of the error state from this revealing of materiality: its subversive connotations, its association with hacker culture, and its sub-text of nostalgia. Our main sources for this second part are Kittler, Stiegler and Pias. Throughout our theoretical discussion, we analyse the works of many artists to demonstrate how each of these themes and concerns are explored therein; we give particular attention to the works of Ant Scott, JODI, and Cory Arcangel. We adopt, however, an anti-hermeneutic approach to most works, molded after the practice of Friedrich Kittler: an emphasis in the technical and social systems implicated rather than in interpretation and a search for meaning contained in the works themselves. We hope to finally present a theoretical framework which may support the analysis and exploration of the aesthetics of error, a fairly unprecedented topic. Moreover, much of our discussion is of interest in fields beyond Digital Art
Esta dissertação propõe-se a esboçar os princípios de uma estética do Erro na Arte Digital. Principiamos com um levantamento de obras de Arte Digital que exploram o tema do erro, bem como com uma definição rigorosa de o que entenderemos por erro, para partir para nossa principal hipótese: de que o erro é um revelar da Materialidade da Informática. Investigamos as particularidades desta materialidade e deste revelar, fundamentados em autores como Hayles, Kittler, Simondon e Fuller. Em seguida, consideramos as reverberações culturais do estado de erro a partir desta revelação da materialidade: sua conotação de subversão, sua associação com a cultura hacker, e seu sub-texto de nostalgia. Nossas principais fontes, para esta segunda parte, são Kittler, Stiegler e Pias. No decorrer da explanação teórica, analisamos as obras de vários artistas para demonstrar como cada um destes temas e destas preocupações ocorre em suas obras no que toca o tema do erro; damos particular atenção para os trabalhos de Ant Scott, JODI, e Cory Arcangel. Adotamos, todavia, uma leitura anti-hermenêutica da maioria das obras, aos moldes daquela praticada por Friedrich Kittler: uma ênfase nos sistemas técnicos e sociais implicados, e não na interpretação e na busca por significados contidos nas próprias obras. Ao fim, acreditamos ter apresentado um framework teórico a partir do qual a estética do erro, um tema relativamente inédito, pode ser pensada e analisada. Além disso, muitos dos temas porque passamos tem interesse para além da Arte Digital
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Gumprich, Dinah M. (Dinah Miriam) Carleton University Dissertation Political Science. "Nonsampling survey error: interviewer induced error and question related error." Ottawa, 1995.

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Cubitt, Sean. "Digital aesthetics." Thesis, Liverpool John Moores University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402843.

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Berrios, Ruben Ernesto. "Nietzsche's aesthetics." Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327365.

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Fulmer, Tracy. "BLIND AESTHETICS." Miami University / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=miami1002992074.

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Vollbrecht, Tracy. "Adaptive Aesthetics." Kent State University Honors College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1525685379561019.

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Leonard, Alice. "Error in Shakespeare : Shakespeare in error." Thesis, University of Warwick, 2014. http://wrap.warwick.ac.uk/72806/.

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Error is significant for Shakespeare because of its multiple, flexible meanings and its usefulness in his drama. In the early modern period it meant not only a ‘fault’ or ‘mistake’, but ‘wandering’. ‘Wandering’, through its conceptual relation with metaphor, plot and other devices, aligns error much more with the literary, which dilutes the negative connotations of mistake, and consequently error has the potential to become valuable rather than something to be corrected. Shakespeare’s drama constantly digresses and is full of complex characters who control and are controlled by error. Error is an ambiguous concept that enables language and action to become copious: figurative language becomes increasingly abstracted and wanders away from its point, or the number of errors a character encounters increases, as in The Comedy of Errors. The first chapter argues that error is problematically gendered, that women’s language is often represented as being in error despite being the defenders of the ‘mother tongue’, the guardians of the vernacular. The containment of women in this paradox is necessary for a sense of national identity, that women must pass on the unifying English. The second chapter argues that foreign language becomes English error on the early-modern stage. Shakespeare subverts this tendency, inviting in foreign language for the benefit of the play and, in the context of the history play, of the body politic. The third chapter argues that in The Comedy of Errors, textual indeterminacy and error increases the thematic error of the confusion of the twins. Error is not something to correct automatically without altering the meaning of the play. The fourth chapter argues that the setting of the wood and its wandering characters in A Midsummer Night’s Dream licenses the error of figurative language that wanders away from straightforward speech. The fifth chapter argues that the expansive category of genre falls into error in Cymbeline. The genre turns irrevocably from romance to a satire of James VI and I’s vision of the union. What emerges from the analysis of these permutations of error is that, in Shakespeare’s hands, error is not just a literary device. Error is valuable linguistically, dramatically, politically and textually; in order to understand it, we must resist the ideology of standardisation that privileges what is ‘good’ and ‘correct’. Attending to Shakespearean error demonstrates the need to think beyond the paradigm of the right, and attend to the political implications of ‘wrongness’ and its creative literary employment.
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Ng, Wing-han Christina. "Does error correction lead to error reduction?" Thesis, Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B26173347.

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Costello, Diarmuid. "Aesthetics after modernism." Thesis, University of Essex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395872.

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Books on the topic "Aesthetics of the error"

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Schoenberg's error. Philadelphia: University of Pennsylvania Press, 1991.

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Reason, James. Human error. Cambridge: Cambridge University Press, 1990.

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Oriol, Jordi. t-ERROR. Tarragona: Arola, 2012.

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Paul, Janczewski, ed. Fatal error. New York: Kensington Pub., 2003.

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Balaam's error. Wheaton, Ill: Crossway Books, 1992.

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Einstein's error. 3rd ed. London: A.H. Winterflood, 1986.

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Human error. Cambridge [England]: Cambridge University Press, 1990.

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Reversible error. New York, N.Y., U.S.A: Dutton, 1992.

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Russia's error. Metairie, LA: MAETA, 1997.

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Human error. New York: TOR, 1985.

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Book chapters on the topic "Aesthetics of the error"

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McGonigal, Andrew. "Davidson, Metaphor and Error Theory." In New Waves in Aesthetics, 58–83. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230227453_4.

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Morais, Inês. "Error Theory." In Aesthetic Realism, 25–43. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20127-2_2.

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Gardner, Callie. "‘Queer, Wonderful Misunderstandings’: Catachresis as Aesthetic in Contemporary Poetry." In Error, Ambiguity, and Creativity, 107–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39755-5_7.

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Welsch, Wolfgang. "Aesthetics beyond aesthetics." In Aesthetics and the Philosophy of Art, 3–24. Abingdon, Oxon; New York: Routledge, 2021.: Routledge India, 2021. http://dx.doi.org/10.4324/9781003094401-2.

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Roald, Tone. "Aesthetics." In Encyclopedia of Critical Psychology, 55–57. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_7.

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Saliers, Don E. "Aesthetics." In The Wiley-Blackwell Companion to Christian Mysticism, 74–88. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118232729.ch5.

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Saliers, Don E. "Aesthetics." In The Wiley-Blackwell Companion to Christian Mysticism, 74–88. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118232736.ch5.

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Bainbridge, Simon. "Aesthetics." In Romanticism, 171–91. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-11386-3_7.

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King, Jerry P. "Aesthetics." In The Art of Mathematics, 123–210. Boston, MA: Springer US, 1992. http://dx.doi.org/10.1007/978-1-4899-6339-0_6.

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Evans, J. Claude, Elizabeth A. Behnke, and Edward S. Casey. "Aesthetics." In Contributions to Phenomenology, 16–20. Dordrecht: Springer Netherlands, 1997. http://dx.doi.org/10.1007/978-94-017-5344-9_3.

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Conference papers on the topic "Aesthetics of the error"

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Hoffart, Johannes, Dragan Milchevski, and Gerhard Weikum. "AESTHETICS." In CIKM '14: 2014 ACM Conference on Information and Knowledge Management. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2661829.2661835.

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Wang, Tsen. "Interactive aesthetics." In the 9th international conference. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1377999.1378049.

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Li, Congcong, Alexander C. Loui, and Tsuhan Chen. "Towards aesthetics." In the international conference. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1873951.1874089.

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Gromala, Diane, and Rebecca Allen. "Surround aesthetics." In the ACM symposium. New York, New York, USA: ACM Press, 2001. http://dx.doi.org/10.1145/505008.505031.

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Torres, Cesar. "Hybrid Aesthetics." In DIS '18: Designing Interactive Systems Conference 2018. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3197391.3205381.

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Torres, Cesar, Jasper O'Leary, Molly Nicholas, and Eric Paulos. "Illumination Aesthetics." In CHI '17: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3025453.3025466.

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Yang, Yeonsoo, and Scott R. Klemmer. "Aesthetics matter." In the 27th international conference extended abstracts. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1520340.1520637.

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Evers, Lucas, and Frank Nack. "Data Aesthetics." In MM '16: ACM Multimedia Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2964284.2993205.

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Miniukovich, Aliaksei, and Antonella De Angeli. "Webpage Aesthetics." In NordiCHI '16: 9th Nordic Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2971485.2971544.

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Harrison, Lane, Katharina Reinecke, and Remco Chang. "Infographic Aesthetics." In CHI '15: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2702123.2702545.

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Reports on the topic "Aesthetics of the error"

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Harris, M. Environmental Baseline File: Aesthetics. Office of Scientific and Technical Information (OSTI), February 1999. http://dx.doi.org/10.2172/761994.

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de Leeuw, Evelyne. Urban aesthetics and equitable health impact. Centre for Health Equity Training, Research and Evaluation, 2021. http://dx.doi.org/10.53714/qhog1238.

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Bierma, Tineke. Concrete poetry : the influence of design and marketing on aesthetics. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5321.

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Goetzmann, William, Elena Mamonova, and Christophe Spaenjers. The Economics of Aesthetics and Three Centuries of Art Price Records. Cambridge, MA: National Bureau of Economic Research, August 2014. http://dx.doi.org/10.3386/w20440.

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Baca, Julie, Daniel Carruth, Alex Calhoun, Michael Stephens, and Christopher Lewis. Challenges in evaluating efficacy of scientific visualization for usability and aesthetics. Engineer Research and Development Center (U.S.), May 2021. http://dx.doi.org/10.21079/11681/40800.

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Abstract:
This paper presents the results of a study to evaluate the efficacy of scientific visualization for multiple categories of users, including both domain experts as well as users from the general public. Efficacy was evaluated for understanding, usability, and aesthetic value. Results indicate that aesthetics play a critical, but complex role in enhancing both user understanding and usability.
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Vinyard, Natalia Sergeevna, Theodore Sonne Perry, and Igor Olegovich Usov. Error Budgeting. Office of Scientific and Technical Information (OSTI), October 2017. http://dx.doi.org/10.2172/1398889.

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Guiso, Luigi, Paola Sapienza, and Luigi Zingales. Monnet's Error? Cambridge, MA: National Bureau of Economic Research, April 2015. http://dx.doi.org/10.3386/w21121.

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Jaspan, Ciera, Trisha Quan, and Jonathan Aldrich. Error Reporting Logic. Fort Belvoir, VA: Defense Technical Information Center, June 2008. http://dx.doi.org/10.21236/ada485458.

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Byrne, Michael D. Systematic Procedural Error. Fort Belvoir, VA: Defense Technical Information Center, February 2006. http://dx.doi.org/10.21236/ada444067.

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Seifert, Colleen M., and Edwin L. Hutchins. Learning from Error. Fort Belvoir, VA: Defense Technical Information Center, January 1988. http://dx.doi.org/10.21236/ada199117.

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