TEACHING AND LEARNING HUMAN-COMPUTER INTERACTION (HCI): CURRENT AND EMERGING PRACTICES

Abstract

Against the backdrop of the information age, new technologies are constantly affecting all aspects of people's lives, especially in the field of education. Through the impact of informatization on education in places further away from city centers, in smaller communities, classes on more remote islands, it has been determined that there is still a large gap between the basic construction of inaccessible informatization teaching and the teaching of teachers, professors in cities. This paper analyzes the challenges faced by remote classrooms against the backdrop of the information age by combining cases of informatization from practice and thus provides appropriate suggestions. So that everyone has equal opportunities in education and easier access to information, both gifted students and those with disabilities. When creating applicable computer programs for distance learning, it is important to know certain design principles when constructing and adapting the graphical interface to the user. By changing the graphical display of the screen, we directly encounter stylized transitions, or animations, and we achieve a certain attractiveness when selecting the offered content. Thus, dynamic navigation serves spatial orientation within virtual reality.

ABSTRACT Against the backdrop of the information age, new technologies are constantly affecting all aspects of people's lives, especially in the field of education. Through the impact of informatization on education in places further away from city centers, in smaller communities, classes on more remote islands, it has been determined that there is still a large gap between the basic construction of inaccessible informatization teaching and the teaching of teachers, professors in cities. This paper analyzes the challenges faced by remote classrooms against the backdrop of the information age by combining cases of informatization from practice and thus provides appropriate suggestions. So that everyone has equal opportunities in education and easier access to information, both gifted students and those with disabilities. When creating applicable computer programs for distance learning, it is important to know certain design principles when constructing and adapting the graphical interface to the user. By changing the graphical display of the screen, we directly encounter stylized transitions, or animations, and we achieve a certain attractiveness when selecting the offered content. Thus, dynamic navigation serves spatial orientation within virtual reality. Keywords: Distance learning, Teachers, Digital Teaching, Educational Informatization, User Interface (Ul), Graphical interface

1. INTRODUTION The paper investigates three core dimensions of their engagement with Al: general attitudes towards Al in education, the influence of Al tools on decision-making processes and factors affecting AI acceptance and use. Additionally, it examines their overall perceptions of Al in education. Innovate the use of methods to improve the level of digital teaching in the education of teachers, lecturers, professors in remote schools. The development of digitalization of education is intuitively reflected in the activities of classroom teaching in schools on remote islands, underdeveloped regions of counties. Teachers only prepare lessons through classrooms or using digital source media, which to a certain extent narrows the scope of digitalization of education. The digital development of county education in the future should move towards unknown educational scenarios, break the dependence on existing classroom teaching paths and additionally open broad horizons to students. Specifically, the construction of synchronous classrooms and smart classrooms at the city or county level will coordinate and integrate highquality educational resources in the county and deeply integrate digital technology into the educational development of the city and county. It is recommended to develop a comprehensive

digital literacy plan for teachers of remote schools based on the national digital strategic policy and the specific needs of county education. The plan should include establishing special digital literacy courses and combining these courses with the actual teaching needs of county schools to achieve a teaching effect that integrates knowledge and action.

Education, upbringing Education and upbringing are integral components of the culture of a people. Cultus, Colere, in the broadest sense of these words, education and upbringing, are universal human phenomena, mutually and inseparably connected and active. Anthropology, however, generally speaking, is a holistic science about man, about his nature and culture, so its approach and insights are always current and indispensable both in the scientific, pedagogical treatment of education and upbringing and in its application. So, naobrazma (Greek: morfé, haraktér, tropos), means, namely, the founding, composition, creation, shaping - of man. Education is the process of spiritual formation of man, his person, the cultivation of his self-awareness and social consciousness (Valcic, Herceg, 2023). That is why we say that teaching is a complex, but unique educational process. Education and upbringing (paodeia) as a system, in a philosophical and humanistic (not ideological) sense, means that they are and should be a kind of causa sui, i.e. A whole conditioned by man and people, by the measure of man and his sociality, conceived by a philosophical concept, since man is by his essence and nature a social and spiritual being (zoon politikon, chon logon), a being of free development, progress (ап), creativity and transcendence of his natural and merely empirical givenness (ana-tras-ops). Pedagogy, which claims to deal with all of the above as a science, is directed towards anthropology as the science of the whole man, or rather towards the philosophical discourse on man as a totality and towards its understandings and assumptions about the nature, essence and meaning of man's being and survival. Humanistic and holistic anthropology should, beyond any ideologisation, thoroughly theoretically and empirically examine all forms of human natural, spiritual and social, economic, political and cultural activities and achievements. All these givennesses, activities and achievements, of course, do not exist outside the cultural-historical-social framework, but neither outside man. They are in the possession of man, in the possession of the Croatian man as the sum and continuity of all his positive human achievements, so true values and goods transcend their time and space and are at the same time beacons and signposts for future generations in their human and civilized endeavors and aspirations. This is both the general and basic meaning of culture in the broadest sense of the word as a universal human phenomenon. Culture is by definition a historical, social category that changes with changes in social conditions, which it itself influences. Therefore, definitions and theories of culture must encompass, in addition to the relatively constant elements of culture, dynamic cultural processes (acculturation, enculturation, innovation), or their mutual conditioning and interpenetration. Therefore, we are forced to constantly reexamine the graphical user interface, analyze the interactions between the user and the computer, functional design, element architecture, and design structures, with special emphasis on navigation and flow. We should get a representation of movement through the computer user interface with and without microanimations, thanks to which the importance of feedback that creates a logical link between the actions performed is indicated.

2. WHAT DOES IT MEANS TO TEACH HCI? Human-computer interaction (HCI) is the academic discipline dedicated to understanding how humans interact with technology. Since technologies play such a prominent role in our daily lives, ensuring that they are designed to reflect the full spectrum of human abilities, skills, and

experiences is more important than ever. Between higher education HCI courses and degrees and practitioner-oriented UX training programs, there are more opportunities than ever to teach and learn HCI, but HCI can be taught from various disciplinary perspectives at different academic levels, in different modalities, and in different institutional contexts. Therefore, for educators, what does it mean to teach HCI? For students, what are the most impactful and effective ways to learn HCI?

3. NEW USER INTERFACE SOFTWARE With the development of mobile devices, graphical user interfaces for mobile devices have also evolved, as have the mobile operating system interfaces used on smartphones today. From the first smartphone in 1992 (developed at IBM, called the Simon Personal Communicator) to Apple's iPhone (2007), the user interface has gone through several phases. These include the use of a stylus to interact with the interface, a sliding keyboard under the screen, multitasking capabilities, and a fully customizable home screen. Simplicity, usability, and visual appeal have become standards in the design of modern Web application user interfaces. Before the 1960s, the concept of the "user interface" was completely unarticulated. This is why early visions of personal, desktop access to vast information stores (Bush 1945), graphical and gestural user interfaces (Sutherland 1963), and synchronous collaboration through direct pointing and shared windows (Engelbart and English 1968) are historically so significant. During the 1970s, advancements in workst`ations and bitmap displays enabled the consolidation of these early visions. A notable example is the work at the Xerox Palo Alto Research Center (PARC) with the Alto computer and the Smalltalk-72 environment. User Interface (UI) Design User interface (UI) design is the process used to create product interfaces with a focus on appearance or style. These interfaces are designed according to the principles of user experience design and as such must be simple and pleasant to use. A user interface refers to the access point through which users interact with the design, and these interfaces can be of three types: graphical (GUI), voice (VUI), and gesture-based. Graphical user interfaces (GUI) include all interfaces where users interact with visual displays on digital control surfaces. The best example of a GUI is the computer desktop. VUI, or voice-controlled interfaces (VUI), are interfaces where communication between the user and the system takes place via voice. This group includes Siri, Alexa, Google etc. The last type of interface is gesture-based interfaces where users engage in 3D spaces and communicate with the interface through body movements. These are the most modern interfaces and the best example is VR, i.e. virtual reality. By applying the previously defined factors and rules of user experience design, a correct user interface can be designed. Just as with experience, users evaluate the appearance of the interface and at the same time care about usability and appeal. Design is not as important as the simplicity of performing the desired tasks. Therefore, design should be "invisible" in the sense that it should not be in focus, but the focus should be on the context and flow of the tasks to be performed, and the look of the interface is adjusted accordingly. The user interface should be pleasant and anticipate the needs of users so that they can enjoy personalized and impressive experiences. In addition to appearance, they play an important role and emotions that users associate with the product.

3.1. User Interface Software and Tools User interface software and tools deal with user interface concepts and metaphors, display and interaction techniques, and software development methods. This is probably the most visible and successful area of HCI. The user interfaces that more or less everyone encounters-the desktop metaphor and window management, screen widgets such as scroll bars, menus, and dialog boxes-are derived from work on improving.

A consistent thread of research in this area is architectures for user interface software. The goal was to separate the user interface and application functionality into distinct layers. This approach modularized the user interface in user interface management systems, encouraging iterative redesign (for example, Tanner and Buxton 1985). However, layering limited the granularity of user interface interactions. It also proved to be an obstacle to incremental development methods, as it assumed a top-down decomposition of what the user interface was and what the application functionality was. Current approaches favor the user in developing interfaces and functionality in the same language, either in new languages invented for the purpose, such as Visual Basic, or through extensions of standard languages to implement functionality, such as libraries and tools for C++ or Java.

3.2. COMPUTER ICONS An iconic interface is a user interface composed of iconic images. Each icon represents what task will be performed when the image is clicked. This interface can be used with a computer operating system, computer games, software that controls hardware, etc.

A formal methodology for guiding designers in the production of iconic user interfaces is presented. One of the main issues of the proposed methodology is the possibility of separating the overall design of the interface from the design of individual presentations on the screen, keeping both within a single framework. Another methodological issue concerns the choice of the level of abstraction that allows the designer to concentrate on the main aspects of the interface, deferring implementation details. The presented approach is based on state transition diagrams that provide a solid theoretical basis for the methodology. The characteristics of iconic interfaces are illustrated. The methodology of designing an iconic interface is presented. An application to knowledge-based system interface design is given. The effectiveness of the presented approach is shown. Graphical user interfaces as we use them today allow the user to communicate with the computer using symbols, visual elements, and pointing devices. This form of interface has replaced complicated text-based interfaces and is more user-friendly, natural, and intuitive. The historical details of the evolution of computers and human-computer interaction and user interface design can be divided into several phases. The first implementations of user interface design methods date back to the early 1970s, to the era of cumbersome character. This was an era of applications that did not have development process methods, while they were still to be developed. Pictographic symbols are used to convey a wide range of meanings, especially in the design of human-machine communication interfaces, such as product labels, traffic signs, computer icons, etc. Icons are used extensively because:

(1) Icons can be easily recognized and remembered (Weidenbeck, 1999) (2) Images have more universal recognition than text, since icon interfaces face fewer barriers than language (Lodding, 1983; Wickens, 1992) (3) Icons offer a perception of accessibility, which can facilitate human-machine interaction in terms of ecological perception (Gaver, 1991; Lodding, 1983) (4) Users prefer icons to text for performing tasks, although their performance may be neither better nor worse (Kacmar and Carey, 1991; Nielsen, 1990)

However, an improperly designed icon can diminish the above-mentioned advantages. Two common problematic issues regarding icon design are: first, icons often have language barriers that do not ensure immediate understanding across cultures, or even within them (Waterworth, 1993; Valci, Herceg, 2023; Manes, 1985; Kolers, 1969; Karfhage and Karfhage, 1986; Dreyfuss, 1972); second, people cannot quickly locate the icons they need (Gittens, 1986; Wickens, 1992). Many principles, criteria, and guidelines for icons have been proposed to qualify icon design (Marcus, 1984; Tognazzini, 1992; The CD-I Design Handbook, 1992; Gittens, 1986; Preece et al., 1994; Foley, 1974). For example, Lin (1992) found that key design factors include: recognizable, meaningful, concise, associative, attractive, and symbolic factors. However, design experience can influence how people judge icons (Christle and Gardiner, 1991). Therefore, it can be difficult to obtain information about icon design criteria from subjects who are not experienced in icon design. Due to the current popularity of the Internet, more and more graphic designers are engaged in the design of computer icons for commercial homepages. Icons have become individual consumer products. The function of computer icons is no longer limited to communication (which mainly emphasizes being memorable and understandable); commercial requirements are expanding the role of computer icons beyond communication to suit user preferences. The most deserving of this is digital marketing and the great need for it by organizations and companies and even civil and political society. In short, most previous studies have used objective criteria such as meaningful, recognizable, concise, relatable, and memorable to assess the suitability of icon design. Subjective and aesthetic aspects of icon design are neglected. Along with the popularity of icons for commercial purposes, subjective preferences can play a key role in the success or failure of an icon design. Furthermore, people with design experience may use different criteria for evaluating icon design than those without design experience. Most of the existing icon design criteria and principles are based on research findings from studies where students with no experience in icon design were surveyed. These criteria and principles may not apply to experienced designers. The intent of this study was to investigate whether aesthetic and subjective preferences are important factors in icon design and whether design experience affects the relative importance of different icon design criteria.

3.3. Design language Each operating system is visually distinct, has its own distinctive visual style and standardized usage patterns. Before embarking on the design and development process, it is necessary to understand the platform's idioms and behavior. This way, users will be able to easily understand and use the application on the platform they are used to, and the product will always be functional, clear, and good-looking, regardless of whether it is used on a mobile phone or tablet. For example, we can cite the Android user interface. It is based on material design. Material design is a new approach to cross-platform design that harmonizes the classic principles of good design with the innovations and capabilities of technology and science, and provides a unique experience on all screens and device sizes. The same style is used by Google.

3.4. UX DIZAJN (User experience) UX (User Experience) design is the process of designing a product (digital or physical) that is useful, easy to use, and pleasant to interact with. It is a discipline based on understanding the needs of users, what users value, their capabilities, and their limitations. The impact on the user experience is also related to the decisions made by the organization and how the developer performs a specific task. The UX designer's task is to determine how the consumer feels when using the product. When designing, there is no single solution to any problem, but rather multiple different solutions. The UX designer's responsibility is to ensure that the product transitions logically from one step to the next one.

3.5. UX DESIGN UX (English User experience) design or user experience is the process of designing a product (digital or physical) that is useful, easy to use and enjoyable to interact with. It is a discipline based on understanding the needs of the user, what the user does price, what are its possibilities, but also its limitations. Impact on the user experience is related to the decisions made by the organization and to how the developer performs a specific task. The task of the UX designer is to determine how the consumer feels when using product. When designing, there is no single solution to any problem, but several different solutions. The UX designer's responsibility is to ensure that the product logically transitions from one step to another.

Principles of Graphical User Interface Design: The components of a user interface design are: Y window navigation model - defines the windows and navigation options available to users to perform online functions Y window specifications - defines the windows in the interface Y help system specification - defines the help system that will be implemented to assist users in using the application. However, more complex user interface windows will require a detailed prototype. The purpose of prototypes is to prove that the requirements are properly understood, not to create a working version of the system. User interface modeling is indeed essential in any application system

development, and should not be postponed until the final stage of system development - its implementation - allowing developers to "deal" with what is best possible; rather, it should be modeled and its development should be included in every stage of application system development (Strahonja, Picek,2005). The design of a graphical user interface should take into account the needs, experiences, and capabilities of users. In addition, it is necessary to be aware of the user's physical and psychological limitations (e.g., limited short-term memory), as well as the fact that people make mistakes when using the interface, that they are different and have different interaction priorities. Graphical user interface design parameters serve to improve the quality of the interface design and the design process. According to the book Wayfinding design guidelines, there are seven principles of universal design: 1) Uniform usability The design is useful and marketable to people with different abilities. 2) Flexibility in use The design encompasses a wide range of individual preferences and abilities. 3) Simple and intuitive use The use of the design 1s easy to understand, regardless of the user's experience, knowledge, language skills, or current level of concentration. 4) Tangible information The design effectively communicates useful information to users, regardless of the user's environmental conditions or sensory abilities. 5) Tolerance for error

The design minimizes hazards and harmful consequences of accidental or unintended actions. 1) Low physical effort The design can be used effectively and comfortably, with minimal fatigue. 2) Size and space for access and use Adequate size and space are provided for access, reach, manipulation and use regardless of the user's body size, posture or mobility Because of all of the above: Y ensure real-world consistency, consider experience, expectations, work conventions and cultural conventions Y ensure internal consistency, follow the same conventions and rules for all aspects of the graphical interface, application interface or website, including operational and navigation procedures, visual identity or theme and component Y organization Y presentation Y use Y location Y follow the same conventions and rules across all related interfaces Y deviate only when there is a clear benefit to the user.

3.6. Wayfinding By navigating a user interface, we are actually going through some kind of journey. In order to navigate towards a certain goal, people use available spatial information. Wayfinding (Lynch, 1960; Downs and Stea, 1973) can be translated as journey or orientation, but wayfinding in design has not yet received its own independent translation. It is a major component of Environmental Graphic Design (EGD). EGD can be defined as the graphic communication of information in the built environment. This discipline encompasses various design practices, including urban design, architecture, interior, product and graphic design. Despite its frequent use in EGD, the term wayfinding is considered a misspelling by various spellcheckers and does not appear in most dictionaries. Looking at the original words, it is possible to trace its meaning through four different time periods, which help to trace its contemporary usage:

1. The term wayfinding was introduced in the 16th century as "a journey or journey by road". Thus, a wayfarer is "a person who travels by road, especially on foot".

2. In 1960, urban planner Kevin A. Lynch coined the term wayfinding in his influential book Image of the City. He defined it as "the consistent use and organization of certain sensory cues from the external environment". His work is based on the concept of spatial orientation and its preconditioned, cognitive maps. The former refers to the ways in which a person's ability to determine their location in their environment, and the latter refers to the overall mental image or representation of the physical space and its appearance.

3. An important conceptual shift occurred in the early 1970s. Cognitivists argued that it is necessary to understand the underlying processes in order to interpret how people find their way. Therefore, the relevant concept was no longer based solely on spatial orientation, but on processes involving perception, cognition, and decision-making. This new concept gave rise to the concept of wayfinding. This idea reflects a different approach to the study of human movement and their relationship to physical space.

Cognitivists presented it as a spatial problem-solving method that linked three interrelated processes. First, decision-making is the development of a plan of action. Second, the execution of the decision translates this plan into appropriate behavior and actions. Finally, information processing is responsible for the database of two processes related to decision-making.

4. In 1984, in his book Wayfinding in Architecture, environmental psychologist Romedi Passini expanded the concept by linking it to architecture and signs. But why is the concept of wayfinding so important? Generally speaking, wayfinding involves four phases that have been implemented in user interface design over a period of time. They are:

1) orientation - the current location in relation to nearby objects must be determined, space is broken into smaller parts and significant signs are noticed 2) choosing the way to the destination - improved by reducing the number of navigation choices and by giving signs (generally speaking, people generally prefer shorter routes to longer ones paths, even if the shorter path is more complex), good mental representations of the space for navigation are very useful if the space is large, complex, poorly designed 3) route tracking - tracking to determine that it leads to the appropriate destination. 4) recognition of the destination - the destination must be easily recognizable.

4. WINDOWS 8.1. USER INTERFACE-Metro Language The Metro UI interface is not just an interface, but also Microsoft's interface design language, and thus their vision of the future. The name came from where the inspiration came from - from the information tables of the underground railway company. In 2012, the name Microsoft Design Language was adapted. According to Microsoft, Metro was always a code name and nevermarked the final product. It first appeared with Windows Phone, which made a move away from the previously seenstandardized icons.

4.1. Understanding users and the way they perceive content Designing a layout is actually understanding everything that shapes the behavior and actions of users. The first part of the cognitive cycle is the part where the user gets their data from the environment. Most of the information that the user uses to understand the layout comes through their eyes (what they see). Understanding the way users see, among which the most important is user scan - scanning, is a valuable input for the design process. Scrolling occurs when the layout that is designed and implemented is longer or wider than the space that is limited by the screen. This causes horizontal or vertical scrolling elements to appear and allows the user to switch to another screen. When switching to another screen, the overlap line is the point at which the screen ends and the movement through that screen begins. If you want to achieve intuitive scrolling, then it is necessary to divide the elements in such a way that certain parts are above and below the overlap line - the visible area, that is, that part of the content "sticks out" or comes out. This is applicable to both vertical and horizontal scrolling. Animation is subject to great and often impossible demands.

The Twelve Fundamental Principles of Disney Animation are a set of rules that define the realistic impression of movement with the basic laws of physics. In the early 1930s, Walt Disney and his company, in an effort to set a standard for their company, devised the movements that their characters must exhibit, and thus established the "12 principles of animation" that are still the standard for hand-drawn animation today. Each rule can be applied to animation and micro-animation in the design of graphical user interfaces.

I. Squash and stretch The purpose of this principle is to give a sense of weight and flexibility to drawn objects. The most important aspect of this principle is the fact that an object has volume and that volume should not change when the object is flattened or stretched. II. Anticipation of action Used to prepare the audience for action, and makes the activity more realistic. The technique can also be used for smaller physical activities. Ш. Staging This principle imitates staging as it is known in theater and film. Its purpose is to direct the audience's attention to a situation of great importance that is taking place on the scene. The essence of this principle is to keep the viewer's focus on what is relevant. IV. Successive animation and from pose to pose (Straight Ahead and Pose to Pose) "Successive animation" means animating the scene frame by frame from from beginning to end, while with the principle "from pose to pose" several are made keyframes, and then interframes are filled in later. V. Follow through and overlapping action These two principles are closely related, through their intertwined use we get more realistic movements, character movements for which the laws of physics apply. Follow through and overlapping action VI. Slow in and slow out The movement of the human body, as well as most other objects, needs time to accelerate and slow down. For this reason, the animation looks more realistic if there are more drawings near the beginningand the end of the action, and less in the middle. VII. Arcs The idea behind this principle is that all movements are performed slowly in a circular arc. The exception to this rule is robots and mechanical devices. All human movements, from moving an arm to turning a head, describe a circular arc. That is why it is very important to include thisprinciple in the animation process. VIII. Secondary action Adding a secondary action to the main action gives the scene more life. The important thing about secondary actions is to emphasize them, not distract from the main action.

IX. Timing Duration is one of the most difficult elements of animation to get right. It is the speed at which certain actions are executed. If one element is poorly timed there is a possibility that the entire scene will be unsuccessful no matter how well everything else is done. For this reason, there is no exact way for an animator to learn how to correctly determine the duration of an activity other than to sit down, work, and learn through trial and error.

X. Exaggeration Exaggeration is particularly useful for animation, perfect imitation of reality can look static and boring. The degree of exaggeration depends on how much we want to emphasize movement. If a scene contains several elements, there should be a balance in which elements are exaggerated in relation to others to avoid viewer confusion Solid Drawing The principle of solid drawing takes into account the third dimension of the character. For an animation to look good, drawings must have weight, depth, balance and other elements that emphasize the three-dimensional space on the paper. Appeal A cartoon character must have what actors call charisma. Regardless of whether it is a good guy, a villain or a monster, the character must be attractive, it is important for the viewer to feel that the character is real.

5. CONCLUSION The results of this study showed that qualified computer icons should include the following design criteria: style, message quality, meaningfulness, locablity, and metaphor for distance education services. These findings can be applied to the planning of training programs for computer icon designers. The paper deals with the integration of sustainability concepts into management curricula and identifies strategies that business leaders can apply to improve their professional skills using elements of distance learning. The paper delves deeper into the literature on sustainability education in management curricula, addressing the fundamentals, bringing significant changes and tactics to be applied at each stage of the curriculum. Interpretive thematic analysis revealed the following themes: infrastructure of governance institutions, aptitude for sustainability skill sets, labor market needs, new employment, anthropological and philosophical knowledge. The paper proposes that the implementation of educational strategies and activities aimed at the transformation of learning and the sustainability of knowledge should be coordinated with all levels of АТ and ICT activities. A holistic environment that takes into account both the micro and macro aspects of sustainability needs to be provided and carefully managed, so that the students who will become the educators of tomorrow have the potential to become the leaders of the new education. Over the past two decades, these original focus areas have continued to expand and diversify, although their synergistic relationship remains the cornerstone of HCI. Other focus areas have also developed, such as group/cooperative activity and media/information. Methods and concepts of usability engineering achievements for the field of education, the early focus of usability engineering was evaluation: measuring the performance of implemented software and systems with respect to measurable criteria. It is modeled after the laboratory-oriented paradigm of human factors in telecommunications. However, the rise of prototyping and iterative software development and the ambition to engage cognitive science as a foundation for human-computer interaction pushed the focus of evaluation work upstream into the system development process. Prototyping and iterative development strongly favor formative, rather than summative, evaluation (Scriven 1967)- that is, evaluation that takes place within the development process. and this can lead to a usable, appropriate redesign, rather than just measuring the attributes of the design output.

Formative evaluation methods are often qualitative; a typical method involves people "thinking aloud" as they perform a task. Theory-based models and tools have taken an even more ambitious position, seeking to enable analytical evaluation of designs before they are implemented even as prototypes.

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