A Formal Approach to Computer Aided 2D Graphical Design for Blind People

The growth of computer aided drawing systems for blind people (CADB) has long been recognised and has increased in interest within the assistive technology research area. The representation of pictorial data by blind and visually impaired (BVI) people has recently gathered momentum with research and development; however, a survey of published literature on CADB reveals that only marginal research has been focused on the use of a formal approach for on screen spatial orientation, creation and reuse of graphics artefacts. To realise the full potential of CADB, such systems should possess attributes of usability, spatial navigation and shape creation features without which blind users drawing activities are less likely to be achieved. As a result of this, usable, effective and self-reliant CADB have arisen from new assistive Technology (AT) research. This thesis contributes a novel, abstract, formal approach that facilitates BVI users to navigate on the screen, create computer graphics/diagrams using 2D shapes and user-defined images. Moreover, the research addresses the specific issues involved with user language by formulating specific rules that make BVI user interaction with the drawing effective and easier. The formal approach proposed here is descriptive and it is specified at a level of abstraction above the concrete level of system technologies. The proposed approach is unique in problem modelling and syntheses of an abstract computer-based graphics/drawings using a formal set of user interaction commands. This technology has been applied to enable blind users to independently construct drawings to satisfy their specific needs without recourse to a specific technology and without the intervention of support workers. The specification aims to be the foundation for a system scope, investigation guidelines and user-initiated command-driven interaction. Such an approach will allow system designers and developers to proceed with greater conceptual clarity than it is possible with current technologies that is built on concrete system-driven prototypes. In addition to the scope of the research the proposed model has been verified by various types of blind users who have independently constructed drawings to satisfy their specific needs without the intervention of support workers. The effectiveness and usability of the proposed approach has been compared against conventional non-command driven drawing systems by different types of blind users. The results confirm that the abstract formal approach proposed here using command-driven means in the context of CADB enables greater comprehension by BVI users. The innovation can be used for both educational and training purposes. The research, thereby sustaining the claim that the abstract formal approach taken allows for the greater comprehension of the command-driven means in the context of CADB, and how the specification aid the design of such a system

Proceedings of the 19th Sound and Music Computing Conference

Proceedings of the 19th Sound and Music Computing Conference - June 5-12, 2022 - Saint-Étienne (France). https://smc22.grame.f

Interactive Technologies for the Public Sphere Toward a Theory of Critical Creative Technology

Digital media cultural practices continue to address the social, cultural and aesthetic contexts of the global information economy, perhaps better called ecology, by inventing new methods and genres that encourage interactive engagement, collaboration, exploration and learning. The theoretical framework for creative critical technology evolved from the confluence of the arts, human computer interaction, and critical theories of technology. Molding this nascent theoretical framework from these seemingly disparate disciplines was a reflexive process where the influence of each component on each other spiraled into the theory and practice as illustrated through the Constructed Narratives project. Research that evolves from an arts perspective encourages experimental processes of making as a method for defining research principles. The traditional reductionist approach to research requires that all confounding variables are eliminated or silenced using methods of statistics. However, that noise in the data, those confounding variables provide the rich context, media, and processes by which creative practices thrive. As research in the arts gains recognition for its contributions of new knowledge, the traditional reductive practice in search of general principles will be respectfully joined by methodologies for defining living principles that celebrate and build from the confounding variables, the data noise. The movement to develop research methodologies from the noisy edges of human interaction have been explored in the research and practices of ludic design and ambiguity (Gaver, 2003); affective gap (Sengers et al., 2005b; 2006); embodied interaction (Dourish, 2001); the felt life (McCarthy & Wright, 2004); and reflective HCI (Dourish, et al., 2004). The theory of critical creative technology examines the relationships between critical theories of technology, society and aesthetics, information technologies and contemporary practices in interaction design and creative digital media. The theory of critical creative technology is aligned with theories and practices in social navigation (Dourish, 1999) and community-based interactive systems (Stathis, 1999) in the development of smart appliances and network systems that support people in engaging in social activities, promoting communication and enhancing the potential for learning in a community-based environment. The theory of critical creative technology amends these community-based and collaborative design theories by emphasizing methods to facilitate face-to-face dialogical interaction when the exchange of ideas, observations, dreams, concerns, and celebrations may be silenced by societal norms about how to engage others in public spaces. The Constructed Narratives project is an experiment in the design of a critical creative technology that emphasizes the collaborative construction of new knowledge about one's lived world through computer-supported collaborative play (CSCP). To construct is to creatively invent one's world by engaging in creative decision-making, problem solving and acts of negotiation. The metaphor of construction is used to demonstrate how a simple artefact - a building block - can provide an interactive platform to support discourse between collaborating participants. The technical goal for this project was the development of a software and hardware platform for the design of critical creative technology applications that can process a dynamic flow of logistical and profile data from multiple users to be used in applications that facilitate dialogue between people in a real-time playful interactive experience

Intermedial Studies

Intermedial Studies provides a concise, hands-on introduction to the analysis of a broad array of texts from a variety of media – including literature, film, music, performance, news and videogames, addressing fiction and non-fiction, mass media and social media. The detailed introduction offers a short history of the field and outlines the main theoretical approaches to the field. Part I explains the approach, examining and exemplifying the dimensions that construct every media product. The following sections offer practical examples and case studies using many examples, which will be familiar to students, from Sherlock Holmes and football, to news, vlogs and videogames. This book is the only textbook taking both a theoretical and practical approach to intermedial studies. The book will be of use to students from a variety of disciplines looking at any form of adaptation, from comparative literature to film adaptations, fan fictions and spoken performances. The book equips students with the language and understanding to confidently and competently apply their own intermedial analysis to any text