Evaluating musical software using conceptual metaphors

An open challenge for interaction designers is to find ways of designing software to enhance the ability of novices to perform tasks that normally require specialized domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of conceptual metaphors and image schemas, found by analyzing discourse. This kind of analysis has already been applied, with some success, both to musical concepts and, separately, to user interface design. The present work appears to be the first to combine these hitherto distinct bodies of research, with the aim of devising a general method for improving user interfaces for music. Some areas where this may require extensions to existing method are noted. This paper presents the results of an exploratory evaluation of Harmony Space, a tool for playing, analysing and learning about harmony. The evaluation uses conceptual metaphors and image schemas elicited from the dialogues of experienced musicians discussing the harmonic progressions in a piece of music. Examples of where the user interface supports the conceptual metaphors, and where support could be improved, are discussed. The potential use of audio output to support conceptual metaphors and image schemas is considered

Analysis of conceptual metaphors to improve music software: the role of prior experience in inclusive music interaction

An open challenge for interaction designers is to find ways of designing software solutions capable of enhancing the ability of users with differing levels of knowledge and capabilities to perform tasks that normally require specialised domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of what are assumed to be conceptual metaphors and image schemas. These constructs are grounded in prior sensory-motor experiences of space, force, orientation and interactions with other bodies and are identified through analysing discourse. These theories have already been applied with some success both to musical concepts and, separately, to user interface design with the intention of creating more intuitive designs through exploiting these prior sensory-motor experiences. However, the present work appears to be the first to combine these hitherto distinct bodies of research. We hypothesise that if we can identify the conceptual metaphors and image schemas used by musical experts to structure their understanding of music, we can utilise this information to develop a general theoretical framework to aid designers in systematically improving their designs, providing a foundation for inclusive music interaction design and thus opening up software normally restricted to domain experts to a wider and more varied user population. A possible methodology for the development of such a framework is discussed along with details of a study to apply the conceptual metaphors and image schemas used by a small group of experienced musicians to an evaluation of Harmony Space

The visibility of models: using technology as a bridge between mathematics and engineering

Engineering mathematics is traditionally conceived as a set of unambiguous mathematical tools applied to solving engineering problems, and it would seem that modern mathematical software is making the toolbox metaphor ever more appropriate. We question the validity of this metaphor, and make the case that engineers do in fact use mathematics as more than a set of passive tools—that mathematical models for phenomena depend critically on the settings in which they are used, and the tools with which they are expressed. The perennial debate over whether mathematics should be taught by mathematicians or by engineers looks increasingly anachronistic in the light of technological change, and we think it is more instructive to examine the potential of technology for changing the relationships between mathematicians and engineers, and for connecting their respective knowledge domains in new ways

Eliciting Domain Knowledge Using Conceptual Metaphors: A Case Study from Music Interaction

Interaction design for domains that involve complex abstractions can prove challenging. This problem is particularly acute in domains where the intricate nature of domain-specific knowledge can be difficult for even the most experienced expert to conceptualise or articulate. One promising solution to the problem of representing complex domain abstractions involves the use of conceptual metaphors. Previous applications of conceptual metaphors to abstract domains have yielded encouraging results. However, the design of appropriate methods for eliciting conceptual metaphors for the purposes of informing interaction design remains an open question. In this paper, we report on a series of studies carried out to elicit conceptual metaphors from domain experts, using music as a case study, reflecting on the benefits and drawbacks of each approach

Denotation and connotation in the human-computer interface: The ‘Save as...’ command

This paper presents a semiotic technique as a means of exploring meaning and understanding in interface design and use. This is examined through a study of the interaction between the ‘file’ metaphor and ‘save as’ command metaphor. The behaviour of these (from a functional or computational basis) do not exactly match, or map onto, the meaning of the metaphor. We examine both the denotation of a term to the user, i.e. its literal meaning to that person, and the term’s connotations, i.e. any other meanings associated with the term. We suggest that the technique applied is useful in predicting future problems with understanding the use of metaphor at the interface and with designing appropriate signification for human-computer interaction. Variation in connotation was expected but a more fundamental difference in denotation was also uncovered. Moreover, the results clearly demonstrate that consistency in the denotation of a term is critical in achieving a good user understanding of the command

ISML: an interface specification meta-language

In this paper we present an abstract metaphor model situated within a model-based user interface framework. The inclusion of metaphors in graphical user interfaces is a well established, but mostly craft-based strategy to design. A substantial body of notations and tools can be found within the model-based user interface design literature, however an explicit treatment of metaphor and its mappings to other design views has yet to be addressed. We introduce the Interface Specification Meta-Language (ISML) framework and demonstrate its use in comparing the semantic and syntactic features of an interactive system. Challenges facing this research are outlined and further work proposed

Metaphor, Objects, and Commodities

This article is a contribution to a symposium that focuses on the ideas of Margaret Jane Radin as a point of departure, and particularly on her analyses of propertization and commodification. While Radin focuses on the harms associated with commodification of the person, relying on Hegel's idea of alienation, we argue that objectification, and in particular objectification of various features of the digital environment, may have important system benefits. We present an extended critique of Radin's analysis, basing the critique in part on Gadamer's argument that meaning and application are interrelated and that meaning changes with application. Central to this interplay is the speculative form of analysis that seeks to fix meaning, contrasted with metaphorical thought that seeks to undermine some fixed meanings and create new meanings through interpretation. The result is that speculative and metaphorical forms are conjoined in an interactive process through which new adaptations emerge. Taking this critique an additional step, we use examples from contemporary intellectual property law discourse to demonstrate how an interactive approach, grounded in metaphor, can yield important insights

Is what you see what you get? representations, metaphors and tools in mathematics didactics

This paper is exploratory in character. The aim is to investigate ways in which it is possible to use the theoretical concepts of representations, tools and metaphors to try to understand what learners of mathematics ‘see’ during classroom interactions (in their widest sense) and what they might get from such interactions. Through an analysis of a brief classroom episode, the suggestion is made that what learners see may not be the same as what they get. From each of several theoretical perspectives utilised in this paper, what learners ‘get’ appears to be something extra. According to our analysis, this something ‘extra’ is likely to depend on the form of technology being used and the representations and metaphors that are available to both teacher and learner