18 research outputs found
From Molecules to the Masses : Visual Exploration, Analysis, and Communication of Human Physiology
Det overordnede målet med denne avhandlingen er tverrfaglig anvendelse av medisinske illustrasjons- og visualiseringsteknikker for å utforske, analysere og formidle aspekter ved fysiologi til publikum med ulik faglig nivå og bakgrunn.
Fysiologi beskriver de biologiske prosessene som skjer i levende vesener over tid. Vitenskapen om fysiologi er kompleks, men samtidig kritisk for vår forståelse av hvordan levende organismer fungerer. Fysiologi dekker en stor bredde romlig-temporale skalaer og fordrer behovet for å kombinere og bygge bro mellom basalfagene (biologi, fysikk og kjemi) og medisin. De senere årene har det vært en eksplosjon av nye, avanserte eksperimentelle metoder for å detektere og karakterisere fysiologiske data. Volumet og kompleksiteten til fysiologiske data krever effektive strategier for visualisering for å komplementere dagens standard analyser. Hvilke tilnærminger som benyttes i visualiseringen må nøye balanseres og tilpasses formålet med bruken av dataene, enten dette er for å utforske dataene, analysere disse eller kommunisere og presentere dem.
Arbeidet i denne avhandlingen bidrar med ny kunnskap innen teori, empiri, anvendelse og reproduserbarhet av visualiseringsmetoder innen fysiologi. Først i avhandlingen er en rapport som oppsummerer og utforsker dagens kunnskap om muligheter og utfordringer for visualisering innen fysiologi. Motivasjonen for arbeidet er behovet forskere innen visualiseringsfeltet, og forskere i ulike anvendelsesområder, har for en sammensatt oversikt over flerskala visualiseringsoppgaver og teknikker. Ved å bruke søk over et stort spekter av metodiske tilnærminger, er dette den første rapporten i sitt slag som kartlegger visualiseringsmulighetene innen fysiologi. I rapporten er faglitteraturen oppsummert slik at det skal være enkelt å gjøre oppslag innen ulike tema i rom-og-tid-skalaen, samtidig som litteraturen er delt inn i de tre høynivå visualiseringsoppgavene data utforsking, analyse og kommunikasjon. Dette danner et enkelt grunnlag for å navigere i litteraturen i feltet og slik danner rapporten et godt grunnlag for diskusjon og forskningsmuligheter innen feltet visualisering og fysiologi. Basert på arbeidet med rapporten var det særlig to områder som det er ønskelig for oss å fortsette å utforske: (1) utforskende analyse av mangefasetterte fysiologidata for ekspertbrukere, og (2) kommunikasjon av data til både eksperter og ikke-eksperter.
Arbeidet vårt av mangefasetterte fysiologidata er oppsummert i to studier i avhandlingen. Hver studie omhandler prosesser som foregår på forskjellige romlig-temporale skalaer og inneholder konkrete eksempler på anvendelse av metodene vurdert av eksperter i feltet.
I den første av de to studiene undersøkes konsentrasjonen av molekylære substanser (metabolitter) ut fra data innsamlet med magnetisk resonansspektroskopi (MRS), en avansert biokjemisk teknikk som brukes til å identifisere metabolske forbindelser i levende vev. Selv om MRS kan ha svært høy sensitivitet og spesifisitet i medisinske anvendelser, er analyseresultatene fra denne modaliteten abstrakte og vanskelige å forstå også for medisinskfaglige eksperter i feltet. Vår designstudie som undersøkte oppgavene og kravene til ekspertutforskende analyse av disse dataene førte til utviklingen av SpectraMosaic. Dette er en ny applikasjon som gjør det mulig for domeneeksperter å analysere konsentrasjonen av metabolitter normalisert for en hel kohort, eller etter prøveregion, individ, opptaksdato, eller status på hjernens aktivitetsnivå ved undersøkelsestidspunktet.
I den andre studien foreslås en metode for å utføre utforskende analyser av flerdimensjonale fysiologiske data i motsatt ende av den romlig-temporale skalaen, nemlig på populasjonsnivå. En effektiv arbeidsflyt for utforskende dataanalyse må kritisk identifisere interessante mønstre og relasjoner, noe som blir stadig vanskeligere når dimensjonaliteten til dataene øker. Selv om dette delvis kan løses med eksisterende reduksjonsteknikker er det alltid en fare for at subtile mønstre kan gå tapt i reduksjonsprosessen. Isteden presenterer vi i studien DimLift, en iterativ dimensjonsreduksjonsteknikk som muliggjør brukeridentifikasjon av interessante mønstre og relasjoner som kan ligge subtilt i et datasett gjennom dimensjonale bunter. Nøkkelen til denne metoden er brukerens evne til å styre dimensjonalitetsreduksjonen slik at den følger brukerens egne undersøkelseslinjer.
For videre å undersøke kommunikasjon til eksperter og ikke-eksperter, studeres i neste arbeid utformingen av visualiseringer for kommunikasjon til publikum med ulike nivåer av ekspertnivå. Det er naturlig å forvente at eksperter innen et emne kan ha ulike preferanser og kriterier for å vurdere en visuell kommunikasjon i forhold til et ikke-ekspertpublikum. Dette påvirker hvor effektivt et bilde kan benyttes til å formidle en gitt scenario. Med utgangspunkt i ulike teknikker innen biomedisinsk illustrasjon og visualisering, gjennomførte vi derfor en utforskende studie av kriteriene som publikum bruker når de evaluerer en biomedisinsk prosessvisualisering målrettet for kommunikasjon.
Fra denne studien identifiserte vi muligheter for ytterligere konvergens av biomedisinsk illustrasjon og visualiseringsteknikker for mer målrettet visuell kommunikasjonsdesign. Særlig beskrives i større dybde utviklingen av semantisk konsistente retningslinjer for farging av molekylære scener. Hensikten med slike retningslinjer er å heve den vitenskapelige kompetansen til ikke-ekspertpublikum innen molekyler visualisering, som vil være spesielt relevant for kommunikasjon til befolkningen i forbindelse med folkehelseopplysning.
All kode og empiriske funn utviklet i arbeidet med denne avhandlingen er åpen kildekode og tilgjengelig for gjenbruk av det vitenskapelige miljøet og offentligheten. Metodene og funnene presentert i denne avhandlingen danner et grunnlag for tverrfaglig biomedisinsk illustrasjon og visualiseringsforskning, og åpner flere muligheter for fortsatt arbeid med visualisering av fysiologiske prosesser.The overarching theme of this thesis is the cross-disciplinary application of medical illustration and visualization techniques to address challenges in exploring, analyzing, and communicating aspects of physiology to audiences with differing expertise.
Describing the myriad biological processes occurring in living beings over time, the science of physiology is complex and critical to our understanding of how life works.
It spans many spatio-temporal scales to combine and bridge the basic sciences (biology, physics, and chemistry) to medicine. Recent years have seen an explosion of new and finer-grained experimental and acquisition methods to characterize these data. The volume and complexity of these data necessitate effective visualizations to complement standard analysis practice. Visualization approaches must carefully consider and be adaptable to the user's main task, be it exploratory, analytical, or communication-oriented. This thesis contributes to the areas of theory, empirical findings, methods, applications, and research replicability in visualizing physiology.
Our contributions open with a state-of-the-art report exploring the challenges and opportunities in visualization for physiology. This report is motivated by the need for visualization researchers, as well as researchers in various application domains, to have a centralized, multiscale overview of visualization tasks and techniques. Using a mixed-methods search approach, this is the first report of its kind to broadly survey the space of visualization for physiology. Our approach to organizing the literature in this report enables the lookup of topics of interest according to spatio-temporal scale. It further subdivides works according to any combination of three high-level visualization tasks: exploration, analysis, and communication. This provides an easily-navigable foundation for discussion and future research opportunities for audience- and task-appropriate visualization for physiology. From this report, we identify two key areas for continued research that begin narrowly and subsequently broaden in scope: (1) exploratory analysis of multifaceted physiology data for expert users, and (2) communication for experts and non-experts alike.
Our investigation of multifaceted physiology data takes place over two studies. Each targets processes occurring at different spatio-temporal scales and includes a case study with experts to assess the applicability of our proposed method.
At the molecular scale, we examine data from magnetic resonance spectroscopy (MRS), an advanced biochemical technique used to identify small molecules (metabolites) in living tissue that are indicative of metabolic pathway activity. Although highly sensitive and specific, the output of this modality is abstract and difficult to interpret. Our design study investigating the tasks and requirements for expert exploratory analysis of these data led to SpectraMosaic, a novel application enabling domain researchers to analyze any permutation of metabolites in ratio form for an entire cohort, or by sample region, individual, acquisition date, or brain activity status at the time of acquisition.
A second approach considers the exploratory analysis of multidimensional physiological data at the opposite end of the spatio-temporal scale: population. An effective exploratory data analysis workflow critically must identify interesting patterns and relationships, which becomes increasingly difficult as data dimensionality increases. Although this can be partially addressed with existing dimensionality reduction techniques, the nature of these techniques means that subtle patterns may be lost in the process. In this approach, we describe DimLift, an iterative dimensionality reduction technique enabling user identification of interesting patterns and relationships that may lie subtly within a dataset through dimensional bundles. Key to this method is the user's ability to steer the dimensionality reduction technique to follow their own lines of inquiry.
Our third question considers the crafting of visualizations for communication to audiences with different levels of expertise. It is natural to expect that experts in a topic may have different preferences and criteria to evaluate a visual communication relative to a non-expert audience. This impacts the success of an image in communicating a given scenario. Drawing from diverse techniques in biomedical illustration and visualization, we conducted an exploratory study of the criteria that audiences use when evaluating a biomedical process visualization targeted for communication. From this study, we identify opportunities for further convergence of biomedical illustration and visualization techniques for more targeted visual communication design. One opportunity that we discuss in greater depth is the development of semantically-consistent guidelines for the coloring of molecular scenes. The intent of such guidelines is to elevate the scientific literacy of non-expert audiences in the context of molecular visualization, which is particularly relevant to public health communication.
All application code and empirical findings are open-sourced and available for reuse by the scientific community and public. The methods and findings presented in this thesis contribute to a foundation of cross-disciplinary biomedical illustration and visualization research, opening several opportunities for continued work in visualization for physiology.Doktorgradsavhandlin
Analyse de l'espace des chemins pour la composition des ombres et lumières
La réalisation des films d'animation 3D s'appuie de nos jours sur les techniques de rendu physiquement réaliste, qui simulent la propagation de la lumière dans chaque scène. Dans ce contexte, les graphistes 3D doivent jouer avec les effets de lumière pour accompagner la mise en scène, dérouler la narration du film, et transmettre son contenu émotionnel aux spectateurs. Cependant, les équations qui modélisent le comportement de la lumière laissent peu de place à l'expression artistique. De plus, l'édition de l'éclairage par essai-erreur est ralentie par les longs temps de rendu associés aux méthodes physiquement réalistes, ce qui rend fastidieux le travail des graphistes. Pour pallier ce problème, les studios d'animation ont souvent recours à la composition, où les graphistes retravaillent l'image en associant plusieurs calques issus du processus de rendu. Ces calques peuvent contenir des informations géométriques sur la scène, ou bien isoler un effet lumineux intéressant. L'avantage de la composition est de permettre une interaction en temps réel, basée sur les méthodes classiques d'édition en espace image. Notre contribution principale est la définition d'un nouveau type de calque pour la composition, le calque d'ombre. Un calque d'ombre contient la quantité d'énergie perdue dans la scène à cause du blocage des rayons lumineux par un objet choisi. Comparée aux outils existants, notre approche présente plusieurs avantages pour l'édition. D'abord, sa signification physique est simple à concevoir : lorsque l'on ajoute le calque d'ombre et l'image originale, toute ombre due à l'objet choisi disparaît. En comparaison, un masque d'ombre classique représente la fraction de rayons bloqués en chaque pixel, une information en valeurs de gris qui ne peut servir que d'approximation pour guider la composition. Ensuite, le calque d'ombre est compatible avec l'éclairage global : il enregistre l'énergie perdue depuis les sources secondaires, réfléchies au moins une fois dans la scène, là où les méthodes actuelles ne considèrent que les sources primaires. Enfin, nous démontrons l'existence d'une surestimation de l'éclairage dans trois logiciels de rendu différents lorsque le graphiste désactive les ombres pour un objet ; notre définition corrige ce défaut. Nous présentons un prototype d'implémentation des calques d'ombres à partir de quelques modifications du Path Tracing, l'algorithme de choix en production. Il exporte l'image originale et un nombre arbitraire de calques d'ombres liés à différents objets en une passe de rendu, requérant un temps supplémentaire de l'ordre de 15% dans des scènes à géométrie complexe et contenant plusieurs milieux participants. Des paramètres optionnels sont aussi proposés au graphiste pour affiner le rendu des calques d'ombres.The production of 3D animated motion picture now relies on physically realistic rendering techniques, that simulate light propagation within each scene. In this context, 3D artists must leverage lighting effects to support staging, deploy the film's narrative, and convey its emotional content to viewers. However, the equations that model the behavior of light leave little room for artistic expression. In addition, editing illumination by trial-and-error is tedious due to the long render times that physically realistic rendering requires. To remedy these problems, most animation studios resort to compositing, where artists rework a frame by associating multiple layers exported during rendering. These layers can contain geometric information on the scene, or isolate a particular lighting effect. The advantage of compositing is that interactions take place in real time, and are based on conventional image space operations. Our main contribution is the definition of a new type of layer for compositing, the shadow layer. A shadow layer contains the amount of energy lost in the scene due to the occlusion of light rays by a given object. Compared to existing tools, our approach presents several advantages for artistic editing. First, its physical meaning is straightforward: when a shadow layer is added to the original image, any shadow created by the chosen object disappears. In comparison, a traditional shadow matte represents the ratio of occluded rays at a pixel, a grayscale information that can only serve as an approximation to guide compositing operations. Second, shadow layers are compatible with global illumination: they pick up energy lost from secondary light sources that are scattered at least once in the scene, whereas the current methods only consider primary sources. Finally, we prove the existence of an overestimation of illumination in three different renderers when an artist disables the shadow of an object; our definition fixes this shortcoming. We present a prototype implementation for shadow layers obtained from a few modifications of path tracing, the main rendering algorithm in production. It exports the original image and any number of shadow layers associated with different objects in a single rendering pass, with an additional 15% time in scenes containing complex geometry and multiple participating media. Optional parameters are also proposed to the artist to fine-tune the rendering of shadow layers
Proceedings of the 2021 DigitalFUTURES
This open access book is a compilation of selected papers from 2021 DigitalFUTURES—The 3rd International Conference on Computational Design and Robotic Fabrication (CDRF 2021). The work focuses on novel techniques for computational design and robotic fabrication. The contents make valuable contributions to academic researchers, designers, and engineers in the industry. As well, readers encounter new ideas about understanding material intelligence in architecture
Designing the early history of typography in Brazil
Many histories of typography in Brazil have been told from the point of view of book and newspaper publishing. A history of typography in Brazil as part of design history, however, is still to be written, or, better yet, designed. In order to help address this gap in knowledge, a digital platform able to gather data and provide information on the early history of letterpress printing in the city of São Paulo has been devised and implemented by a research team coordinated by the authors of this paper. In addition to textual and numerical information on over 200 trade printers, type foundries, type distributors, and their staff, the platform provides interactive maps showing the location of these companies, and a timeline of their activity from 1827 to 1927. It also offers a reconstruction of the printers’ repertoires—samples of the typefaces they used, built from thousands of images collected from printed pages. The result is a rich set of data accessible by anyone interested in learning more about the early history of typography in São Paulo, gathered in a system that allows for systematic updates, and which can be expanded to incorporate data from other periods, sources and location
Back to the Future. The Future in the Past. Conference Proceedings Book
ICDHS is the acronym of the International Committee of Design History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Taiwan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two distinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many parallel strands, including poster presentations and keynote speakers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory
Back to the future. The future in the past: ICDHS 10th+1 Barcelona 2018: Conference proceedings book
Obra dedicada a la memòria d'Anna Calvera (1954–2018).Conté: 0. Opening pages -- 1.1 Territories in the scene of globalised design: localisms and cosmopolitanisms -- 1.2 Designing the histories of southern designs -- 1.3 Mediterranean-ness: an inquiry into design and design history -- 1.4 From ideology to methodology: design histories and current developments in post-socialist countries -- 1.5 [100th anniversary of the Bauhaus Foundation]: tracing the map of the diaspora of its students -- 1.6 Design history: gatekeeper of the past and passport to a meaningful future? -- 1.7 Constructivism and deconstructivism: global development and criticism -- 1.8 An expanded global framework for design history -- 1.9 Design museums network: strengthening design by making it part of cultural legacy -- 1.10 Types and histories: past and present issues of type and book design -- 2.1 Design aesthetics: beyond the pragmatic experience and phenomenology -- 2.2 Public policies on design and design-driven innovation -- 2.3 Digital humanities: how does design in today's digital realm respond to what we need? -- 2.4 Design studies: design methods and methodology, the cognitive approach -- 2.5 Vehicles of design criticism -- 3 Open session: research and works in progress (1) -- 3 Open session: research and works in progress (2) -- Addenda: 10th+I keywords mapInternational Committee of Design History and Design Studies. Conference (11a : 2018 : Barcelona, Catalunya),ICDHS is the acronym of the International Committee of Design History and Design Studies, an organisation that brings together scholars from Spain, Cuba, Turkey, Mexico, Finland, Japan, Belgium, the Netherlands, Brazil, Portugal, the US, Taiwan, Canada and the UK. Since 1999, when the Design and Art History departments of the University of Barcelona organised the first edition of the ICDHS, a conference has been held every two years at a different venue around the world. These conferences have had two distinct aims: first, to present original research in the fields of Design History and Design Studies and, second, to include contributions in these fields from non-hegemonic countries, offering a speaking platform to many scientific communities that are already active or are forming and developing. For that reason, the structure of the conferences combines many parallel strands, including poster presentations and keynote speakers who lecture on the conferences’ main themes. The 2018 event is rather special. The Taipei 2016 conference was the 10th edition and a commemoration of the ten celebrations to date. Returning to Barcelona in 2018 marks the end of one stage and the beginning of a new one for the Committee. The numbering chosen—“10+1”—also means that Barcelona 2018 is both an end and a beginning in the ICDHS’s own history. The book brings together 137 papers delivered at the ICDHS 10th+1 Conference held in Barcelona on 29–31 October 2018. The papers are preceded by texts of the four keynote lectures and a written tribute from the ICDHS Board to its founder and figurehead, Anna Calvera (1954–2018). The Conference, and the book, are dedicated to her memory
CIMODE 2016: 3º Congresso Internacional de Moda e Design: proceedings
O CIMODE 2016 é o terceiro Congresso Internacional de Moda e Design, a decorrer de 9 a 12 de maio de 2016 na cidade de Buenos Aires, subordinado ao tema : EM--‐TRAMAS. A presente edição é organizada pela Faculdade de Arquitetura, Desenho e Urbanismo da Universidade de Buenos Aires, em conjunto com o Departamento de Engenharia Têxtil da Universidade do Minho e com a ABEPEM – Associação Brasileira de Estudos e Pesquisa em Moda.info:eu-repo/semantics/publishedVersio