Using Markup Languages for Accessible Scientific, Technical, and Scholarly Document Creation

In using software to write a scientific, technical, or other scholarly document, authors have essentially two options. They can either write it in a ‘what you see is what you get’ (WYSIWYG) editor such as a word processor, or write it in a text editor using a markup language such as HTML, LaTeX, Markdown, or AsciiDoc. This paper gives an overview of the latter approach, focusing on both the non-visual accessibility of the writing process, and that of the documents produced. Currently popular markup languages and established tools associated with them are introduced. Support for mathematical notation is considered. In addition, domain-specific programming languages for constructing various types of diagrams can be well integrated into the document production process. These languages offer interesting potential to facilitate the non-visual creation of graphical content, while raising insufficiently explored research questions. The flexibility with which documents written in current markup languages can be converted to different output formats is emphasized. These formats include HTML, EPUB, and PDF, as well as file formats used by contemporary word processors. Such conversion facilities can serve as means of enhancing the accessibility of a document both for the author (during the editing and proofreading process) and for those among the document’s recipients who use assistive technologies, such as screen readers and screen magnifiers. Current developments associated with markup languages and the accessibility of scientific or technical documents are described. The paper concludes with general commentary, together with a summary of opportunities for further research and software development

Do we see with microscopes?

The role of a family of instruments, microscopes, in our quest for reliable knowledge is compared with that of visual systems. Similarities and dissimilarities in accounts of their epistemic contributions are assessed. Several possible lines of argument for denying that we see with microscopes are reviewed. Arguments that exploit differences in the relations that hold between the distal stimulus and either the retinal or the microscope image are briefly presented and discussed. Arguments that concentrate on differences in the relations that hold between the image and the end-product of the process are then considered. The discussion focusses on whether, once it is granted that the main purpose of both (advanced) visual perception and microscope observation is to inform us on distal spatial layouts, there remain fundamental enough differences as to the means employed for reaching this goal to justify denying that we see with microscopes

Design of Participatory Virtual Reality System for visualizing an intelligent adaptive cyberspace

The concept of 'Virtual Intelligence' is proposed as an intelligent adaptive interaction between the simulated 3-D dynamic environment and the 3-D dynamic virtual image of the participant in the cyberspace created by a virtual reality system. A system design for such interaction is realised utilising only a stereoscopic optical head-mounted LCD display with an ultrasonic head tracker, a pair of gesture-controlled fibre optic gloves and, a speech recogni(ion and synthesiser device, which are all connected to a Pentium computer. A 3-D dynamic environment is created by physically-based modelling and rendering in real-time and modification of existing object description files by afractals-based Morph software. It is supported by an extensive library of audio and video functions, and functions characterising the dynamics of various objects. The multimedia database files so created are retrieved or manipulated by intelligent hypermedia navigation and intelligent integration with existing information. Speech commands control the dynamics of the environment and the corresponding multimedia databases. The concept of a virtual camera developed by ZeIter as well as Thalmann and Thalmann, as automated by Noma and Okada, can be applied for dynamically relating the orientation and actions of the virtual image of the participant with respect to the simulated environment. Utilising the fibre optic gloves, gesture-based commands are given by the participant for controlling his 3-D virtual image using a gesture language. Optimal estimation methods and dataflow techniques enable synchronisation between the commands of the participant expressed through the gesture language and his 3-D dynamic virtual image. Utilising a framework, developed earlier by the author, for adaptive computational control of distribute multimedia systems, the data access required for the environment as well as the virtual image of the participant can be endowed with adaptive capability

Marking and making : a characterisation of sketching for typographic design

This research rests on the premise that sketching in paper and pencil is crucial for typographic designers when designing documents. The aim has been to derive a characterisation of the salient aspects of sketching, through an ethnographically-oriented study of designers' use of paper and pencil. The people studied were professional typographic designers, but both the motivations for the research and the characterisation deriving from it relate to other design disciplines, notably industrial and engineering design and architecture. The goal was to identify the underlying functionality supported by sketching, in order to inform the design of future tools for document creation. The characterisation is presented as a framework, with seven main categories: visual characteristics of marks; basic semantic units of design; visual features of sketches; visual and tactile features of sheets of sketches; affordances of sketching; functionality required to support sketching; capacities of the traditional medium. The first four categories deal with the visual qualities of sketches, such as image quality within the line and recurring features in sketches such as different scale, closure, and degree of detail. The functions supported by sketching are suggested to be: interpretability, focus, comparison, simulation of experience, ideas capture and record making. The functionality identified as necessary to support sketching includes the appropriate speed of image generation, image emergence, image manipulation, and image capture and record making. Also necessary are high speed and ease of switching between all the strands mentioned above, and singularity of focus. The supportive capacities of the traditional medium include a rich vocabulary of marks, high image definition, and the continuum-of-activity through the continuity-at-medium, i.e. the natural progression from sketching on paper to making simulations out of paper. In recognition of the respective strengths of the traditional and electronic media, integration between the two is recommended for the design of optimal document creation systems

City Tells:

City Tells. Guidelines to an Emotional Wayfinding System were developed to provide wayfinding information to visitors walking through historic environments and to ensure that unknown urban places become more welcoming, easier to navigate and more enjoyable for both visitors and tourists

Film practice as interdisciplinary research: a case study

Referring primarily to my own doctoral practice-as-research project as a case study, this chapter explores cinematic practice as a mode of interdisciplinary research. The project traces the journey of the Kladovo transport, a large group of Jewish refugees from central Europe, who attempted to flee Nazi persecutions in 1939 via the river Danube. The majority of the passengers never got further than Serbia, where their journey fatally ended in 1941/1942. This failed escape attempt is charged with striking relationships to time, like the long periods of stasis that the Kladovo transport spent on the Danube waters. While drawing from large an interdisciplinary field, including history, Holocaust geographies and archaeology, I explore this journey as a multi-temporal event, with the camera as my main research tool. In this chapter, I will take a closer look at some of the elements of the interdisciplinary encounters as they appeared in my study

Aerospace medicine and biology: A continuing bibliography with indexes, supplement 218, April 1981

This bibliography lists 161 reports, articles, and other documents introduced into the NASA scientific and technical information system in March 1981

Technology and the Printed Book: Pursuing a Holistic Human Experience with a Sacred Text

There exists a sort of gravitas attached to a book that is printed and bound by hand that gets lost on the production line. When holding a hand-printed (or hand-written), hand-bound codex next to a mass-produced book, there is between the two a visible and tactile difference in quality and harmony between form and content. With the modern technological advancements now available, how can the craftsmanship and beauty — the gravitas — evident in books of the past be replicated in a way that is aesthetically pleasing, harmonious in message, and reflective of the present time? As objects, books are designed to be read with all of the senses. Reading by codex is a holistic experience that is uniquely human, an experience that makes books valuable artistic and cultural artifacts in both their contents and their form. A book is more than simply a container for the contents. The form can easily be replaced by other media types, but as a sensory experience and artistic reflection of culture, the form of the book has no replacement. Currently the codex is at risk of being replaced with electronic and entirely machine-made books that lack a human connection. This can be attributed to an economic demand for increased speed and output, a social decline in awareness of quality, and a technological decrease in craft over time. The result is that current methods and materials used in book production do not produce preservable cultural artifacts or communicate a unified message in their physical format and textual meaning. Methods of book production must be modified to preserve the holistic experience encountered in the object of the book in ways that are appropriate to the present time