20,662 research outputs found
Using film cutting in interface design
It has been suggested that computer interfaces could be made more usable if their designers utilized cinematography techniques, which have evolved to guide
the viewer through a narrative despite frequent discontinuities in the presented scene (i.e., cuts between shots). Because of differences between the domains of
film and interface design, it is not straightforward to understand how such techniques can be transferred. May and Barnard (1995) argued that a psychological
model of watching film could support such a transference. This article presents an extended account of this model, which allows identification of the practice of collocation
of objects of interest in the same screen position before and after a cut. To verify that filmmakers do, in fact, use such techniques successfully, eye movements
were measured while participants watched the entirety of a commerciall
Empathy, engagement, entrainment: the interaction dynamics of aesthetic experience
A recent version of the view that aesthetic experience is based in empathy as inner
imitation explains aesthetic experience as the automatic simulation of actions,
emotions, and bodily sensations depicted in an artwork by motor neurons in the brain. Criticizing the simulation theory for committing to an erroneous concept of empathy and failing to distinguish regular from aesthetic experiences of art, I advance an alternative, dynamic approach and claim that aesthetic experience is enacted and skillful, based in the recognition of others’ experiences as distinct from one’s own. In combining insights from mainly psychology, phenomenology, and cognitive science, the dynamic approach aims to explain the emergence of aesthetic experience in terms of the reciprocal interaction between viewer and artwork. I argue that aesthetic experience emerges by participatory sense-making and revolves around movement as a means for creating meaning. While entrainment merely plays a preparatory part in this, aesthetic engagement constitutes the phenomenological side of coupling to an artwork and provides the context for exploration, and eventually for moving, seeing, and feeling with art. I submit that aesthetic experience emerges from bodily and emotional engagement with works of art via the complementary processes of the perception–action and motion–emotion loops. The former involves the embodied
visual exploration of an artwork in physical space, and progressively structures and organizes visual experience by way of perceptual feedback from body movements made in response to the artwork. The latter concerns the movement qualities and shapes of implicit and explicit bodily responses to an artwork that cue emotion and thereby modulate over-all affect and attitude. The two processes cause the viewer to bodily and emotionally move with and be moved by individual works of art, and consequently to recognize another psychological orientation than her own, which explains how art can cause feelings of insight or awe and disclose aspects of life that are unfamiliar or novel to the viewer
Telling the market story through organic information interaction design and broadcast media : submitted to the College of Creative Arts as requirement for the degree of Master of Design, Massey University, Wellington, New Zealand, 2007
Interaction Design, which is essentially story-creating and telling, is at once both and ancient art and a new technology. Media have always effected the telling of stories and the creation of experiences. (Shedroff, N., 1994, p. 2)
Advances with visual representations within broadcast design have been applied to areas such as weather simulations, sporting events, and historical reconstruction's. However, financial market information presentation is fairly uniform in television news broadcasting, showing little progression in pace with other news information categories.
While stock market news segments make limited use of supporting graphics, addi
tional information that may assist the viewer is filtered out, effecting viewers interest, understanding and decision making process often associated with market related stories.
Research to date has been limited to single visualisations. There has been little research into the use of multiple information views that are composed to support news presentations.
People use many different information sources on a daily basis. News sources are used to stay informed about events, to some sources, viewer evaluation of information is a part of that process. News information and other data commodity sources are now more accessible, allowing designers to look at ways of transforming them into new or improved information services.
This research explores the display of stock market information by looking at appropriate media delivery methods combined with Organic Information Interaction Design to enhance information relationships. Organic Design and Information Interaction Design 1 principles are combined. This denotes a 'living' relationship between elements, incorporating hierarchy principles with enhanced information delivery and user experiences. Four themes are tied together through the use of a conceptual prototype. [FROM INTRO
A Notion of Dynamic Interface for Depth-Bounded Object-Oriented Packages
Programmers using software components have to follow protocols that specify
when it is legal to call particular methods with particular arguments. For
example, one cannot use an iterator over a set once the set has been changed
directly or through another iterator. We formalize the notion of dynamic
package interfaces (DPI), which generalize state-machine interfaces for single
objects, and give an algorithm to statically compute a sound abstraction of a
DPI. States of a DPI represent (unbounded) sets of heap configurations and
edges represent the effects of method calls on the heap. We introduce a novel
heap abstract domain based on depth-bounded systems to deal with potentially
unboundedly many objects and the references among them. We have implemented our
algorithm and show that it is effective in computing representations of common
patterns of package usage, such as relationships between viewer and label,
container and iterator, and JDBC statements and cursors
The city as a construction site — a visual record of a multisensory experience
In this article, I consider the reception of images that are present in a city space. I focus on the juxtaposition of computer‑generated images covering fences surrounding construction sites and the real spaces which they screen from view. I postulate that a visual experience is dependent on input from the other human senses. While looking at objects, we are not only standing in front of them but are being influenced by them. Seeing does not leave a physical trace on the object; instead the interference is more subtle — it influences the way in which we perceive space. Following in the footsteps of Sarah Pink, Michael Taussig and William J. T. Mitchell, I show that seeing (to paraphrase the title of an article by the last of the above mentioned scholars) is a cultural practice. The last part of the article presents a visual essay as a method that can contribute to cultural urban studies. I give as an example of such a method a photo‑essay about chosen construction sites in Poznań, which I photographed between December 2014 and June 2015
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