Getting the message across : ten principles for web animation

The growing use of animation in Web pages testifies to the increasing ease with which such multimedia components can be created. This trend indicates a commitment to animation that is often unmatched by the skill of the implementers. The present paper details a set of ten commandments for web animation, intending to sensitise budding animators to key aspects that may impair the communicational effectiveness of their animation. These guidelines are drawn from an extensive literature survey coloured by personal experience of using Web animation packages. Our ten principles are further elucidated by a Web-based on-line tutorial

Blended learning for project management

Students studying at postgraduate level should engage in learning on higher cognitive levels such as evaluation and creation. The notion of effective learning at this level is characterised by the student’s ability to use acquired knowledge and principles to solve complex problems. Learning theories advocate maximising student engagement with the learning resources in order to facilitate such effective learning. This can be achieved by addressing the following factors in curriculum design: accessibility, variety, formative assessment and the development of learning communities. This paper presents work done on a postgraduate level Project Management course to maximise the factors mentioned above, for example, with the introduction of automatically marked quizzes and the re-structuring of the course content. The content and delivery of the course was changed from weekly lectures and tutorial sessions (old system) to a web-based blended learning system (new system). Evaluation of the old and new systems was undertaken using questionnaires. The student evaluation suggests that the new system led to more effective learning. It is suggested that effective learning can be facilitated by a blended learning system

Microgenesis, immediate experience and visual processes in reading

The concept of microgenesis refers to the development on a brief present-time scale of a percept, a thought, an object of imagination, or an expression. It defines the occurrence of immediate experience as dynamic unfolding and differentiation in which the ‘germ’ of the final experience is already embodied in the early stages of its development. Immediate experience typically concerns the focal experience of an object that is thematized as a ‘figure’ in the global field of consciousness; this can involve a percept, thought, object of imagination, or expression (verbal and/or gestural). Yet, whatever its modality or content, focal experience is postulated to develop and stabilize through dynamic differentiation and unfolding. Such a microgenetic description of immediate experience substantiates a phenomenological and genetic theory of cognition where any process of perception, thought, expression or imagination is primarily a process of genetic differentiation and development, rather than one of detection (of a stimulus array or information), transformation, and integration (of multiple primitive components) as theories of cognitivist kind have contended. My purpose in this essay is to provide an overview of the main constructs of microgenetic theory, to outline its potential avenues of future development in the field of cognitive science, and to illustrate an application of the theory to research, using visual processes in reading as an example

Do we see apples as edible?

Do we (sometimes) perceive apples as edible? One could argue that it is just a manner of speaking to say so: we do not really see an object as edible, we see it as having certain shape, size and color and we only infer on the basis of these properties that it is. I argue that we do indeed see objects as edible, and do not just believe that they are. My argument proceeds in two steps. First, I point out that Susanna Siegel's influential argument in favor of the claim that we represent sortal properties perceptually does not work. Second, I argue that we can fix this argument if we replace the sortal property in question with the property of being edible, climbable or Q-able in genera

Traditional and new principles of perceptual grouping

Perceptual grouping refers to the process of determining which regions and parts of the visual scene belong together as parts of higher order perceptual units such as objects or patterns. In the early 20th century, Gestalt psychologists identified a set of classic grouping principles which specified how some image features lead to grouping between elements given that all other factors were held constant. Modern vision scientists have expanded this list to cover a wide range of image features but have also expanded the importance of learning and other non-image factors. Unlike early Gestalt accounts which were based largely on visual demonstrations, modern theories are often explicitly quantitative and involve detailed models of how various image features modulate grouping. Work has also been done to understand the rules by which different grouping principles integrate to form a final percept. This chapter gives an overview of the classic principles, modern developments in understanding them, and new principles and the evidence for them. There is also discussion of some of the larger theoretical issues about grouping such as at what stage of visual processing it occurs and what types of neural mechanisms may implement grouping principles

Understanding requirements engineering process: a challenge for practice and education

Reviews of the state of the professional practice in Requirements Engineering (RE) stress that the RE process is both complex and hard to describe, and suggest there is a significant difference between competent and "approved" practice. "Approved" practice is reflected by (in all likelihood, in fact, has its genesis in) RE education, so that the knowledge and skills taught to students do not match the knowledge and skills required and applied by competent practitioners. A new understanding of the RE process has emerged from our recent study. RE is revealed as inherently creative, involving cycles of building and major reconstruction of the models developed, significantly different from the systematic and smoothly incremental process generally described in the literature. The process is better characterised as highly creative, opportunistic and insight driven. This mismatch between approved and actual practice provides a challenge to RE education - RE requires insight and creativity as well as technical knowledge. Traditional learning models applied to RE focus, however, on notation and prescribed processes acquired through repetition. We argue that traditional learning models fail to support the learning required for RE and propose both a new model based on cognitive flexibility and a framework for RE education to support this model

Review: Object vision in a structured world

In natural vision, objects appear at typical locations, both with respect to visual space (e.g., an airplane in the upper part of a scene) and other objects (e.g., a lamp above a table). Recent studies have shown that object vision is strongly adapted to such positional regularities. In this review we synthesize these developments, highlighting that adaptations to positional regularities facilitate object detection and recognition, and sharpen the representations of objects in visual cortex. These effects are pervasive across various types of high-level content. We posit that adaptations to real-world structure collectively support optimal usage of limited cortical processing resources. Taking positional regularities into account will thus be essential for understanding efficient object vision in the real world

Bletchley Park text: using mobile and semantic web technologies to support the post-visit use of online museum resources

A number of technologies have been developed to support the museum visitor, with the aim of making their visit more educationally rewarding and/or entertaining. Examples include PDA-based personalized tour guides and virtual reality representations of cultural objects or scenes. Rather than supporting the actual visit, we decided to employ technology to support the post-visitor, that is, encourage follow-up activities among recent visitors to a museum. This allowed us to use the technology in a way that would not detract from the existing curated experience and allow the museum to provide access to additional heritage resources that cannot be presented during the physical visit. Within our application, called Bletchley Park Text, visitors express their interests by sending text (SMS) messages containing suggested keywords using their own mobile phone. The semantic description of the archive of resources is then used to retrieve and organize a collection of content into a personalized web site for use when they get home. Organization of the collection occurs both bottom-up from the semantic description of each item in the collection, and also top-down according to a formal representation of the overall museum story. In designing the interface we aimed to support exploration across the content archive rather than just the search and retrieval of specific resources. The service was developed for the Bletchley Park museum and has since been launched for use by all visitors

EMPATH: A Neural Network that Categorizes Facial Expressions

There are two competing theories of facial expression recognition. Some researchers have suggested that it is an example of "categorical perception." In this view, expression categories are considered to be discrete entities with sharp boundaries, and discrimination of nearby pairs of expressive faces is enhanced near those boundaries. Other researchers, however, suggest that facial expression perception is more graded and that facial expressions are best thought of as points in a continuous, low-dimensional space, where, for instance, "surprise" expressions lie between "happiness" and "fear" expressions due to their perceptual similarity. In this article, we show that a simple yet biologically plausible neural network model, trained to classify facial expressions into six basic emotions, predicts data used to support both of these theories. Without any parameter tuning, the model matches a variety of psychological data on categorization, similarity, reaction times, discrimination, and recognition difficulty, both qualitatively and quantitatively. We thus explain many of the seemingly complex psychological phenomena related to facial expression perception as natural consequences of the tasks' implementations in the brain

Encapsulated social perception of emotional expressions

In this paper I argue that the detection of emotional expressions is, in its early stages, informationally encapsulated. I clarify and defend such a view via the appeal to data from social perception on the visual processing of faces, bodies, facial and bodily expressions. Encapsulated social perception might exist alongside processes that are cognitively penetrated, and that have to do with recognition and categorization, and play a central evolutionary function in preparing early and rapid responses to the emotional stimuli