Semi-Automated SVG Programming via Direct Manipulation

Direct manipulation interfaces provide intuitive and interactive features to a broad range of users, but they often exhibit two limitations: the built-in features cannot possibly cover all use cases, and the internal representation of the content is not readily exposed. We believe that if direct manipulation interfaces were to (a) use general-purpose programs as the representation format, and (b) expose those programs to the user, then experts could customize these systems in powerful new ways and non-experts could enjoy some of the benefits of programmable systems. In recent work, we presented a prototype SVG editor called Sketch-n-Sketch that offered a step towards this vision. In that system, the user wrote a program in a general-purpose lambda-calculus to generate a graphic design and could then directly manipulate the output to indirectly change design parameters (i.e. constant literals) in the program in real-time during the manipulation. Unfortunately, the burden of programming the desired relationships rested entirely on the user. In this paper, we design and implement new features for Sketch-n-Sketch that assist in the programming process itself. Like typical direct manipulation systems, our extended Sketch-n-Sketch now provides GUI-based tools for drawing shapes, relating shapes to each other, and grouping shapes together. Unlike typical systems, however, each tool carries out the user's intention by transforming their general-purpose program. This novel, semi-automated programming workflow allows the user to rapidly create high-level, reusable abstractions in the program while at the same time retaining direct manipulation capabilities. In future work, our approach may be extended with more graphic design features or realized for other application domains.Comment: In 29th ACM User Interface Software and Technology Symposium (UIST 2016

Modeling Biological Pathway Dynamics With Timed Automata

Living cells are constantly subjected to a plethora of environmental stimuli that require integration into an appropriate cellular response. This integration takes place through signal transduction events that form tightly interconnected networks. The understanding of these networks requires to capture their dynamics through computational support and models. ANIMO (Analysis of Networks with Interactive MOdelling) is a tool that enables construction and exploration of executable models of biological networks, helping to derive hypotheses and to plan wet-lab experiments. The tool is based on the formalism of Timed Automata, which can be analysed via the UPPAAL model checker. Thanks to Timed Automata, we can provide a formal semantics for the domain-specific language used to represent signalling networks. This enforces precision and uniformity in the definition of signalling pathways, contributing to the integration of isolated signalling events into complex network models. We propose an approach to discretization of reaction kinetics that allows us to efficiently use UPPAAL as the computational engine to explore the dynamic behaviour of the network of interest. A user-friendly interface hides the use of Timed Automata from the user, while keeping the expressive power intact. Abstraction to single-parameter kinetics speeds up construction of models that remain faithful enough to provide meaningful insight. The resulting dynamic behaviour of the network components is displayed graphically, allowing for an intuitive and interactive modelling experience

Intuition in Design: Reflections on the Iterative Aesthetics of Form

Curious to reflect on the factors contributing to the internal decision-making processes of intuitive design, a reflective study was established to systematically examine and document the practice of intuition while performing an iterative aesthetic task. Autoethnographic techniques were used to document the reflective practices that occurred over numerous iterations spanning several weeks of activity. Our analysis concludes with a summary of reflections on how intuition informs judgment in design cognition. We examine four dimensions of intuition in design—efficiency, inspiration, curiosity, and insight—and the reflective and sensory inputs that drive intuitive speculation and impulse

The information design of ecological cycle network diagrams in science textbooks

Network diagrams of ecological cycles, eg, carbon and nitrogen cycles, are a common feature in science textbooks for 14-18 years age groups. From an information design perspective these diagrams raise a particularly interesting challenge; that of categorising up to six types of biological information using two graphic syntactic roles – nodes and connecting arrows – whilst ensuring an efective and unambiguous message. This practice-led thesis reviews the precision of information categorisation in 209 network diagrams collected from UK and Danish science textbooks (1935-2009). Visual content analysis and graphic syntax theory (Engelhardt, 2002) is applied to review the existing information categorisation in relation to four types of graphic inefectiveness: 1) implicit nodes, 2) imprecise relative spatial positioning of graphic objects, 3) polysemy, and 4) inconsistent visual attributes or verbal syntax. This review finds 29 types of ineffective graphic tactics, which may result in ambiguous messages due to illogical linking sequences, implicit circulating elements, and confusion about chemical transfer and transformations. Based on these analysis indings, the design process in educational publishing is investigated. This identifies the rationale informing the transformation of information into network diagrams, based on semi- structured interviews with 19 editors, authors, designers, and illustrators in six publishing houses (3 in UK , 3 in Denmark). The rationale is mapped using phenomenographic analysis method and existing theories on the design process, namely brief development and translation stages (Crilly, 2005), choice points and the problem setting process (Schön, 2006), problem- solution co-evolution (Dorst and Cross, 2001), and design constraints (Lawson, 2006). The curriculum purpose of the ecological cycle network diagram is found to tightly constrain the identiied rationale and the graphic decision-making based mainly on tacit knowledge. In a final discussion the research indings are integrated by identifying models of design activities (Dumas and Mintzberg, 1993) present in investigated professional practice. This reveals how design decisions may inluence the occurrence of inefective graphic tactics. Recommendations for alternative information transformation strategies are then presented, centred on integrating graphic syntax knowledge into the current processes. These recommendations are anchored in suggestions by the interviewed participants

Alberto Breccia’s Parody of Futurist Paintings in Modern Bande Dessinée: Resisting Transatlantic Fascism

During wars, art and culture often develop a “culture of camouflage” (Ojeda 68) to invite the reader to decipher hidden meanings as a form of political subversion. In Argentina, the ‘Golden Age’ of comics emerged in the 1940s in response to the rise of Fascist sentiments originating from the Futurist leader Filippo Tommaso Marinetti’s transatlantic propaganda and flourished in the following decades. During and following the ‘Process of National Reorganisation’ from 1976 onwards, illustrator Alberto Breccia used graphic narratives as a form of counter-censorship as he appropriated Futurist aesthetics and the conventions of the modern bande dessinée. He considered this method as being able to allow “artistry and imagination [take] over from logical progressions” (Grove 25). Using this form, he encouraged the public to reflect on Argentina’s changing transatlantic landscape. This paper examines to what extent Breccia’s Le Coeur Révélateur: Et Autres Histoires Extraodinaires d’ Edgar Poe (1995) borrows Futurist visuality and makes use of the flexibility of the settings in Poe’s stories. This is done to recreate the haunting figures of history as they “turn away from the original work” to “conceive new forms of storytelling that explore the medium-specific properties of the host medium” (Baetens 7). This paper employs an interdisciplinary approach as, in addition to reading Poe’s original texts, this article also discusses Breccia’s appropriation of Futurist techniques, including “Divisionism, the use of threadlike brush strokes,” uniform application of colours according to their “precise tone and luminosity” (Rainey 9), and the dynamic sensation (Boccioni 46)

Using ict´s resources to improve oral skills: interative whiteboard

Este proyecto se centra en cómo los profesores pueden incrementar las competencias orales a través de los recursos de las tecnologías de las información y la comunicación en la asignatura de Inglés como segunda lengua en la etapa de Educación Infantil. Para ello he trabajado con el último curso de esta etapa (con niño/as de 5 y 6 años) usando la pizarra digital interactiva como una herramienta importante en las clases de Inglés. Me he apoyado en diferentes teorías que afectan al desarrollo de las competencias orales, en esta primera etapa, para crear tres unidades didácticas en la asignatura de Inglés. He desarrollado estas unidades en un entorno seguro, durante el período de mis prácticas, usando siempre el refuerzo positivo.Grado en Educación Infanti