InDL: A New Datasets and Benchmark for In-Diagram Logic Interpreting based on Visual Illusion

This paper introduces a novel approach to evaluating deep learning models' capacity for in-diagram logic interpretation. Leveraging the intriguing realm of visual illusions, we establish a unique dataset, InDL, designed to rigorously test and benchmark these models. Deep learning has witnessed remarkable progress in domains such as computer vision and natural language processing. However, models often stumble in tasks requiring logical reasoning due to their inherent 'black box' characteristics, which obscure the decision-making process. Our work presents a new lens to understand these models better by focusing on their handling of visual illusions -- a complex interplay of perception and logic. We utilize six classic geometric optical illusions to create a comparative framework between human and machine visual perception. This methodology offers a quantifiable measure to rank models, elucidating potential weaknesses and providing actionable insights for model improvements. Our experimental results affirm the efficacy of our benchmarking strategy, demonstrating its ability to effectively rank models based on their logic interpretation ability. As part of our commitment to reproducible research, the source code and datasets will be made publicly available here: \href{https://github.com/rabbit-magic-wh/InDL}{https://github.com/rabbit-magic-wh/InDL}

Change blindness: eradication of gestalt strategies

Arrays of eight, texture-defined rectangles were used as stimuli in a one-shot change blindness (CB) task where there was a 50% chance that one rectangle would change orientation between two successive presentations separated by an interval. CB was eliminated by cueing the target rectangle in the first stimulus, reduced by cueing in the interval and unaffected by cueing in the second presentation. This supports the idea that a representation was formed that persisted through the interval before being 'overwritten' by the second presentation (Landman et al, 2003 Vision Research 43149–164]. Another possibility is that participants used some kind of grouping or Gestalt strategy. To test this we changed the spatial position of the rectangles in the second presentation by shifting them along imaginary spokes (by ±1 degree) emanating from the central fixation point. There was no significant difference seen in performance between this and the standard task [F(1,4)=2.565, p=0.185]. This may suggest two things: (i) Gestalt grouping is not used as a strategy in these tasks, and (ii) it gives further weight to the argument that objects may be stored and retrieved from a pre-attentional store during this task

Pseudo-haptics survey: Human-computer interaction in extended reality & teleoperation

Pseudo-haptic techniques are becoming increasingly popular in human-computer interaction. They replicate haptic sensations by leveraging primarily visual feedback rather than mechanical actuators. These techniques bridge the gap between the real and virtual worlds by exploring the brain’s ability to integrate visual and haptic information. One of the many advantages of pseudo-haptic techniques is that they are cost-effective, portable, and flexible. They eliminate the need for direct attachment of haptic devices to the body, which can be heavy and large and require a lot of power and maintenance. Recent research has focused on applying these techniques to extended reality and mid-air interactions. To better understand the potential of pseudo-haptic techniques, the authors developed a novel taxonomy encompassing tactile feedback, kinesthetic feedback, and combined categories in multimodal approaches, ground not covered by previous surveys. This survey highlights multimodal strategies and potential avenues for future studies, particularly regarding integrating these techniques into extended reality and collaborative virtual environments.info:eu-repo/semantics/publishedVersio

St. George and the Dragon: Design and production of a cultural heritage museum installation using media archaeology

Media archaeology is a field of media research investigating new media cultures through material manifestations. Although often recognized as an approach to art, its use as an approach to design has not been fully explored. Media archaeology can be valuable because it offers alternative qualities of mediation, as a design palette, to that of prescriptive common media devices. This thesis describes a media archaeological approach towards the design of a cultural heritage media installation, exhibited at Häme Castle between April–December 2017, and produced as a collaboration between the National Museum of Finland (Kansallismuseo) and the Systems of Representation research group in the Department of Media at Aalto University in Finland. The installation displayed a multi-view stereoscopic (3D) digital reconstruction of a medieval sculptural scene of St. George and the Dragon, based on preserved, fragmented medieval sculptures from the museum’s archives. Four stereoscopic video viewers were synchronized to a rotating central physical display, affording visitors an effect of augmented reality, without the need for a mainstream augmented reality implementation. Though the work was time-limited and project-driven, the design approach achieved a well-integrated installation that was sensitive to the aims of an exhibition of sculpture within a cultural heritage museum: artistry, materiality, interpretation. This thesis therefore seeks to argue that media archaeological approaches to design can identify historical ideas that can be remediated into relevancy for new contexts, and, in spite of their historical connotations, foster engaging technological experiences for the contemporary audience, that are sensitive to the aims of an exhibition of cultural heritage

Interfaces: between Drawing and Design

This article explores the role of drawing in relation to design, not so much as a specific creative act, capable of informing and repre- senting design ideas, or as a ‘manifestation of the idea’ per se, but rather as a dense and sedimented knowledge that is increasingly relevant for interaction design – and extensively in any design project. Looking at examples such as video game interfaces and other everyday use artifacts, as well as theoretical reference models for the interaction design community (from Donald Norman’s to Paul Dourish’s, from Anthony Dunne and Fiona Raby’s to Branden Hookway’s, etc.), it is possible to bring out and discuss the centrality of the role of drawing in rethinking strategies of the interaction project, while considering the interface as a specific ‘place’ where not only the mediation between user and designed content takes place, but also that between drawing and design is activated. If windows, mirrors, and lenses can be considered as mediation devices of the visible, interfaces of digital devices can synthesize, make coexist and multiply their functioning and consequences, for example when they are meant to relate collections of data with their possible representations. Furthermore, recent discoveries in other fields, such as chemistry and biology, lead us to rethink together both drawing and design, starting from new epistemological models which extensively rely on the notion of interface

Personal Equation

The body of this paper is a formatted version of text which exists natively on the web and is accessible at www.personalequation.art. Its non-linear narrative is meant to accompany and mirror, not describe, the artwork in the exhibition. The following two paragraphs are copied from the exhibition statement accompanying Personal Equation, which is on view in the Reading Room at the Fayetteville Public Library from April 3 to June 30, 2023: A personal equation is one that attempts to account for the inevitable role of subjectivity in scientific observations. The term was coined by astronomers in the 18th century who, upon noticing inexplicable differences between their measurements, realized that the accuracy of an observation is influenced as much by the observer as it is by the instrument being used. In 1877, for example, Giovanni Schiaparelli noticed dark lines on the surface of Mars that he believed to be channels of water criss-crossing its arid surface, causing a frenzy of speculation about the potential for life on the distant world. Only decades later, after many failed attempts to reproduce the finding, was it realized that Schiaparelli had probably seen the shadows of the blood vessels in his own eye. With these drawings I explore and embrace my own personal equation, grappling with the hyper-specificity of looking out into the cosmos as a human being trapped on the surface of the Earth. Through quiet scale-shifts and implied comparisons, drawings of widely disparate subjects are interwoven in an alchemic dance of familiarity and ambiguity. References for these drawings are pulled thoughtfully from thoughtless drifts through astronomical archives, photographs of my everyday life, and the depths of the internet where, just as in science, many contradicting realities are forced to co-exist. Like Schiaparelli, I’m trying desperately to find meaning in the noise with imperfect instruments and narrowly limited senses