Biometric Data Art: Personalized Narratives and Multimodal Interaction

Biometric technology has brought enhancements to identification and access control. As more digital applications request people to input their biometric data as a more convenient and secure method of identification, the possibility of losing their personal data and identities may increase. The phenomenon of biometric data abuse causes one to question what their true identity may be and what methods can be used to define identity and hidden narratives. The questions of identification and the insecurity of biometric data have become my inspiration, providing artistic approaches to the manipulation of biometric data and having the potential to suggest new directions for solving the problems. To do so, in-depth investigation of the narratives beyond the visual features of the biometric data is necessary. This content can create a close link between an artwork and its audience by causing the latter to become deeply engaged with the artwork through their own stories.This dissertation examines narratives and artistic explorations discovered from one form of biometric data, fingerprints, drawing on insights from various fields such as genetics, hand analysis, and biology. It also presents contributions on new ways of creating interactive media artworks using fingerprint data based on visual feature analysis of the data and multimodal interaction to explore their sonic signatures. Therefore, the artwork enriches interactive media art by incorporating personalization into the artistic experience, and creates unique personalized experience for each audience member. This thesis documents developments and productions of a series of artworks, Digiti Sonus, by focusing on its conceptual approaches, design, techniques, challenges and future directions

Dataremix: Aesthetic Experiences of Big Data and Data Abstraction

This PhD by published work expands on the contribution to knowledge in two recent large-scale transdisciplinary artistic research projects: ATLAS in silico and INSTRUMENT | One Antarctic Night and their exhibited and published outputs. The thesis reflects upon this practice-based artistic research that interrogates data abstraction: the digitization, datafication and abstraction of culture and nature, as vast and abstract digital data. The research is situated in digital arts practices that engage a combination of big (scientific) data as artistic material, embodied interaction in virtual environments, and poetic recombination. A transdisciplinary and collaborative artistic practice, x-resonance, provides a framework for the hybrid processes, outcomes, and contributions to knowledge from the research. These are purposefully and productively situated at the objective | subjective interface, have potential to convey multiple meanings simultaneously to a variety of audiences and resist disciplinary definition. In the course of the research, a novel methodology emerges, dataremix, which is employed and iteratively evolved through artistic practice to address the research questions: 1) How can a visceral and poetic experience of data abstraction be created? and 2) How would one go about generating an artistically-informed (scientific) discovery? Several interconnected contributions to knowledge arise through the first research question: creation of representational elements for artistic visualization of big (scientific) data that includes four new forms (genomic calligraphy, algorithmic objects as natural specimens, scalable auditory data signatures, and signal objects); an aesthetic of slowness that contributes an extension to the operative forces in Jevbratt’s inverted sublime of looking down and in to also include looking fast and slow; an extension of Corby’s objective and subjective image consisting of “informational and aesthetic components” to novel virtual environments created from big 3 (scientific) data that extend Davies’ poetic virtual spatiality to poetic objective | subjective generative virtual spaces; and an extension of Seaman’s embodied interactive recombinant poetics through embodied interaction in virtual environments as a recapitulation of scientific (objective) and algorithmic processes through aesthetic (subjective) physical gestures. These contributions holistically combine in the artworks ATLAS in silico and INSTRUMENT | One Antarctic Night to create visceral poetic experiences of big data abstraction. Contributions to knowledge from the first research question develop artworks that are visceral and poetic experiences of data abstraction, and which manifest the objective | subjective through art. Contributions to knowledge from the second research question occur through the process of the artworks functioning as experimental systems in which experiments using analytical tools from the scientific domain are enacted within the process of creation of the artwork. The results are “returned” into the artwork. These contributions are: elucidating differences in DNA helix bending and curvature along regions of gene sequences specified as either introns or exons, revealing nuanced differences in BLAST results in relation to genomics sequence metadata, and cross-correlation of astronomical data to identify putative variable signals from astronomical objects for further scientific evaluation

All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam

[ES] La presente tesis doctoral es una exploración sobre las iniciativas auto-organizadas de mujeres que han surgido en la intersección del arte y la tecnología a nivel internacional. Estas iniciativas comunitarias han ido apareciendo en lugares donde existe una escena de arte y nuevos medios, la cual es generalmente de dominación masculina y baja en diversidad. Este trabajo de investigación es un mapeo de este fenómeno tecno-social y artístico, tratando de identificar las primeras prácticas. A través de entrevistas, encuestas y métodos de investigación etnográfica, esta tesis aspira a comprender el contexto que ha dado lugar a semejantes iniciativas a lo largo de tres décadas y media, examinando las diferentes tipologías por los formatos, extensión, espacio y estructura que éstas han adoptado para afrontar la situación de las mujeres en estas áreas. Existe un vació de referencias sobre formas organizativas y de comisariado en las áreas de arte y tecnología. Además, la literatura general señala las subculturas digitales de los noventa, tales como el ciberfeminismo y el movimiento DIY, como los primeros y principales referentes para las alianzas de mujeres y el activismo translocal en la era digital. Sin embargo, las estrategias de colaboración y segregación en áreas de arte y tecnología no han sido analizadas desde los estudios feministas desde una perspectiva histórica en profundidad. Por lo tanto, esta tesis establece la relación entre dichas iniciativas con la historia de los grupos de mujeres artistas y espacios de arte alternativos, la historia de las mujeres en el arte de nuevos medios y la cultura de redes. Las nuevas tecnologías de la información y comunicación han permitido nuevas formas de comunicación y conectividad transfronterizas; sin embargo, este trabajo investiga en qué medida estas iniciativas dependen de las TIC para el establecimiento de su comunidad, comparado con los formatos analógicos. Con los resultados, esta tesis aspira a convertirse en una fuente de referencias que enriquezca la escasa bibliografía de la temática, proporcionando una lista de formas organizativas y de comisariado, así como las practicas más tempranas nunca publicadas, y en conjunto contribuir a la historiografía actual sobre mujeres. Por último, a la vez que se comenta la situación actual de las mujeres en las áreas de arte y tecnología, este trabajo presenta Atenea, un proyecto de mentorización y networking para mujeres en las artes y carreras STEM. Atenea está compuesto de un programa de actividades con diferentes actividades organizativas y de comisariado, así como una plataforma de networking. Adicionalmente, el proyecto tiene un programa enfocado en transmitir conocimientos STEM a niñas a través de prácticas artísticas con tecnología de la mano de mujeres artistas nacionales como mentoras.[CAT] La present tesi doctoral és una exploració sobre les iniciatives autoorganitzades de dones que han sorgit en la intersecció de l'art i la tecnologia a nivell internacional. Aquestes iniciatives comunitàries han anat apareixent en llocs on hi ha una escena d'art i nous mitjans, la qual és generalment de dominació masculina i baixa en diversitat. Aquest treball de recerca és un mapeig d'aquest fenomen tecno-social i artístic, tractant d'identificar les primeres pràctiques. A través d'entrevistes, enquestes i mètodes d'investigació etnogràfica, aquesta tesi aspira a comprendre el context que ha donat lloc a semblants iniciatives al llarg de tres dècades i mig, examinant les diferents tipologies pels formats, extensió, espai i estructura que aquestes han adoptat per afrontar la situació de les dones en aquestes àrees. Hi ha un buit de referències sobre formes organitzatives i de comissariat en les àrees d'art i tecnologia. A més, la literatura general assenyala les subcultures digitals dels noranta, com ara el ciberfeminisme i el moviment DIY, com els primers i principals referents per a les aliances de dones i l'activisme translocal en l'era digital. No obstant això, les estratègies de col·laboració i segregació en àrees d'art i tecnologia no han estat analitzades des dels estudis feministes des d'una perspectiva històrica en profunditat. Per tant, aquesta tesi estableix la relació entre aquestes iniciatives amb la història dels grups de dones artistes i espais d'art alternatius, la història de les dones en l'art de nous mitjans i la cultura de xarxes. Les noves tecnologies de la informació i comunicació han permès noves formes de comunicació i connectivitat transfrontereres; però, aquest treball investiga en quina mesura aquestes iniciatives depenen de les TIC per a l'establiment de la seva comunitat, comparat amb els formats analògics. Amb els resultats, aquesta tesi aspira a convertir-se en una font de referències que enriqueixi l'escassa bibliografia de la temàtica, proporcionant una llista de formes organitzatives i de comissariat, així com les pràctiques més primerenques mai publicades, i en conjunt contribuir a la historiografia actual sobre dones. Finalment, alhora que es comenta la situació actual de les dones en les àrees d'art i tecnologia, aquest treball presenta Atenea, un projecte de mentorització i networking per a dones en les arts i carreres STEM. Atenea està compost d'un programmea d'activitats amb diferents activitats organitzatives i de comissariat, així com una plataforma de networking. Addicionalment, el projecte té un programmea enfocat a transmetre coneixements STEM a nenes a través de pràctiques artístiques amb tecnologia de la mà de dones artistes nacionals com mentores.[EN] This dissertation explores a series of all-women self-organised initiatives that have emerged at the intersection of art and technology internationally. These grassroot initiatives have continued to appear in places where there is a new media arts scene, generally male-dominated and low in diversity. This research work is a mapping of this techno-social and artistic phenomenon, attempting to identify its earliest practices. Through interviews, surveys and ethnographic research, this thesis seeks to comprehend the context that has given rise to such initiatives over three decades and half, examining the different typologies by formats, extension, space and structure that they have adopted to address the situation of women in these fields. There is a void of references on all-women curatorial and organisational forms in art and technology. Moreover, general literature points at digital subcultures of the 1990s such as cyberfeminism and DIY movement as first referents for women's alliance and translocal activism in the digital age. However, collaboration and segregation strategies in new media arts have not been discussed in feminist scholarship from a deeper historical perspective. Therefore, this dissertation elaborates the linkage of such initiatives to early history of all-women art groups and alternative art spaces, history of women in new media arts and to network cultures. New information and communication technologies have enabled new forms of communication and connectivity cross-borders; however, this work investigates in which measure these initiatives are dependent upon ICT for the establishment of a community, compared to analog formats. With the results, this dissertation aims to become a source of references that enriches the scarce bibliography on the topic, providing a list of curatorial and organisational forms with the earliest and unpublished practices that altogether contribute to current women's historiography. Lastly, while discussing the current situation of women in art and technology fields, this works presents Atenea, a mentoring and networking platform for women in Arts and STEM careers. Atenea is comprised of a programme having different organizational, curatorial and networking activities. Additionally, the platform has a project focused on teaching STEM skills to girls through new media arts with female artists as mentors. Keywords: All-women, self-organised, initiatives, new media arts, digital arts, electronic arts, art, technology, activism, mapping, alternative art spaces, collaboration, segregation, ICT, digital age, virtual, community, network cultures, feminism, cyberfeminism, Atenea, STEM, STEAM, girls, organisational, curatorial, networking platform, mentoring,Robles Mateo, E. (2020). All-Women Initiatives in Art and Technology 1986-2020. Atenea: Mentoring and Networking Project in Steam [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159248TESI

Augmented Reality Markerless Multi-Image Outdoor Tracking System for the Historical Buildings on Parliament Hill

[EN] Augmented Reality (AR) applications have experienced extraordinary growth recently, evolving into a well-established method for the dissemination and communication of content related to cultural heritage¿including education. AR applications have been used in museums and gallery exhibitions and virtual reconstructions of historic interiors. However, the circumstances of an outdoor environment can be problematic. This paper presents a methodology to develop immersive AR applications based on the recognition of outdoor buildings. To demonstrate this methodology, a case study focused on the Parliament Buildings National Historic Site in Ottawa, Canada has been conducted. The site is currently undergoing a multiyear rehabilitation program that will make access to parts of this national monument inaccessible to the public. AR experiences, including simulated photo merging of historic and present content, are proposed as one tool that can enrich the Parliament Hill visit during the rehabilitation. Outdoor AR experiences are limited by factors, such as variable lighting (and shadows) conditions, caused by changes in the environment (objects height and orientation, obstructions, occlusions), the weather, and the time of day. This paper proposes a workflow to solve some of these issues from a multi-image tracking approach.This work has been developed under the framework of the New Paradigms/New Tools for Heritage Conservation in Canada, a project funded through the Social Sciences and Humanities Research Council of Canada (SSHRC).Blanco-Pons, S.; Carrión-Ruiz, B.; Duong, M.; Chartrand, J.; Fai, S.; Lerma, JL. (2019). Augmented Reality Markerless Multi-Image Outdoor Tracking System for the Historical Buildings on Parliament Hill. Sustainability. 11(16):1-15. https://doi.org/10.3390/su11164268S1151116Bekele, M. K., Pierdicca, R., Frontoni, E., Malinverni, E. S., & Gain, J. (2018). A Survey of Augmented, Virtual, and Mixed Reality for Cultural Heritage. Journal on Computing and Cultural Heritage, 11(2), 1-36. doi:10.1145/3145534Gimeno, J., Portalés, C., Coma, I., Fernández, M., & Martínez, B. (2017). Combining traditional and indirect augmented reality for indoor crowded environments. A case study on the Casa Batlló museum. Computers & Graphics, 69, 92-103. doi:10.1016/j.cag.2017.09.001Kolivand, H., El Rhalibi, A., Shahrizal Sunar, M., & Saba, T. (2018). ReVitAge: Realistic virtual heritage taking shadows and sky illumination into account. Journal of Cultural Heritage, 32, 166-175. doi:10.1016/j.culher.2018.01.020Amakawa, J., & Westin, J. (2017). New Philadelphia: using augmented reality to interpret slavery and reconstruction era historical sites. International Journal of Heritage Studies, 24(3), 315-331. doi:10.1080/13527258.2017.1378909Kim, J.-B., & Park, C. (2011). Development of Mobile AR Tour Application for the National Palace Museum of Korea. Lecture Notes in Computer Science, 55-60. doi:10.1007/978-3-642-22021-0_7Barrile, V., Fotia, A., Bilotta, G., & De Carlo, D. (2019). Integration of geomatics methodologies and creation of a cultural heritage app using augmented reality. Virtual Archaeology Review, 10(20), 40. doi:10.4995/var.2019.10361Analysis of Tracking Accuracy for Single-Camera Square-Marker-Based Tracking. In Third Workshop on Virtual and Augmented Reality of the GI-Fachgruppe VR/AR, Koblenz, Germany, 2006http://campar.in.tum.de/Chair/PublicationDetail?pub=pentenrieder2006giCirulis, A., & Brigmanis, K. B. (2013). 3D Outdoor Augmented Reality for Architecture and Urban Planning. Procedia Computer Science, 25, 71-79. doi:10.1016/j.procs.2013.11.009You, S., Neumann, U., & Azuma, R. (1999). Orientation tracking for outdoor augmented reality registration. IEEE Computer Graphics and Applications, 19(6), 36-42. doi:10.1109/38.799738Wither, J., Tsai, Y.-T., & Azuma, R. (2011). Indirect augmented reality. Computers & Graphics, 35(4), 810-822. doi:10.1016/j.cag.2011.04.010Radkowski, R., & Oliver, J. (2013). Natural Feature Tracking Augmented Reality for On-Site Assembly Assistance Systems. Lecture Notes in Computer Science, 281-290. doi:10.1007/978-3-642-39420-1_30Rao, J., Qiao, Y., Ren, F., Wang, J., & Du, Q. (2017). A Mobile Outdoor Augmented Reality Method Combining Deep Learning Object Detection and Spatial Relationships for Geovisualization. Sensors, 17(9), 1951. doi:10.3390/s17091951Hoppe, H., DeRose, T., Duchamp, T., McDonald, J., & Stuetzle, W. (1993). Mesh optimization. Proceedings of the 20th annual conference on Computer graphics and interactive techniques - SIGGRAPH ’93. doi:10.1145/166117.166119Rossignac, J., & Borrel, P. (1993). Multi-resolution 3D approximations for rendering complex scenes. Modeling in Computer Graphics, 455-465. doi:10.1007/978-3-642-78114-8_29Gross, M. H., Staadt, O. G., & Gatti, R. (1996). Efficient triangular surface approximations using wavelets and quadtree data structures. IEEE Transactions on Visualization and Computer Graphics, 2(2), 130-143. doi:10.1109/2945.506225Botsch, M., Pauly, M., Rossl, C., Bischoff, S., & Kobbelt, L. (2006). Geometric modeling based on triangle meshes. ACM SIGGRAPH 2006 Courses on - SIGGRAPH ’06. doi:10.1145/1185657.1185839Pietroni, N., Tarini, M., & Cignoni, P. (2010). Almost Isometric Mesh Parameterization through Abstract Domains. IEEE Transactions on Visualization and Computer Graphics, 16(4), 621-635. doi:10.1109/tvcg.2009.96Khan, D., Yan, D.-M., Ding, F., Zhuang, Y., & Zhang, X. (2018). Surface remeshing with robust user-guided segmentation. Computational Visual Media, 4(2), 113-122. doi:10.1007/s41095-018-0107-yGuidi, G., Russo, M., Ercoli, S., Remondino, F., Rizzi, A., & Menna, F. (2009). A Multi-Resolution Methodology for the 3D Modeling of Large and Complex Archeological Areas. International Journal of Architectural Computing, 7(1), 39-55. doi:10.1260/147807709788549439Remondino, F., & El-Hakim, S. (2006). Image-based 3D Modelling: A Review. The Photogrammetric Record, 21(115), 269-291. doi:10.1111/j.1477-9730.2006.00383.xBruno, F., Bruno, S., De Sensi, G., Luchi, M.-L., Mancuso, S., & Muzzupappa, M. (2010). From 3D reconstruction to virtual reality: A complete methodology for digital archaeological exhibition. Journal of Cultural Heritage, 11(1), 42-49. doi:10.1016/j.culher.2009.02.006Unity, The Photogrammetry Workflowhttps://unity.com/solutions/photogrammetry.Blanco, S., Carrión, B., & Lerma, J. L. (2016). REVIEW OF AUGMENTED REALITY AND VIRTUAL REALITY TECHNIQUES IN ROCK ART. Proceedings of the ARQUEOLÓGICA 2.0 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. doi:10.4995/arqueologica8.2016.3561Behzadan, A. H., & Kamat, V. R. (2010). Scalable Algorithm for Resolving Incorrect Occlusion in Dynamic Augmented Reality Engineering Environments. Computer-Aided Civil and Infrastructure Engineering, 25(1), 3-19. doi:10.1111/j.1467-8667.2009.00601.xTian, Y., Long, Y., Xia, D., Yao, H., & Zhang, J. (2015). Handling occlusions in augmented reality based on 3D reconstruction method. Neurocomputing, 156, 96-104. doi:10.1016/j.neucom.2014.12.081Tian, Y., Guan, T., & Wang, C. (2010). Real-Time Occlusion Handling in Augmented Reality Based on an Object Tracking Approach. Sensors, 10(4), 2885-2900. doi:10.3390/s10040288

Applied Visualization in the Neurosciences and the Enhancement of Visualization through Computer Graphics

The complexity and size of measured and simulated data in many fields of science is increasing constantly. The technical evolution allows for capturing smaller features and more complex structures in the data. To make this data accessible by the scientists, efficient and specialized visualization techniques are required. Maximum efficiency and value for the user can only be achieved by adapting visualization to the specific application area and the specific requirements of the scientific field. Part I: In the first part of my work, I address the visualization in the neurosciences. The neuroscience tries to understand the human brain; beginning at its smallest parts, up to its global infrastructure. To achieve this ambitious goal, the neuroscience uses a combination of three-dimensional data from a myriad of sources, like MRI, CT, or functional MRI. To handle this diversity of different data types and sources, the neuroscience need specialized and well evaluated visualization techniques. As a start, I will introduce an extensive software called \"OpenWalnut\". It forms the common base for developing and using visualization techniques with our neuroscientific collaborators. Using OpenWalnut, standard and novel visualization approaches are available to the neuroscientific researchers too. Afterwards, I am introducing a very specialized method to illustrate the causal relation of brain areas, which was, prior to that, only representable via abstract graph models. I will finalize the first part of my work with an evaluation of several standard visualization techniques in the context of simulated electrical fields in the brain. The goal of this evaluation was clarify the advantages and disadvantages of the used visualization techniques to the neuroscientific community. We exemplified these, using clinically relevant scenarios. Part II: Besides the data preprocessing, which plays a tremendous role in visualization, the final graphical representation of the data is essential to understand structure and features in the data. The graphical representation of data can be seen as the interface between the data and the human mind. The second part of my work is focused on the improvement of structural and spatial perception of visualization -- the improvement of the interface. Unfortunately, visual improvements using computer graphics methods of the computer game industry is often seen sceptically. In the second part, I will show that such methods can be applied to existing visualization techniques to improve spatiality and to emphasize structural details in the data. I will use a computer graphics paradigm called \"screen space rendering\". Its advantage, amongst others, is its seamless applicability to nearly every visualization technique. I will start with two methods that improve the perception of mesh-like structures on arbitrary surfaces. Those mesh structures represent second-order tensors and are generated by a method named \"TensorMesh\". Afterwards I show a novel approach to optimally shade line and point data renderings. With this technique it is possible for the first time to emphasize local details and global, spatial relations in dense line and point data.In vielen Bereichen der Wissenschaft nimmt die Größe und Komplexität von gemessenen und simulierten Daten zu. Die technische Entwicklung erlaubt das Erfassen immer kleinerer Strukturen und komplexerer Sachverhalte. Um solche Daten dem Menschen zugänglich zu machen, benötigt man effiziente und spezialisierte Visualisierungswerkzeuge. Nur die Anpassung der Visualisierung auf ein Anwendungsgebiet und dessen Anforderungen erlaubt maximale Effizienz und Nutzen für den Anwender. Teil I: Im ersten Teil meiner Arbeit befasse ich mich mit der Visualisierung im Bereich der Neurowissenschaften. Ihr Ziel ist es, das menschliche Gehirn zu begreifen; von seinen kleinsten Teilen bis hin zu seiner Gesamtstruktur. Um dieses ehrgeizige Ziel zu erreichen nutzt die Neurowissenschaft vor allem kombinierte, dreidimensionale Daten aus vielzähligen Quellen, wie MRT, CT oder funktionalem MRT. Um mit dieser Vielfalt umgehen zu können, benötigt man in der Neurowissenschaft vor allem spezialisierte und evaluierte Visualisierungsmethoden. Zunächst stelle ich ein umfangreiches Softwareprojekt namens \"OpenWalnut\" vor. Es bildet die gemeinsame Basis für die Entwicklung und Nutzung von Visualisierungstechniken mit unseren neurowissenschaftlichen Kollaborationspartnern. Auf dieser Basis sind klassische und neu entwickelte Visualisierungen auch für Neurowissenschaftler zugänglich. Anschließend stelle ich ein spezialisiertes Visualisierungsverfahren vor, welches es ermöglicht, den kausalen Zusammenhang zwischen Gehirnarealen zu illustrieren. Das war vorher nur durch abstrakte Graphenmodelle möglich. Den ersten Teil der Arbeit schließe ich mit einer Evaluation verschiedener Standardmethoden unter dem Blickwinkel simulierter elektrischer Felder im Gehirn ab. Das Ziel dieser Evaluation war es, der neurowissenschaftlichen Gemeinde die Vor- und Nachteile bestimmter Techniken zu verdeutlichen und anhand klinisch relevanter Fälle zu erläutern. Teil II: Neben der eigentlichen Datenvorverarbeitung, welche in der Visualisierung eine enorme Rolle spielt, ist die grafische Darstellung essenziell für das Verständnis der Strukturen und Bestandteile in den Daten. Die grafische Repräsentation von Daten bildet die Schnittstelle zum Gehirn des Menschen. Der zweite Teile meiner Arbeit befasst sich mit der Verbesserung der strukturellen und räumlichen Wahrnehmung in Visualisierungsverfahren -- mit der Verbesserung der Schnittstelle. Leider werden viele visuelle Verbesserungen durch Computergrafikmethoden der Spieleindustrie mit Argwohn beäugt. Im zweiten Teil meiner Arbeit werde ich zeigen, dass solche Methoden in der Visualisierung angewendet werden können um den räumlichen Eindruck zu verbessern und Strukturen in den Daten hervorzuheben. Dazu nutze ich ein in der Computergrafik bekanntes Paradigma: das \"Screen Space Rendering\". Dieses Paradigma hat den Vorteil, dass es auf nahezu jede existierende Visualiserungsmethode als Nachbearbeitunsgschritt angewendet werden kann. Zunächst führe ich zwei Methoden ein, die die Wahrnehmung von gitterartigen Strukturen auf beliebigen Oberflächen verbessern. Diese Gitter repräsentieren die Struktur von Tensoren zweiter Ordnung und wurden durch eine Methode namens \"TensorMesh\" erzeugt. Anschließend zeige ich eine neuartige Technik für die optimale Schattierung von Linien und Punktdaten. Mit dieser Technik ist es erstmals möglich sowohl lokale Details als auch globale räumliche Zusammenhänge in dichten Linien- und Punktdaten zu erfassen

NEUVis: Comparing Affective and Effective Visualisation

Data visualisations are useful for providing insight from complex scientific data. However, even with visualisation, scientific research is difficult for non-scientists to comprehend. When developed by designers in collaboration with scientists, data visualisation can be used to articulate scientific data in a way that non-experts can understand. Creating human-centred visualisations is a unique challenge, and there are no frameworks to support their design. In response, this thesis presents a practice-led study investigating design methods that can be used to develop Non-Expert User Visualisations (NEUVis), data visualisations for a general public, and the response that people have to different kinds of NEUVis. For this research, two groups of ten users participated in quantitative studies, informed by Yvonna Lincoln and Egon Guba’s method of Naturalistic Inquiry, which asked non-scientists to express their cognitive and emotional response to NEUVis using different media. The three different types of visualisations were infographics, 3D animations and an interactive installation. The installation used in the study, entitled 18S rDNA, was developed and evaluated as part of this research using John Zimmerman’s Research Through Design methodology. 18S rDNA embodies the knowledge and design methods that were developed for this research, and provided an opportunity for explication of the entire NEUVis design process. The research findings indicate that developing visualisations for the non-expert audience requires a new process, different to the way scientists visualise data. The result of this research describes how creative practitioners collaborate with primary researchers and presents a new human-centred design thinking model for NEUVis. This model includes two design tools. The first tool helps designers merge user needs with data they wish to visualise. The second tool helps designers take that merged information and begin an iterative, user-centred design process

Video interaction using pen-based technology

Dissertação para obtenção do Grau de Doutor em InformáticaVideo can be considered one of the most complete and complex media and its manipulating is still a difficult and tedious task. This research applies pen-based technology to video manipulation, with the goal to improve this interaction. Even though the human familiarity with pen-based devices, how they can be used on video interaction, in order to improve it, making it more natural and at the same time fostering the user’s creativity is an open question. Two types of interaction with video were considered in this work: video annotation and video editing. Each interaction type allows the study of one of the interaction modes of using pen-based technology: indirectly, through digital ink, or directly, trough pen gestures or pressure. This research contributes with two approaches for pen-based video interaction: pen-based video annotations and video as ink. The first uses pen-based annotations combined with motion tracking algorithms, in order to augment video content with sketches or handwritten notes. It aims to study how pen-based technology can be used to annotate a moving objects and how to maintain the association between a pen-based annotations and the annotated moving object The second concept replaces digital ink by video content, studding how pen gestures and pressure can be used on video editing and what kind of changes are needed in the interface, in order to provide a more familiar and creative interaction in this usage context.This work was partially funded by the UTAustin-Portugal, Digital Media, Program (Ph.D. grant: SFRH/BD/42662/2007 - FCT/MCTES); by the HP Technology for Teaching Grant Initiative 2006; by the project "TKB - A Transmedia Knowledge Base for contemporary dance" (PTDC/EAT/AVP/098220/2008 funded by FCT/MCTES); and by CITI/DI/FCT/UNL (PEst-OE/EEI/UI0527/2011

Skyler and Bliss

Hong Kong remains the backdrop to the science fiction movies of my youth. The city reminds me of my former training in the financial sector. It is a city in which I could have succeeded in finance, but as far as art goes it is a young city, and I am a young artist. A frustration emerges; much like the mould, the artist also had to develop new skills by killing off his former desires and manipulating technology. My new series entitled HONG KONG surface project shows a new direction in my artistic research in which my technique becomes ever simpler, reducing the traces of pixelation until objects appear almost as they were found and photographed. Skyler and Bliss presents tectonic plates based on satellite images of the Arctic. Working in a hot and humid Hong Kong where mushrooms grow ferociously, a city artificially refrigerated by climate control, this series provides a conceptual image of a imaginary typographic map for survival. (Laurent Segretier