Conceptual Metaphor, Human-Computer Interaction And Music: Applying Conceptual Metaphor To The Design And Analysis Of Music Interactions

Interaction design for domains that involve complex abstractions can present significant challenges. This problem is particularly acute in domains where users lack effective means to conceptualise and articulate relevant abstractions. In this thesis, we investigate the use of domain-specific conceptual metaphors to address the challenge of presenting complex abstractions, using tonal harmony as an extended case study. This thesis presents a methodology for applying domain-specific conceptual metaphors to interactions designs for music. This domain involves complex abstractions where users with any degree of domain knowledge may have difficulty in articulating concepts. The methodology comprises several parts. Firstly, the thesis explores methods for systematically guiding conversation between musicians to elicit speech that describes music using conceptual metaphors. Recommendations for the most suitable methods are made. Secondly, the thesis presents a methodology for identifying image schemas and conceptual metaphors from transcriptions of conversations between musicians. The methodology covers rules for identifying source image schemas and extrapolating conceptual metaphors. Thirdly, the thesis presents a methodology for evaluating existing music interaction designs using domain-specific conceptual metaphors. We demonstrate that this approach can be used to identify potential areas for improvement as well as tensions in the design between certain tasks or abstractions. Fourthly, the thesis presents a case study for the development of a conceptual metaphor-influenced design process. In the case study, a set of materials are developed to be used by participants in the design process to facilitate the mapping of conceptual metaphors to elements of an interaction design without requiring knowledge of Conceptual Metaphor Theory. Finally, a pilot study is presented integrating the results of the conceptual metaphor-influenced design process into a consistent and useful prototype system. Compromises and refinements to the design proposals made during the design process are discussed and the resulting system design is detailed

Artist-Programmers and Programming Languages for the Arts

We consider the artist-programmer, who creates work through its description as source code. The artist-programmer grandstands computer language, giving unique vantage over human-computer interaction in a creative context. We focus on the human in this relationship, noting that humans use an amalgam of language and gesture to express themselves. Accordingly we expose the deep relationship between computer languages and continuous expression, examining how these realms may support one another, and how the artist-programmer may fully engage with both. Our argument takes us up through layers of representation, starting with symbols, then words, language and notation, to consider the role that these representations may play in human creativity. We form a cross-disciplinary perspective from psychology, computer science, linguistics, human-computer interaction, computational creativity, music technology and the arts. We develop and demonstrate the potential of this view to inform arts practice, through the practical introduction of software prototypes, artworks, programming languages and improvised performances. In particular, we introduce works which demonstrate the role of perception in symbolic semantics, embed the representation of time in programming language, include visuospatial arrangement in syntax, and embed the activity of programming in the improvisation and experience of art

Re-designing Design and Technology Education: A living literature review of stakeholder perspectives

Created following the amalgamation of several individual subject disciplines, in England, design and technology is in decline. Debates about its purpose and position have taken place since its inception but arguably these have not transferred into a rigorous research base. There is a growing body of scholars exploring the field, but with the decline of the subject, so the community working and investigating it is also diminished. Without a strong foundation, the actions of the few may not carry sufficient weight to generate full and meaningful debate that would influence those with the power to change policy on curriculum and lead to innovation. If we are to have any hope of reversing the subject’s deterioration, we must do something bold and significant. While an awareness of the subject’s history and its evolution is integral to our understanding of how and why we are where we are, merely reflecting on the past will do little to help the subject move forward. Hence, the principal aim of our research is to explore what a re-designed design and technology could look like. To achieve this, this study draws on different stakeholders’ visions of how they perceive the subject’s future

Always One Bit More, Computing and the Experience of Ambiguity

Fun is often understood to be non-conceptual and indeed without rigour, without relation to formal processes of thought, yielding an intense and joyous informality, a release from procedure. Yet, as this book argues, fun may also be found, alongside other kinds of pleasure, in the generation, iteration and imagination of operations and procedures. This chapter aims to develop a means of drawing out an understanding of fun in relation to concepts of experience in the culture of mathematics and in the machinic fun of certain computer games. Mathematical concepts of experience, as something to be effaced, in terms of the grind of churning out calculations, understood as an acme of human knowledge bordering on the mystical or something both prosaic, peculiar and thrillingly abstract have been crucial to the motivation and genesis of computing. Experience may be figured as something innate to the computing person, or that is abstractable and thus mobile, shifting heterogeneously from one context to another, producing strange affinities between scales – residues and likeness among computational forms that can occasionally link the most austere and mundane or cacophonous of aesthetics. Among such, the fine and perplexing fun of paradox and ambiguity arises not simply in the interplay between formalisms and other kinds of life but as formalisms interweave releasing and congealing further dynamics. There are many ways in which mathematics has been linked to culture as a means of ordering, describing, inspiring or explaining ways of being in the world, but it is less often that mathematics thinks about itself as producing figurations of existence, and such moments are useful to turn to in gaining a sense of some of the patternings of computational culture

Eliciting informal specifications from scientific modelers for evaluation and debugging

Professional software engineers have an arsenal of techniques such as unit testing and assertions to check their specifications, but these techniques require tools, motivation, experience and training that programmers without professional software engineering training may not have. As a result, professionals in other fields, such as scientific modelers, face greater hurdles in debugging and validating the programs they write. This thesis introduces the concept of "evaluation abstractions" as a framework for tool designers to think about this kind of support. Evaluation abstractions are the patterns of data in program traces and outputs that programmers examine in order to evaluate software behavior. The thesis provides two intellectual contributions aimed at helping tool designers: (1) A theory of evaluation abstraction support (EAST) that describes at a granular scale the factors contributing to a modeler's decision to use or not use an evaluation abstraction support feature; (2) a new user-centered design methodology, Natural Programming Plus (NP+), specialized for the design of interactive languages aimed at experienced users, in a way that allows for validation early in the process. Using EAST and NP+ I built and evaluated an evaluation abstraction support tool for cognitive modelers (psychologists who study human cognition by writing simulations of cognition), with features that (1) elicit and persist a database of a modeler's evaluation abstractions, in a piecemeal, just-in-time fashion as their questions about model behavior arise, and (2) use the modeler's unique set of evaluation abstractions to structure visualizations, listings, and regression tests, as the modeler continues to maintain and develop the project. Using this tool modelers were able to repeatedly answer questions about model behavior that would have been time-consuming and error-prone to check in state-of-the-art cognitive modeling tools. This dissertation includes formative investigation of modelers' evaluation abstractions, iterative development and testing of interaction designs for elicitation and use of evaluation abstractions, a description of a domain-specific language for representing and transforming evaluation abstractions, and two summative studies showing the usability and generalizability of the technique

Metaphors we Program By: Space, Action and Society in Java

Abstract. A corpus analysis of the standard Java documentation revealed the range of conceptual metaphors shared by library authors and users of packages such as java.util and java.bean. These metaphors included the expected mental models of internal program behaviour, but also consistent references to a spatial image-world with material properties and flows. More surprisingly, program components are metaphorically understood as actors with beliefs and intentions, working together according to social relationships. Rather than mechanical imperative models or mathematical declarative ones, it seems that one of the most widespread bases for conceptual models of programming is of social entities that act as proxies for their developers. This may have significant implications for the design of new programming languages and environments. 1