Freeform User Interfaces for Graphical Computing

報告番号: 甲15222 ; 学位授与年月日: 2000-03-29 ; 学位の種別: 課程博士 ; 学位の種類: 博士(工学) ; 学位記番号: 博工第4717号 ; 研究科・専攻: 工学系研究科情報工学専

Specification and implementation of mapping rule visualization and editing : MapVOWL and the RMLEditor

Visual tools are implemented to help users in defining how to generate Linked Data from raw data. This is possible thanks to mapping languages which enable detaching mapping rules from the implementation that executes them. However, no thorough research has been conducted so far on how to visualize such mapping rules, especially if they become large and require considering multiple heterogeneous raw data sources and transformed data values. In the past, we proposed the RMLEditor, a visual graph-based user interface, which allows users to easily create mapping rules for generating Linked Data from raw data. In this paper, we build on top of our existing work: we (i) specify a visual notation for graph visualizations used to represent mapping rules, (ii) introduce an approach for manipulating rules when large visualizations emerge, and (iii) propose an approach to uniformly visualize data fraction of raw data sources combined with an interactive interface for uniform data fraction transformations. We perform two additional comparative user studies. The first one compares the use of the visual notation to present mapping rules to the use of a mapping language directly, which reveals that the visual notation is preferred. The second one compares the use of the graph-based RMLEditor for creating mapping rules to the form-based RMLx Visual Editor, which reveals that graph-based visualizations are preferred to create mapping rules through the use of our proposed visual notation and uniform representation of heterogeneous data sources and data values. (C) 2018 Elsevier B.V. All rights reserved

A framework to maximise the communicative power of knowledge visualisations

Knowledge visualisation, in the field of information systems, is both a process and a product, informed by the closely aligned fields of information visualisation and knowledg management. Knowledge visualisation has untapped potential within the purview of knowledge communication. Even so, knowledge visualisations are infrequently deployed due to a lack of evidence-based guidance. To improve this situation, we carried out a systematic literature review to derive a number of “lenses” that can be used to reveal the essential perspectives to feed into the visualisation production process.We propose a conceptual framework which incorporates these lenses to guide producers of knowledge visualisations. This framework uses the different lenses to reveal critical perspectives that need to be considered during the design process. We conclude by demonstrating how this framework could be used to produce an effective knowledge visualisation

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences

Leveling transparency via situated intermediary learning objectives (SILOs)

When designers set out to create a mathematics learning activity, they have a fair sense of its objectives: students will understand a concept and master relevant procedural skills. In reform-oriented activities, students first engage in concrete situations, wherein they achieve situated, intermediary learning objectives (SILOs), and only then they rearticulate their solutions formally. We define SILOs as heuristics learners devise to accommodate contingencies in an evolving problem space, e.g., monitoring and repairing manipulable structures so that they model with fidelity a source situation. Students achieve SILOs through problem-solving with media, instructors orient toward SILOs via discursive solicitation, and designers articulate SILOs via analyzing implementation data. We describe the emergence of three SILOs in developing the activity Giant Steps for Algebra. Whereas the notion of SILOs emerged spontaneously as a framework to organize a system of practice, i.e. our collaborative design, it aligns with phenomenological theory of knowledge as instrumented action

Communicating graphical information to blind users using music : the role of context

We describe the design and use of AUDIOGRAPH - a tool for investigating the use of music in the communication of graphical information to blind and partially sighted users. This paper examines the use of the system to communicate complex diagrams and gives some examples of user output. Performance is not as good as expected and it is postulated that context will play an important part in the perception of diagrams communicated using music. A set of experiments are reported which indicate that context does indeed seem to play an important role in assisting meaningful understanding of the diagrams communicated. The implications for using music in auditory interface design are discussed

Bluefish: A Relational Framework for Graphic Representations

Complex graphic representations -- such as annotated visualizations, molecular structure diagrams, or Euclidean geometry -- convey information through overlapping perceptual relations. To author such representations, users are forced to use rigid, purpose-built tools with limited flexibility and expressiveness. User interface (UI) frameworks provide only limited relief as their tree-based models are a poor fit for expressing overlaps. We present Bluefish, a diagramming framework that extends UI architectures to support overlapping perceptual relations. Bluefish graphics are instantiated as relational scenegraphs: hierarchical data structures augmented with adjacency relations. Authors specify these relations with scoped references to components found elsewhere in the scenegraph. For layout, Bluefish lazily materializes necessary coordinate transformations. We demonstrate that Bluefish enables authoring graphic representations across a diverse range of domains while preserving the compositional and abstractional affordances of traditional UI frameworks. Moreover, we show how relational scenegraphs capture previously latent semantics that can later be retargeted (e.g., for screen reader accessibility).Comment: 27 pages, 14 figure