A Study of the Role of Visual Information in Supporting Ideation in Graphic Design

Existing computer technologies poorly support the ideation phase common to graphic design practice. Finding and indexing visual material to assist the process of ideation often fall on the designer, leading to user experiences that are less than ideal. To inform development of computer systems to assist graphic designers in the ideation phase of the design process, we conducted interviews with 15 professional graphic designers about their design process and visual information needs. Based on the study, we propose a set of requirements for an ideation-support system for graphic design

SAVOIAS: A Diverse, Multi-Category Visual Complexity Dataset

Visual complexity identifies the level of intricacy and details in an image or the level of difficulty to describe the image. It is an important concept in a variety of areas such as cognitive psychology, computer vision and visualization, and advertisement. Yet, efforts to create large, downloadable image datasets with diverse content and unbiased groundtruthing are lacking. In this work, we introduce Savoias, a visual complexity dataset that compromises of more than 1,400 images from seven image categories relevant to the above research areas, namely Scenes, Advertisements, Visualization and infographics, Objects, Interior design, Art, and Suprematism. The images in each category portray diverse characteristics including various low-level and high-level features, objects, backgrounds, textures and patterns, text, and graphics. The ground truth for Savoias is obtained by crowdsourcing more than 37,000 pairwise comparisons of images using the forced-choice methodology and with more than 1,600 contributors. The resulting relative scores are then converted to absolute visual complexity scores using the Bradley-Terry method and matrix completion. When applying five state-of-the-art algorithms to analyze the visual complexity of the images in the Savoias dataset, we found that the scores obtained from these baseline tools only correlate well with crowdsourced labels for abstract patterns in the Suprematism category (Pearson correlation r=0.84). For the other categories, in particular, the objects and advertisement categories, low correlation coefficients were revealed (r=0.3 and 0.56, respectively). These findings suggest that (1) state-of-the-art approaches are mostly insufficient and (2) Savoias enables category-specific method development, which is likely to improve the impact of visual complexity analysis on specific application areas, including computer vision.Comment: 10 pages, 4 figures, 4 table

The Art of Engaging: Implications for Computer Music Systems

The art of engaging with computer music systems is multifaceted. This paper will provide an overview of the issues of interface between musician and computer, cognitive aspects of engagement as involvement, and metaphysical understandings of engagement as proximity. Finally, this paper will examine implications for the design of computer music systems when these issues are taken into account

The arts of action

The theory and culture of the arts has largely focused on the arts of objects, and neglected the arts of action – the “process arts”. In the process arts, artists create artifacts to engender activity in their audience, for the sake of the audience’s aesthetic appreciation of their own activity. This includes appreciating their own deliberations, choices, reactions, and movements. The process arts include games, urban planning, improvised social dance, cooking, and social food rituals. In the traditional object arts, the central aesthetic properties occur in the artistic artifact itself. It is the painting that is beautiful; the novel that is dramatic. In the process arts, the aesthetic properties occur in the activity of the appreciator. It is the game player’s own decisions that are elegant, the rock climber’s own movement that is graceful, and the tango dancers’ rapport that is beautiful. The artifact’s role is to call forth and shape that activity, guiding it along aesthetic lines. I offer a theory of the process arts. Crucially, we must distinguish between the designed artifact and the prescribed focus of aesthetic appreciation. In the object arts, these are one and the same. The designed artifact is the painting, which is also the prescribed focus of appreciation. In the process arts, they are different. The designed artifact is the game, but the appreciator is prescribed to appreciate their own activity in playing the game. Next, I address the complex question of who the artist really is in a piece of process art — the designer or the active appreciator? Finally, I diagnose the lowly status of the process arts