Casual Information Visualization on Exploring Spatiotemporal Data

The goal of this thesis is to study how the diverse data on the Web which are familiar to everyone can be visualized, and with a special consideration on their spatial and temporal information. We introduce novel approaches and visualization techniques dealing with different types of data contents: interactively browsing large amount of tags linking with geospace and time, navigating and locating spatiotemporal photos or videos in collections, and especially, providing visual supports for the exploration of diverse Web contents on arbitrary webpages in terms of augmented Web browsing

Privacy Intelligence: A Survey on Image Sharing on Online Social Networks

Image sharing on online social networks (OSNs) has become an indispensable part of daily social activities, but it has also led to an increased risk of privacy invasion. The recent image leaks from popular OSN services and the abuse of personal photos using advanced algorithms (e.g. DeepFake) have prompted the public to rethink individual privacy needs when sharing images on OSNs. However, OSN image sharing itself is relatively complicated, and systems currently in place to manage privacy in practice are labor-intensive yet fail to provide personalized, accurate and flexible privacy protection. As a result, an more intelligent environment for privacy-friendly OSN image sharing is in demand. To fill the gap, we contribute a systematic survey of 'privacy intelligence' solutions that target modern privacy issues related to OSN image sharing. Specifically, we present a high-level analysis framework based on the entire lifecycle of OSN image sharing to address the various privacy issues and solutions facing this interdisciplinary field. The framework is divided into three main stages: local management, online management and social experience. At each stage, we identify typical sharing-related user behaviors, the privacy issues generated by those behaviors, and review representative intelligent solutions. The resulting analysis describes an intelligent privacy-enhancing chain for closed-loop privacy management. We also discuss the challenges and future directions existing at each stage, as well as in publicly available datasets.Comment: 32 pages, 9 figures. Under revie

Understanding and Supporting Visual Communication within Costume Design Practice

Theatres provide artistic value to many people and generate revenue for communities, yet little research has been conducted to understand or support theatrical designers. Over 1,800 non-profit theatres and 3,522 theatre companies and dinner theatres operate in the United States. In 2008, 11 million people attended 1,587 Broadway shows for a total gross of 894 million dollars. These numbers do not take into account College and community theatres, operas, and ballets, all of which also require costumes. This dissertation studied image search, selection, and use within costume design practice to: 1) understand how image use as a collaborative visual communication tool affects the search and selection process and 2) assist an often overlooked community. Previous research in image search and selection has focused on specific resources or institutions. In contrast, this research used case study methodology to understand image search, selection, and use within the broad context of an image-intensive process. The researcher observed costume designers and other theatre members as they located, selected, shared, discussed, and modified images through an iterative design process resulting in a final set of images, the costumes themselves. The researcher also interviewed participants throughout the design process, photographed artifacts, and conducted a final interview with participants at the end of each case study. The resulting data was coded using grounded theory and guided by previous research. Based on the analysis, the researcher suggests a three-stage model that describes image use in costume design and provides a starting point for understanding image use in other collaborative design practices. Participants used a wide range of analog and digital resources, including personal and institutional collections, but often used the same three search and selection strategies regardless of the resource type. Set building and refinement, image comparison, and tagging were all important features of the image search and selection process but are not well supported in most image search systems. In addition, participants continuously added resources to personal collections for future use on individual productions. This research set out to understand search and selection within the context of collaborative use on a single production, but what became apparent was the central nature of collaboration across productions to the search and selection process itself. Personal networks between costume designers and within the theatre community played a central role in solving challenges costume designers encounter as part of their work. This research bridges a gap in current image research by placing image search and selection within the context of a collaborative design practice. At the same time, it suggests guidelines for developing technology to support a community which has long been overlooked. With additional research, the findings from this research can be extended to apply to the theatrical community as a whole and also to other design professionals

Abstracts: HASTAC 2017: The Possible Worlds of Digital Humanities

The document contains abstracts for HASTAC 2017

Detecting Internet visual plagiarism in higher education photography with Google™ Search by Image : proposed upload methods and system evaluation

Thesis (M. Tech. (Design and Studio Art)) - Central University of Technology, Free State, 2014The Information Age has presented those in the discipline of photography with very many advantages. Digital photographers enjoy all the perquisites of convenience while still producing high-quality images. Lecturers find themselves the authorities of increasingly archaic knowledge in a perpetual race to keep up with technology. When inspiration becomes imitation and visual plagiarism occurs, lecturers may find themselves at a loss for taking action as content-based image retrieval systems, like Google™ Search by Image (SBI), have not yet been systematically tested for the detection of visual plagiarism. Currently there exists no efficacious method available to photography lecturers in higher education for detecting visual plagiarism. As such, the aim of this study is to ascertain the most effective uploading methods and precision of the Google™ SBI system which lecturers can use to establish a systematic workflow that will combat visual plagiarism in photography programmes. Images were selected from the Google™ Images database by means of random sampling and uploaded to Google™ SBI to determine if the system can match the images to their Internet source. Each of the images received a black and white conversion, a contrast adjustment and a hue shift to ascertain whether the system can also match altered images. Composite images were compiled to establish whether the system can detect images from the salient feature. Results were recorded and the precision values calculated to determine the system’s success rate and accuracy. The results were favourable and 93.25% of the adjusted images retrieved results with a precision value of 0.96. The composite images had a success rate of 80% when uploaded intact with no dissections and a perfect precision value of 1.00. Google™ SBI can successfully be used by the photography lecturer as a functional visual plagiarism detection system to match images unethically appropriated by students from the Internet

Video Vortex reader : responses to Youtube

The Video Vortex Reader is the first collection of critical texts to deal with the rapidly emerging world of online video – from its explosive rise in 2005 with YouTube, to its future as a significant form of personal media. After years of talk about digital convergence and crossmedia platforms we now witness the merger of the Internet and television at a pace no-one predicted. These contributions from scholars, artists and curators evolved from the first two Video Vortex conferences in Brussels and Amsterdam in 2007 which focused on responses to YouTube, and address key issues around independent production and distribution of online video content. What does this new distribution platform mean for artists and activists? What are the alternatives