Adapting user interfaces for visually disabled users

Recent developments in the design of human-machine interfaces have resulted in interfaces which make access to computer-based equipment more difficult for visually disabled people. The aim of this project was to explore whether it is possible to adapt such interfaces so as to make them usable by people who cannot see a screen. The approach adopted was based upon two principles: the replacement of visual interlace entities by auditory analogues and appropriately constraining the resultant interlace. Two forms of sound were used to embody the auditory interface: musical tones and synthetic speech. The 'auditory screen' so produced consists of a grid of 'auditory objects', each of which is associated with a spatial location, a tone, a name and an action. In order to test the principles a word processing program was designed and implemented to demonstrate how a visual program might be adapted to be accessed through such an interface. This program was evaluated with the assistance of a number of visually disabled testers. They were trained to use the word processor through completing a graded set of exercises. Data were obtained in a number of ways during and after the completion of the exercises. Since the auditory interface had some novel components, special evaluation methods were applied. The nature of the interaction was analyzed, using an approach based on work on keystroke models of visual interfaces. This yielded a simple model of the 'hand-ear' coordination employed, which forms a basis for prediction of user behaviour. It was also necessary to evaluate aspects of the program, such as ease-of-learning and these were investigated by interviewing the subjects. The results demonstrate that the approach is viable. The thesis also discusses a number of problems in using such an interface, most of which are related to the memory load on the user

An integration framework for managing rich organisational process knowledge

The problem we have addressed in this dissertation is that of designing a pragmatic framework for integrating the synthesis and management of organisational process knowledge which is based on domain-independent AI planning and plan representations. Our solution has focused on a set of framework components which provide methods, tools and representations to accomplish this task.In the framework we address a lifecycle of this knowledge which begins with a methodological approach to acquiring information about the process domain. We show that this initial domain specification can be translated into a common constraint-based model of activity (based on the work of Tate, 1996c and 1996d) which can then be operationalised for use in an AI planner. This model of activity is ontologically underpinned and may be expressed with a flexible and extensible language based on a sorted first-order logic. The model combines perspectives covering both the space of behaviour as well as the space of decisions. Synthesised or modified processes/plans can be translated to and from the common representation in order to support knowledge sharing, visualisation and mixed-initiative interaction.This work united past and present Edinburgh research on planning and infused it with perspectives from design rationale, requirements engineering, and process knowledge sharing. The implementation has been applied to a portfolio of scenarios which include process examples from business, manufacturing, construction and military operations. An archive of this work is available at: http://www.aiai.ed.ac.uk/~oplan/cpf

Volume 70, Number 10 (October 1952)

Young Conductor (interview with Thomas Schippers) Denmark\u27s Royalty Bows to the Ballet and Its Composers Piano Study and the Schools Language Problem in Singing (interview with Elena Nikolaidi) Bread and Butter Music Corner on Scales, Part 2 Building the Concert Program (interview with Eleanor Steber) Music for the Making Magic of the Harp Choral Singing and the Solo Voice Progress Chart—The Double Hit Two Master Lessons—Sea Gardens (Cooke); Consolation in D-Flat (Liszt)https://digitalcommons.gardner-webb.edu/etude/1123/thumbnail.jp