The Birth of Pictoriality in Computer Media

The aim of the paper is to follow some milestones of the story of computer media as far as the notion of pictoriality is concerned. I am going to describe in the most general way how it happens that two quite separate technologies as computer machine and pictorial representation met and since then became almost inseparable

Talking with pictures: Exploring the possibilities of iconic communication

As multimedia computing becomes the order of the day, so there is a greater need to understand and to come to terms with the problems of visual presentation. This paper deals with iconic languages as a means of communicating ideas and concepts without words. Two example systems, developed respectively at the universities of Exeter and Brighton, are described. Both embody basic principles of the iconic communication which,, though not unique to learning technology, is forming an increasingly important part of user‐interfaces, including those in the area computer‐assisted learning

An iconic programming language for sensor-based robots

In this paper we describe an iconic programming language called Onika for sensor-based robotic systems. Onika is both modular and reconfigurable and can be used with any system architecture and real-time operating system. Onika is also a multi-level programming environment wherein tasks are built by connecting a series of icons which, in turn, can be defined in terms of other icons at the lower levels. Expert users are also allowed to use control block form to define servo tasks. The icons in Onika are both shape and color coded, like the pieces of a jigsaw puzzle, thus providing a form of error control in the development of high level applications

A study of spatial data models and their application to selecting information from pictorial databases

People have always used visual techniques to locate information in the space surrounding them. However with the advent of powerful computer systems and user-friendly interfaces it has become possible to extend such techniques to stored pictorial information. Pictorial database systems have in the past primarily used mathematical or textual search techniques to locate specific pictures contained within such databases. However these techniques have largely relied upon complex combinations of numeric and textual queries in order to find the required pictures. Such techniques restrict users of pictorial databases to expressing what is in essence a visual query in a numeric or character based form. What is required is the ability to express such queries in a form that more closely matches the user's visual memory or perception of the picture required. It is suggested in this thesis that spatial techniques of search are important and that two of the most important attributes of a picture are the spatial positions and the spatial relationships of objects contained within such pictures. It is further suggested that a database management system which allows users to indicate the nature of their query by visually placing iconic representations of objects on an interface in spatially appropriate positions, is a feasible method by which pictures might be found from a pictorial database. This thesis undertakes a detailed study of spatial techniques using a combination of historical evidence, psychological conclusions and practical examples to demonstrate that the spatial metaphor is an important concept and that pictures can be readily found by visually specifying the spatial positions and relationships between objects contained within them

Iconic Properties are Lost when Translating Visual Graphics to Text for Accessibility

For many blind and low-vision individuals, accessing charts and graphs often means accessing a text description of the graphics, usually aurally. However, in doing so, parts of the charts that are not originally conveyed textually are lost in the translation into text. By synthesizing ideas from the science and philosophy of perception and cognition, diagrammatic reasoning, and semiotics, this essay makes the case that translating charts into text descriptions results in the loss of iconic properties of the graphics, and proposes that non-linguistic sonification can be recruited to preserve such properties. The essay concludes by proposing how predictions based on this synthesis can inform design

Visual iconic object-oriented programming to advance computer science education and novice programming

Learning how to program a computer is difficult for most people. Computer programming is a cognitively challenging, time consuming, labor intensive, and frustrating endeavor. Years of formal study and training are required to learn a programming language\u27s world of algorithms and data structures. Instructions are coded in advance before the computer demonstrates the desired behavior. Seeing all the programming steps and instruction code is complicated. There exists a tremendous gap between the representations the human brain uses when thinking about a problem and the representations used in programming a computer. Often people are much better at dealing with specific, concrete objects than working with abstract ideas. Concrete and specific programming examples and demonstrations can be very useful. When cleverly chosen and properly used, programming examples and demonstrations help people understand the abstract concepts. Programming by example or demonstration attempts to extend these novel ideas to novice programming

Testing of a novel web browser interface for the Chinese market

This paper compares the perspicacity, appropriateness and preference of web browser icons from leading software providers with those of a culture-specific design. This online study was conducted in Taiwan and involved 103 participants, who were given three sets of web browser icons to review, namely Microsoft Internet Explorer, Macintosh Safari, and culturally specific icons created using the Culture-Centred Design methodology. The findings of the study show that all three sets have generally high recognition rates, but that some icon functions (e.g. Go/Visit and Favourite) in all three sets have poor recognition rates and are considered inappropriate

Directional adposition use in English, Swedish and Finnish

Directional adpositions such as to the left of describe where a Figure is in relation to a Ground. English and Swedish directional adpositions refer to the location of a Figure in relation to a Ground, whether both are static or in motion. In contrast, the Finnish directional adpositions edellä (in front of) and jäljessä (behind) solely describe the location of a moving Figure in relation to a moving Ground (Nikanne, 2003). When using directional adpositions, a frame of reference must be assumed for interpreting the meaning of directional adpositions. For example, the meaning of to the left of in English can be based on a relative (speaker or listener based) reference frame or an intrinsic (object based) reference frame (Levinson, 1996). When a Figure and a Ground are both in motion, it is possible for a Figure to be described as being behind or in front of the Ground, even if neither have intrinsic features. As shown by Walker (in preparation), there are good reasons to assume that in the latter case a motion based reference frame is involved. This means that if Finnish speakers would use edellä (in front of) and jäljessä (behind) more frequently in situations where both the Figure and Ground are in motion, a difference in reference frame use between Finnish on one hand and English and Swedish on the other could be expected. We asked native English, Swedish and Finnish speakers’ to select adpositions from a language specific list to describe the location of a Figure relative to a Ground when both were shown to be moving on a computer screen. We were interested in any differences between Finnish, English and Swedish speakers. All languages showed a predominant use of directional spatial adpositions referring to the lexical concepts TO THE LEFT OF, TO THE RIGHT OF, ABOVE and BELOW. There were no differences between the languages in directional adpositions use or reference frame use, including reference frame use based on motion. We conclude that despite differences in the grammars of the languages involved, and potential differences in reference frame system use, the three languages investigated encode Figure location in relation to Ground location in a similar way when both are in motion. Levinson, S. C. (1996). Frames of reference and Molyneux’s question: Crosslingiuistic evidence. In P. Bloom, M.A. Peterson, L. Nadel & M.F. Garrett (Eds.) Language and Space (pp.109-170). Massachusetts: MIT Press. Nikanne, U. (2003). How Finnish postpositions see the axis system. In E. van der Zee & J. Slack (Eds.), Representing direction in language and space. Oxford, UK: Oxford University Press. Walker, C. (in preparation). Motion encoding in language, the use of spatial locatives in a motion context. Unpublished doctoral dissertation, University of Lincoln, Lincoln. United Kingdo