Survey on geographic visual display techniques in epidemiology: Taxonomy and characterization

Many works have been done on the topic of Geographic Visual Display with different objectives and approaches. There are studies to compare the traditional cartography techniques (the traditional term of Geographic Visual Display (GVD) without Human-Computer Interaction (HCI)) to Modern GIS which are also known as Geo-visualization, some literature differentiates and highlight the commonalities of features and architectures of different Geographic Visual Display tools (from layers and clusters to dot and color and more). Furthermore, with the existence of more advanced tools which support data exploration, few tasks are done to evaluate how those tools are used to handle complex and multivariate spatial-temporal data. Several test on usability and interactivity of tools toward user's needs or preferences, some even develop frameworks that address user's concern in a wide array of tasks, and others prove how these tools are able to stimulate the visual thought process and help in decision making or event prediction amongst decision-makers. This paper surveyed and categorized these research articles into 2 categories: Traditional Cartography (TC) and Geo-visualization (G). This paper will classify each category by their techniques and tasks that contribute to the significance of data representation in Geographic Visual Display and develop perspectives of each area and evaluating trends of Geographic Visual Display Techniques. Suggestions and ideas on what mechanisms can be used to improve and diversify Geographic Visual Display Techniques are provided at the end of this survey

The Bird's Ear View: Audification for the Spectral Analysis of Heliospheric Time Series Data.

The sciences are inundated with a tremendous volume of data, and the analysis of rapidly expanding data archives presents a persistent challenge. Previous research in the field of data sonification suggests that auditory display may serve a valuable function in the analysis of complex data sets. This dissertation uses the heliospheric sciences as a case study to empirically evaluate the use of audification (a specific form of sonification) for the spectral analysis of large time series. Three primary research questions guide this investigation, the first of which addresses the comparative capabilities of auditory and visual analysis methods in applied analysis tasks. A number of controlled within-subject studies revealed a strong correlation between auditory and visual observations, and demonstrated that auditory analysis provided a heightened sensitivity and accuracy in the detection of spectral features. The second research question addresses the capability of audification methods to reveal features that may be overlooked through visual analysis of spectrograms. A number of open-ended analysis tasks quantitatively demonstrated that participants using audification regularly discovered a greater percentage of embedded phenomena such as low-frequency wave storms. In addition, four case studies document collaborative research initiatives in which audification contributed to the acquisition of new domain-specific knowledge. The final question explores the potential benefits of audification when introduced into the workflow of a research scientist. A case study is presented in which a heliophysicist incorporated audification into their working practice, and the “Think-Aloud” protocol is applied to gain a sense for how audification augmented the researcher’s analytical abilities. Auditory observations are demonstrated to make significant contributions to ongoing research, including the detection of previously unidentified equipment-induced artifacts. This dissertation provides three primary contributions to the field: 1) an increased understanding of the comparative capabilities of auditory and visual analysis methods, 2) a methodological framework for conducting audification that may be transferred across scientific domains, and 3) a set of well-documented cases in which audification was applied to extract new knowledge from existing data archives. Collectively, this work presents a “bird’s ear view” afforded by audification methods—a macro understanding of time series data that preserves micro-level detail.PhDDesign ScienceUniversity of Michigan, Horace H. Rackham School of Graduate Studieshttp://deepblue.lib.umich.edu/bitstream/2027.42/111561/1/rlalexan_1.pd

Moving sounds and sonic moves : exploring interaction quality of embodied music mediation technologies through a user-centered perspective

This research project deals with the user-experience related to embodied music mediation technologies. More specifically, adoption and policy problems surrounding new media (art) are considered, which arise from the usability issues that to date pervade new interfaces for musical expression. Since the emergence of new wireless mediators and control devices for musical expression, there is an explicit aspiration of the creative industries and various research centers to embed such technologies into different areas of the cultural industries. The number of applications and their uses have exponentially increased over the last decade. Conversely, many of the applications to date still suffer from severe usability problems, which not only hinder the adoption by the cultural sector, but also make culture participants take a rather cautious, hesitant, or even downright negative stance towards these technologies. Therefore, this thesis takes a vantage point that is in part sociological in nature, yet has a link to cultural studies as well. It combines this with a musicological frame of reference to which it introduces empirical user-oriented approaches, predominantly taken from the field of human-computer-interaction studies. This interdisciplinary strategy is adopted to cope with the complex nature of digital embodied music controlling technologies. Within the Flanders cultural (and creative) industries, opportunities of systems affiliated with embodied interaction are created and examined. This constitutes an epistemological jigsaw that looks into 1) “which stakeholders require what various levels of involvement, what interactive means and what artistic possibilities?”, 2) “the way in which artistic aspirations, cultural prerequisites and operational necessities of (prospective) users can be defined?”, 3) “how functional, artistic and aesthetic requirements can be accommodated?”, and 4) “how quality of use and quality of experience can be achieved, quantified, evaluated and, eventually, improved?”. Within this multi-facetted problem, the eventual aim is to assess the applicability of the foresaid technology, both from a theoretically and empirically sound basis, and to facilitate widening and enhancing the adoption of said technologies. Methodologically, this is achieved by 1) applied experimentation, 2) interview techniques, 3) self-reporting and survey research, 4) usability evaluation of existing devices, and 5) human-computer interaction methods applied – and attuned – to the specific case of embodied music mediation technologies. Within that scope, concepts related to usability, flow, presence, goal assessment and game enjoyment are scrutinized and applied, and both task- and experience-oriented heuristics and metrics are developed and tested. In the first part, covering three chapters, the general context of the thesis is given. In the first chapter, an introduction to the topic is offered and the current problems are enumerated. In the second chapter, a broader theoretical background is presented of the concepts that underpin the project, namely 1) the paradigm of embodiment and its connection to musicology, 2) a state of the arts concerning new interfaces for musical expression, 3) an introduction into HCI-usability and its application domain in systematic musicology, 4) an insight into user-centered digital design procedures, and 5) the challenges brought about by e-culture and digitization for the cultural-creative industries. In the third chapter, the state of the arts concerning the available methodologies related to the thesis’ endeavor is discussed, a set of literature-based design guidelines are enumerated and from this a conceptual model is deduced which is gradually presented throughout the thesis, and fully deployed in the “SoundField”-project (as described in Chapter 9). The following chapters, contained in the second part of the thesis, give a quasi-chronological overview of how methodological concepts have been applied throughout the empirical case studies, aimed specifically at the exploration of the various aspects of the complex status quaestionis. In the fourth chapter, a series of application-based tests, predominantly revolving around interface evaluation, illustrate the complex relation between gestural interfaces and meaningful musical expression, advocating a more user-centered development approach to be adopted. In the fifth chapter, a multi-purpose questionnaire dubbed “What Moves You” is discussed, which aimed at creating a survey of the (prospective) end-users of embodied music mediation technologies. Therefore, it primarily focused on cultural background, musical profile and preferences, views on embodied interaction, literacy of and attitudes towards new technology and participation in digital culture. In the sixth chapter, the ethnographical studies that accompanied the exhibition of two interactive art pieces, entitled "Heart as an Ocean" & "Lament", are discussed. In these studies, the use of interview and questionnaire methodologies together with the presentation and reception of interactive art pieces, are probed. In the seventh chapter, the development of the collaboratively controlled music-game “Sync-In-Team” is presented, in which interface evaluation, presence, game enjoyment and goal assessment are the pivotal topics. In the eighth chapter, two usability studies are considered, that were conducted on prototype systems/interfaces, namely a heuristic evaluation of the “Virtual String” and a usability metrics evaluation on the “Multi-Level Sonification Tool”. The findings of these two studies in conjunction with the exploratory studies performed in association with the interactive art pieces, finally gave rise to the “SoundField”-project, which is recounted in full throughout the ninth chapter. The integrated participatory design and evaluation method, presented in the conceptual model is fully applied over the course of the “SoundField”-project, in which technological opportunities and ecological validity and applicability are investigated through user-informed development of numerous use cases. The third and last part of the thesis renders the final conclusions of this research project. The tenth chapter sets out with an epilogue in which a brief overview is given on how the state of the arts has evolved since the end of the project (as the research ended in 2012, but the research field has obviously moved on), and attempts to consolidate the implications of the research studies with some of the realities of the Flemish cultural-creative industries. Chapter eleven continues by discussing the strengths and weaknesses of the conceptual model throughout the various stages of the project. Also, it comprises the evaluation of the hypotheses, how the assumptions that were made held up, and how the research questions eventually could be assessed. Finally, the twelfth and last chapter concludes with the most important findings of the project. Also, it discusses some of the implications on cultural production, artistic research policy and offers an outlook on future research beyond the scope of the “SoundField” project

Safe and Sound: Proceedings of the 27th Annual International Conference on Auditory Display

Complete proceedings of the 27th International Conference on Auditory Display (ICAD2022), June 24-27. Online virtual conference

Embodied geosensification-models, taxonomies and applications for engaging the body in immersive analytics of geospatial data

This thesis examines how we can use immersive multisensory displays and body-focused interaction technologies to analyze geospatial data. It merges relevant aspects from an array of interdisciplinary research areas, from cartography to the cognitive sciences, to form three taxonomies that describe the senses, data representations, and interactions made possible by these technologies. These taxonomies are then integrated into an overarching design model for such "Embodied Geosensifications". This model provides guidance for system specification and is validated with practical examples

Data Sonification in Creative Practice

Sonification is the process of data transmission with non-speech audio. While finding increasing acceptance as a scientific method, particularly where a visual representation of data is inadequate, it is still often derided as a ‘gimmick’. Composers have also shown growing interest in sonification as a compositional method. Both in science and in music, the criticism towards this method relates to poor aesthetics and gratuitous applications. This thesis aims to address these issues through an accompanying portfolio of pieces which use sonification as a compositional tool. It establishes the principles of ‘musification’, which can be defined as a sonification which uses musical structures; a sonification organised by musical principles. The practice-as-research portfolio explores a number of data sources, musical genres and science-music collaborations. The main contributions to knowledge derived from the project are a portfolio of compositions, a compositional framework for sonification and an evaluation framework for musification. This thesis demonstrates the validity of practice-as-research as a methodology in sonification research

The Development and Evaluation of an Approach to Auditory Display Design Based on Soundtrack Composition

PhDThis thesis presents the development and evaluation of a new approach (Sound- TrAD) to designing auditory interfaces. The proposed approach combines practices and concepts from film soundtrack composition with established approaches to general user interface design. The synthesis of the two design approaches from different areas of design into a novel approach may be viewed as an example of conceptual integration, (also known as conceptual blending). The process of developing and evaluating SoundTrAD broadly follows a methodology of Research through Design. The thesis presents four user studies as part of an iterative design and evaluation process. Each study involves a mixture of expert and novice end-users which provides new information and identifi es new questions and design issues for the subsequent studies. The fi rst study explores how an idea from fim composition (the cue sheet) can be used in auditory interface design to help designers place and organise sound elements, and to better understand auditory design spaces. In order to make this concept work in the new context, it is combined with the scenario concept from general interaction design to provide designers with reference linear sequences of events and actions. The second study used thematic analysis to investigate how information to be sonifed can be characterised and analysed for features that can be mapped in to sound. The study also explores the development of a timeline on which the sound design ideas from soundtrack composition for individual events, can be placed and in principle moved in order to cater for multiple use-case scenarios. The third study presents an iteration of this, including further development of both the task analysis and mapping technique. The study also explores the idea in principle of an interactive timeline that can be manipulated by the designer in order to re-arrange and audition sound events. The final study brings the studies together by obtaining feedback on the success of a nal version of SoundTrAD.RCUK under the Digital Economy Doctoral Training Centre schem

Composition with complex data : a contribution on the mapping problem through practice-based research

Composition with complex data is a field of computer music composition/interactive art that uses extra-musical data from various sources like stock exchange data, weather data or seismic data. Despite the fascination that one can have in his exciting field of composition, there is still a lack of data management applications for artistic use. Hence, one is generally forced to create one’s own applications, at the expense of the time that should be spent in the artistic side of the work. As the technology can be part of the work but never the sole constituent, we decided to develop a toolbox, DataScapR, which allows artists to work easily with data, helping them in focusing on the artistic side. This toolbox will help the user to quickly advance beyond the technical development and focus on the artistic side of the project. This project consists of four components: a theoretical framework for sonification art, a state of the art and discussion on mapping techniques, the development of a sonification toolbox for composers who wish to use complex data (more specifically stock market data) as the source material for their music and a series of works as case studies to show the capabilities of the toolbox. Bringing theory and practice, art and technology together, this project can be seen as a practice-based one embedded within a theoretical framework.Nesta dissertação, abordo o tema da sonificação em contexto artístico. Sonificação, a tradução de dados en sons, é um largo campo de investigação e existe todo o interesse na exploração deste domínio num contexto artístico. Esse projecto visa contribuir para a criação de um ramo teórico para a arte da sonificação e, em simultâneo, apresentar uma aplicação que facilite o uso de sonificação em contexto artístico. Com efeito, actualmente, existem poucas aplicações que permitam usar sonificação na composição musical de uma forma acessível. Por esta razão, um compositor pode ter que aplicar um tempo considerável no desenvolvimento de uma aplicação própria o que muitas vezes, pode ter um efeito prejudicial na criação da obra em si. Se o compositor tem que aplicar demasiado tempo no desenvolvimento tecnológico pode correr o risco de considerar a aplicação como sendo a obra em si, o que não é o caso: pode ser uma parte mas nunca a obra. Para combater o pequeno leque de aplicações acessíveis criei uma caixa de ferramentas, DataScapR, desenvolvido em Max, e disponibilizada para o público em geral. DataScapR é um projecto aberto: o utilizador pode estendê-lo livremente e adaptá-lo às suas necessidades. Todos os patches são comentados extensivamente para facilitar a sua edição e extensão. O uso prático de DataScapR é exemplificado através de Através de estudos de caso demonstrando que a sonificação pode ser uma prática interessante integrada num contexto artístico. Nesse projecto de doutoramento foco um tipo de dados especifico: dados da bolsa das acções. Isso vem dum interesse pessoal e no dinamismo inerente à bolsa. Sempre considerei a bolsa fascinante e penso que pode ser interessante para usar os dados para sonificação. A dissertação consiste em quatro partes. A primeira parte aborda questões teóricos: procuramos uma definição de arte de sonificação e integramos essa prática no contexto da composição. Tratamos da questão da natureza e definição de dados e como eles podem ser aplicados na música. Depois de construída uma base teórica, descrevemos o estado da arte. Nesse segundo capítulo descrevemos obras que usam sonificação como componente importante da própria existência e discutimos os diferentes métodos de mapping. Seguidamente, discuto o software existente bem como a necessidade duma nova aplicação. No terceiro capítulo apresento DataScapR, um dos componentes práticos do doutoramento. DataScapR é uma caixa de ferramentas para sonificação de dados da bolsa de acções. Assim, apresento os três módulos que permitem usar dados em tempo real e dados históricos. Os métodos de mapping são explicados e a estrutura interna dos patches é apresentada. Finalmente, no quarto capítulo apresento as obras realizadas usando DataScapR: For A Fistful Of Data (flauta de bisel), 4D Brokers (instalação), Vapourwaves (instalação), Mirage (obra sobre suporte). Para cada caso, apresento a obra, discuto a sua estrutura, os mappings utilizados e as questões técnicas e termino com uma avaliação da obra. No final do capítulo concluo com uma avaliação geral das peças. Na discussão final realizo uma avaliação do trabalho feito e aponto direcções para trabalho futuro. A dissertação é da caixa de ferramentas DataScapR, de quatro estudos de caso e dois blogs: datascapr.wordpress.com onde o DataScapR está disponível e sonifcationart.wordpress.com onde discuto vários projectos de sonificação. Esse projecto de doutoramento mostra apenas uma das posições possíveis em arte de sonificação e, por esta razão, deve ser considerado como uma abertura para novos caminhos a explorar

Development of actuated Tangible User Interfaces: new interaction concepts and evaluation methods

Riedenklau E. Development of actuated Tangible User Interfaces: new interaction concepts and evaluation methods. Bielefeld: Universität Bielefeld; 2016.Making information understandable and literally graspable is the main goal of tangible interaction research. By giving digital data physical representations (Tangible User Interface Objects, or TUIOs), they can be used and manipulated like everyday objects with the users’ natural manipulation skills. Such physical interaction is basically of uni-directional kind, directed from the user to the system, limiting the possible interaction patterns. In other words, the system has no means to actively support the physical interaction. Within the frame of tabletop tangible user interfaces, this problem was addressed by the introduction of actuated TUIOs, that are controllable by the system. Within the frame of this thesis, we present the development of our own actuated TUIOs and address multiple interaction concepts we identified as research gaps in literature on actuated Tangible User Interfaces (TUIs). Gestural interaction is a natural means for humans to non-verbally communicate using their hands. TUIs should be able to support gestural interaction, since our hands are already heavily involved in the interaction. This has rarely been investigated in literature. For a tangible social network client application, we investigate two methods for collecting user-defined gestures that our system should be able to interpret for triggering actions. Versatile systems often understand a wide palette of commands. Another approach for triggering actions is the use of menus. We explore the design space of menu metaphors used in TUIs and present our own actuated dial-based approach. Rich interaction modalities may support the understandability of the represented data and make the interaction with them more appealing, but also mean high demands on real-time precessing. We highlight new research directions for integrated feature rich and multi-modal interaction, such as graphical display, sound output, tactile feedback, our actuated menu and automatically maintained relations between actuated TUIOs within a remote collaboration application. We also tackle the introduction of further sophisticated measures for the evaluation of TUIs to provide further evidence to the theories on tangible interaction. We tested our enhanced measures within a comparative study. Since one of the key factors in effective manual interaction is speed, we benchmarked both the human hand’s manipulation speed and compare it with the capabilities of our own implementation of actuated TUIOs and the systems described in literature. After briefly discussing applications that lie beyond the scope of this thesis, we conclude with a collection of design guidelines gathered in the course of this work and integrate them together with our findings into a larger frame

Recognition and Exploitation of Gate Structure in SAT Solving

In der theoretischen Informatik ist das SAT-Problem der archetypische Vertreter der Klasse der NP-vollständigen Probleme, weshalb effizientes SAT-Solving im Allgemeinen als unmöglich angesehen wird. Dennoch erzielt man in der Praxis oft erstaunliche Resultate, wo einige Anwendungen Probleme mit Millionen von Variablen erzeugen, die von neueren SAT-Solvern in angemessener Zeit gelöst werden können. Der Erfolg von SAT-Solving in der Praxis ist auf aktuelle Implementierungen des Conflict Driven Clause-Learning (CDCL) Algorithmus zurückzuführen, dessen Leistungsfähigkeit weitgehend von den verwendeten Heuristiken abhängt, welche implizit die Struktur der in der industriellen Praxis erzeugten Instanzen ausnutzen. In dieser Arbeit stellen wir einen neuen generischen Algorithmus zur effizienten Erkennung der Gate-Struktur in CNF-Encodings von SAT Instanzen vor, und außerdem drei Ansätze, in denen wir diese Struktur explizit ausnutzen. Unsere Beiträge umfassen auch die Implementierung dieser Ansätze in unserem SAT-Solver Candy und die Entwicklung eines Werkzeugs für die verteilte Verwaltung von Benchmark-Instanzen und deren Attribute, der Global Benchmark Database (GBD)