95,396 research outputs found

    A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

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    Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions

    Coherence compilation: applying AIED techniques to the reuse of educational resources

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    The HomeWork project is building an exemplar system to provide individualised experiences for individual and groups of children aged 6-7 years, their parents, teachers and classmates at school. It employs an existing set of broadcast video media and associated resources that tackle both numeracy and literacy at Key Stage 1. The system employs a learner model and a pedagogical model to identify what resource is best used with an individual child or group of children collaboratively at a particular learning point and at a particular location. The Coherence Compiler is that component of the system which is designed to impose an overall narrative coherence on the materials that any particular child is exposed to. This paper presents a high level vision of the design of the Coherence Compiler and sets its design within the overall framework of the HomeWork project and its learner and pedagogical models

    Learning with E's: putting technology in its place

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    The topic of e-learning is the focus of much current interest within education and industry. to decrease the use of computers within education made by Cordes and. Miller (2000), for example, we need to avoid the temptation to pay too much attention to the technology and too little attention to the learners, teachers and their context. The future design challenge we face is the development of interactive educational content that enables learners to bridge the gap between the operational and conceptual levels of their interactive experience and engage with the concepts of the discipline being studied. The technology challenge is building a platform for the delivery of this content through existing and emerging technology and in multiple contexts. The theoretical challenge and potential pedagogical benefits lay in the development of a central pedagogical framework. In order to address these challenges we need to reflect on our progress to date, to assess the evidence for the effectiveness of e-learning and to identify what works and why

    Interpretation at the controller's edge: designing graphical user interfaces for the digital publication of the excavations at Gabii (Italy)

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    This paper discusses the authors’ approach to designing an interface for the Gabii Project’s digital volumes that attempts to fuse elements of traditional synthetic publications and site reports with rich digital datasets. Archaeology, and classical archaeology in particular, has long engaged with questions of the formation and lived experience of towns and cities. Such studies might draw on evidence of local topography, the arrangement of the built environment, and the placement of architectural details, monuments and inscriptions (e.g. Johnson and Millett 2012). Fundamental to the continued development of these studies is the growing body of evidence emerging from new excavations. Digital techniques for recording evidence “on the ground,” notably SFM (structure from motion aka close range photogrammetry) for the creation of detailed 3D models and for scene-level modeling in 3D have advanced rapidly in recent years. These parallel developments have opened the door for approaches to the study of the creation and experience of urban space driven by a combination of scene-level reconstruction models (van Roode et al. 2012, Paliou et al. 2011, Paliou 2013) explicitly combined with detailed SFM or scanning based 3D models representing stratigraphic evidence. It is essential to understand the subtle but crucial impact of the design of the user interface on the interpretation of these models. In this paper we focus on the impact of design choices for the user interface, and make connections between design choices and the broader discourse in archaeological theory surrounding the practice of the creation and consumption of archaeological knowledge. As a case in point we take the prototype interface being developed within the Gabii Project for the publication of the Tincu House. In discussing our own evolving practices in engagement with the archaeological record created at Gabii, we highlight some of the challenges of undertaking theoretically-situated user interface design, and their implications for the publication and study of archaeological materials

    Conversational Exploratory Search via Interactive Storytelling

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    Conversational interfaces are likely to become more efficient, intuitive and engaging way for human-computer interaction than today's text or touch-based interfaces. Current research efforts concerning conversational interfaces focus primarily on question answering functionality, thereby neglecting support for search activities beyond targeted information lookup. Users engage in exploratory search when they are unfamiliar with the domain of their goal, unsure about the ways to achieve their goals, or unsure about their goals in the first place. Exploratory search is often supported by approaches from information visualization. However, such approaches cannot be directly translated to the setting of conversational search. In this paper we investigate the affordances of interactive storytelling as a tool to enable exploratory search within the framework of a conversational interface. Interactive storytelling provides a way to navigate a document collection in the pace and order a user prefers. In our vision, interactive storytelling is to be coupled with a dialogue-based system that provides verbal explanations and responsive design. We discuss challenges and sketch the research agenda required to put this vision into life.Comment: Accepted at ICTIR'17 Workshop on Search-Oriented Conversational AI (SCAI 2017

    Affect and believability in game characters:a review of the use of affective computing in games

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    Virtual agents are important in many digital environments. Designing a character that highly engages users in terms of interaction is an intricate task constrained by many requirements. One aspect that has gained more attention recently is the effective dimension of the agent. Several studies have addressed the possibility of developing an affect-aware system for a better user experience. Particularly in games, including emotional and social features in NPCs adds depth to the characters, enriches interaction possibilities, and combined with the basic level of competence, creates a more appealing game. Design requirements for emotionally intelligent NPCs differ from general autonomous agents with the main goal being a stronger player-agent relationship as opposed to problem solving and goal assessment. Nevertheless, deploying an affective module into NPCs adds to the complexity of the architecture and constraints. In addition, using such composite NPC in games seems beyond current technology, despite some brave attempts. However, a MARPO-type modular architecture would seem a useful starting point for adding emotions

    Software agents in music and sound art research/creative work: Current state and a possible direction

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    Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

    Erehwon: For a cartography of change

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    We introduce a work-in-progress collaborative research project, which aims at creating an interactive real time cartography of socio-political performative projects within Europe and beyond. The cartography will be designed as a digital platform for rehearsing new ways of direct democratic practices and experimenting with potential forms of public space transformation that these practices can lead to.Creativeworks Londo

    Skills for Creativity in Games Design (Part 2) Practitioner Conceptions of Creativity in Games Design.

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