Visualising data in digital cinema studies: more than just going through the motions?

This article examines the critical role visualisation plays for digital cinema studies and proposes that cinema studies has an equally critical role to play in evaluating and developing visualisation methods. The article reflects on work undertaken in the Kinomatics Project, a multidisciplinary study that explores, analyses and visualises the industrial geometry of motion pictures and which is one of the first “big data” studies of contemporary cultural diffusion. Its examination of global film flow rests on a large dataset of showtime information comprising more than 330 million records that describe every film screening in forty-eight countries over a thirty-month period as well as additional aggregated box-office data

Animating the evolution of software

The use and development of open source software has increased significantly in the last decade. The high frequency of changes and releases across a distributed environment requires good project management tools in order to control the process adequately. However, even with these tools in place, the nature of the development and the fact that developers will often work on many other projects simultaneously, means that the developers are unlikely to have a clear picture of the current state of the project at any time. Furthermore, the poor documentation associated with many projects has a detrimental effect when encouraging new developers to contribute to the software. A typical version control repository contains a mine of information that is not always obvious and not easy to comprehend in its raw form. However, presenting this historical data in a suitable format by using software visualisation techniques allows the evolution of the software over a number of releases to be shown. This allows the changes that have been made to the software to be identified clearly, thus ensuring that the effect of those changes will also be emphasised. This then enables both managers and developers to gain a more detailed view of the current state of the project. The visualisation of evolving software introduces a number of new issues. This thesis investigates some of these issues in detail, and recommends a number of solutions in order to alleviate the problems that may otherwise arise. The solutions are then demonstrated in the definition of two new visualisations. These use historical data contained within version control repositories to show the evolution of the software at a number of levels of granularity. Additionally, animation is used as an integral part of both visualisations - not only to show the evolution by representing the progression of time, but also to highlight the changes that have occurred. Previously, the use of animation within software visualisation has been primarily restricted to small-scale, hand generated visualisations. However, this thesis shows the viability of using animation within software visualisation with automated visualisations on a large scale. In addition, evaluation of the visualisations has shown that they are suitable for showing the changes that have occurred in the software over a period of time, and subsequently how the software has evolved. These visualisations are therefore suitable for use by developers and managers involved with open source software. In addition, they also provide a basis for future research in evolutionary visualisations, software evolution and open source development

Applying blended conceptual spaces to variable choice and aesthetics in data visualisation

Computational creativity is an active area of research within the artificial intelligence domain that investigates what aspects of computing can be considered as an analogue to the human creative process. Computers can be programmed to emulate the type of things that the human mind can. Artificial creativity is worthy of study for two reasons. Firstly, it can help in understanding human creativity and secondly it can help with the design of computer programs that appear to be creative. Although the implementation of creativity in computer algorithms is an active field, much of the research fails to specify which of the known theories of creativity it is aligning with. The combination of computational creativity with computer generated visualisations has the potential to produce visualisations that are context sensitive with respect to the data and could solve some of the current automation problems that computers experience. In addition theories of creativity could theoretically compute unusual data combinations, or introducing graphical elements that draw attention to the patterns in the data. More could be learned about the creativity involved as humans go about the task of generating a visualisation. The purpose of this dissertation was to develop a computer program that can automate the generation of a visualisation, for a suitably chosen visualisation type over a small domain of knowledge, using a subset of the computational creativity criteria, in order to try and explore the effects of the introduction of conceptual blending techniques. The problem is that existing computer programs that generate visualisations are lacking the creativity, intuition, background information, and visual perception that enable a human to decide what aspects of the visualisation will expose patterns that are useful to the consumer of the visualisation. The main research question that guided this dissertation was, “How can criteria derived from theories of creativity be used in the generation of visualisations?”. In order to answer this question an analysis was done to determine which creativity theories and artificial intelligence techniques could potentially be used to implement the theories in the context of those relevant to computer generated visualisations. Measurable attributes and criteria that were sufficient for an algorithm that claims to model creativity were explored. The parts of the visualisation pipeline were identified and the aspects of visualisation generation that humans are better at than computers was explored. Themes that emerged in both the computational creativity and the visualisation literature were highlighted. Finally a prototype was built that started to investigate the use of computational creativity methods in the ‘variable choice’, and ‘aesthetics’ stages of the data visualisation pipeline.School of ComputingM. Sc. (Computing

Affective graphs: the visual appeal of linked data

The essence and value of Linked Data lies in the ability of humans and machines to query, access and reason upon highly structured and formalised data. Ontology structures provide an unambiguous description of the structure and content of data. While a multitude of software applications and visualization systems have been developed over the past years for Linked Data, there is still a significant gap that exists between applications that consume Linked Data and interfaces that have been designed with significant focus on aesthetics. Though the importance of aesthetics in affecting the usability, effectiveness and acceptability of user interfaces have long been recognised, little or no explicit attention has been paid to the aesthetics of Linked Data applications. In this paper, we introduce a formalised approach to developing aesthetically pleasing semantic web interfaces by following aesthetic principles and guidelines identified from literature. We apply such principles to design and develop a generic approach of using visualizations to support exploration of Linked Data, in an interface that is pleasing to users. This provides users with means to browse ontology structures, enriched with statistics of the underlying data, facilitating exploratory activities and enabling visual query for highly precise information needs. We evaluated our approach in three ways: an initial objective evaluation comparing our approach with other well-known interfaces for the semantic web and two user evaluations with semantic web researchers

An exploration of alternative visualisations of the basic helix-loop-helix protein interaction network

Background: Alternative representations of biochemical networks emphasise different aspects of the data and contribute to the understanding of complex biological systems. In this study we present a variety of automated methods for visualisation of a protein-protein interaction network, using the basic helix-loop-helix ( bHLH) family of transcription factors as an example. Results: Network representations that arrange nodes ( proteins) according to either continuous or discrete information are investigated, revealing the existence of protein sub-families and the retention of interactions following gene duplication events. Methods of network visualisation in conjunction with a phylogenetic tree are presented, highlighting the evolutionary relationships between proteins, and clarifying the context of network hubs and interaction clusters. Finally, an optimisation technique is used to create a three-dimensional layout of the phylogenetic tree upon which the protein-protein interactions may be projected. Conclusion: We show that by incorporating secondary genomic, functional or phylogenetic information into network visualisation, it is possible to move beyond simple layout algorithms based on network topology towards more biologically meaningful representations. These new visualisations can give structure to complex networks and will greatly help in interpreting their evolutionary origins and functional implications. Three open source software packages (InterView, TVi and OptiMage) implementing our methods are available

Beyond two dimensions: architecture through three dimensional visibility graph analysis

Architecture consists of spatial relations that accommodate functions, afford social relations and create visual interest. Through openings and walls, architects manipulate continuities and discontinuities of visual fields in two and three dimensions. Analytical diagrams and models of these fields have been offered by space syntax, especially through visibility graph analysis (VGA), graphing visual relations in two dimensions. This paper introduces a new approach to VGA that departs from planar restrictions. We show how a graph can be generated of inter-visible locations on a planar surface that incorporates relations among elements in three dimensions. Using this method, we extend the current space syntax analysis of architectural space to a new methodology for diagramming and modelling three-dimensional visual relationships in architecture. The paper is structured in three parts. The first section provides an overview of the principles of visibility analysis using graphs, and explains the method by which visibility relations of ‘accessible’ and ‘inaccessible’ space in two and three dimensions are computed. This leads to a graph representation, which uses a mix of ‘directed’ and ‘undirected’ visibility connections, and a new multi-variant spatial categorisation analysis that informs the properties of multi-directional graphs. The second part of the paper tests the three-dimensional visibility model through the analysis of hypothetical and real spatial environments. The third part analyses Giuseppe Terragni’s Casa del Fascio, describing architectural characteristics that are not captured by two-dimensional analysis, and allowing a comparative understanding of spatial configuration in two and three dimensions. The paper concludes with a discussion about the significance of this new model as an analytical and architectural tool

Designing for complexity: data visualizations in megaproject management

Focusing on the format of dashboards and the visualisations of performance indicators, this thesis explores the design features that make accounting visualisations influential in shaping the management of highly complex and dynamic organisational settings. Informed by empirical research on the reporting design practices in Crossrail, Europe's largest infrastructure megaproject, this thesis theorises how the design of data visualisations is consequential in supporting engagement with the challenges of project delivery and how they enable and constrain interaction. To address these concerns, this thesis develops a comprehensive design framework for the study of the visual in accounting. It does so by drawing from the design theory concepts of affordances, visual and aesthetics literacy, and visual conventions to investigate how designers deploy specific forms and features to pre-form practices of future interaction with visual artefacts. Theorising five interrelated design principles – multimodal balance, visual relationality, optical consistency, functional beauty, and the emphasis on incompleteness and the visualisation of consequences – this study makes three contributions to the study of the visual in interdisciplinary accounting. The first contribution informs the accounting literature on the design of accounting visualisations unpacking how designers visualise the multiplicity and interconnectedness of complex organisational phenomena and theorises how such artefacts can support the creation associations to tackle complexity and emergence. The second contribution is to the literature on numerical pictures in accounting and relates to how aesthetic attributes can augment the power and interactional possibilities of visualisations. The third contribution of this study consists in the fact that it offers a design perspective to the study of the visual in accounting. In fact, this thesis investigates how reporting designers construct visualisations and does so relying on a theoretical framework developed based on notions borrowed from design theory

GIS and urban design

Although urban planning has used computer models and information systems sincethe 1950s and architectural practice has recently restructured to the use of computeraideddesign (CAD) and computer drafting software, urban design has hardly beentouched by the digital world. This is about to change as very fine scale spatial datarelevant to such design becomes routinely available, as 2dimensional GIS(geographic information systems) become linked to 3dimensional CAD packages,and as other kinds of photorealistic media are increasingly being fused with thesesoftware. In this chapter, we present the role of GIS in urban design, outlining whatcurrent desktop software is capable of and showing how various new techniques canbe developed which make such software highly suitable as basis for urban design.We first outline the nature of urban design and then present ideas about how varioussoftware might form a tool kit to aid its process. We then look in turn at: utilisingstandard mapping capabilities within GIS relevant to urban design; buildingfunctional extensions to GIS which measure local scale accessibility; providingsketch planning capability in GIS and linking 2-d to 3-d visualisations using low costnet-enabled CAD browsers. We finally conclude with some speculations on thefuture of GIS for urban design across networks whereby a wide range of participantsmight engage in the design process digitally but remotely