133 research outputs found

    Exploring the Effects of Japanese Font Designs on Impression Formation and Decision-Making in Text-Based Communication

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    Text-based communication, such as text chat, is commonly employed in various contexts, both professional and personal. However, it lacks the rich emotional cues present in verbal and visual forms of communication, such as facial expressions and tone of voice, making it more challenging to convey emotions and increasing the likelihood of misunderstandings. In this study, we focused on typefaces as emotional cues employed in text-based communication and investigated the influence of font design on impression formation and decision-making through two experiments. The results of the experiments revealed the relationship between Japanese typeface design and impression formation, and indicated that advice presented in a font evoking an impression of high confidence was more likely to be accepted than advice presented in a font evoking an impression of low confidence.Comment: 8 page

    Il design dei caratteri tipografici centrato sui segni e sulle qualità espressive

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    Le proprietà formali dei caratteri tipografici veicolano signi- ficati che impattano sui lettori oltre la funzione di leggibilità. Lo studio del processo di espressione di significati implica variabili cognitive e percettive. Nel testo si tratta la differenza tra significati mediati dai segni o mediati da qualità espres- sive, allo scopo di individuare una base intersoggettiva per la progettazione. Sono analizzati tre presupposti epistemo- logici: la mediazione cognitiva, l’universalità, il ruolo delle conoscenze pregresse nella comunicazione basata sui segni rispetto a quella basata sulle qualità espressive. Infine si propone uno schema sperimentale per dissociare le due modalità, per consentire al designer di progettare un ca- rattere distinguendo operativamente il piano segnico dalle qualità espressive.---The formal properties of typeface make it possible to convey meanings that have an impact on readers that goes far beyond the function of readability and legibility. The study of the process of expression of meanings involves cognitive and perceptual variables. This paper deals with the difference between meanings mediated by signs or mediated by expressive qualities, in order to identify an intersubjective basis for design. Three epistemological presuppositions are then analyzed: cognitive mediation, universality, the role of past knowledge in communication based on signs compared to communication based on expressive qualities. Finally, an experimental scheme is proposed to dissociate the two communication modalities, in order to allow the designer to design a typeface distinguishing the sign level from the level of expressive qualities

    Embodiment and the Arts: Views from South Africa

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    Embodiment and the Arts: Views from South Africa presents a diversity of views on the nature and status of the body in relation to acting, advertisements, designs, films, installations, music, photographs, performance, typography, and video works. Applying the methodologies of phenomenology, hermeneutic phenomenology, embodied perception, ecological psychology, and sense-based research, the authors place the body at the centre of their analyses. The cornerstone of the research presented here is the view that aesthetic experience is active and engaged rather than passive and disinterested. This novel volume offers a rich and diverse range of applications of the paradigm of embodiment to the arts in South Africa.Publishe

    User Experience as a Rhetorical Medium: User at the Intersection of Audience, Reader and Actor

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    The goal of this project is to demonstrate how digital interfaces are bodies of visual language that can be “close-read” and interpreted critically, just like any other traditional text; digital user interfaces, like poetry and novels, have form and content that complement and shape the meaning and interpretation of the other. It is meant to encourage academic discussions about digital interfaces to go beyond whether social media is “good” or “bad” to how digital interfaces are structured, why they are structured the way they are, and what effects these structures have on the way they communicate information and content to the user. Digital interfaces are just extensions of written texts—they employ more visual language to be interpreted by the user, but language nonetheless. This project examines how the user resembles a traditional audience-member, a reader, and an actor in order to deliver a better understanding and picture of who and what the user of a digital interface is and why user interface and user experience design is a mode of rhetorical communication. Tapping into a wide range of academic disciplines and sources—from Philosophy to Computer Science, from Plato’s Phaedrus to contemporary studies on search engines for elementary school children and interviews with UX developers and designers from Google—the chapters demonstrate how the user embodies these characteristics and how the critical study of user interfaces is not only practical and relevant to the current time, but also complements the long tradition of studying texts through a literary and rhetorical lens

    Improving Legibility of User Interfaces for Low Vision Conditions with a Crowdsource Platform

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    The growing importance of inclusive design solutions has prompted this study examining typography legibility and its impact on accessibility for users with low vision conditions. Focusing on factors such as typographic form, letter spacing, and font size, this research seeks to understand the unique demands of low vision individuals and how typography and user interface design can be adapted to improve legibility and accessibility. Previous research has provided insights into various aspects of typography legibility, but a comprehensive approach addressing the specific needs of low vision users has been lacking. This study contributes to the existing body of knowledge by deconstructing user interfaces (UI) and analyze the fundamental elements affecting legibility. By examining various UI elements and their relationship to text, this research offers personalized, integrated solutions for individuals to tailor websites to their unique needs. The proposed platform differentiates itself from existing accessibility overlays (additional software that is intended to detect and address web accessibility issues on web sites) by emphasizing personalization based on individual preferences, leveraging crowdsourcing to create a variety of modification options. Although the proposal's primary focus is on low vision, it has the potential to assist a wide range of users with various needs. Despite some limitations and challenges faced during the project, this study provides insights into the factors contributing to the legibility of various typefaces, emphasizing the importance of customization to cater to specific needs. Future research should continue to explore these factors, further promoting a more inclusive approach to typography in diverse UI contexts

    Conversational AI Agents: Investigating AI-Specific Characteristics that Induce Anthropomorphism and Trust in Human-AI Interaction

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    The investment in AI agents has steadily increased over the past few years, yet the adoption of these agents has been uneven. Industry reports show that the majority of people do not trust AI agents with important tasks. While the existing IS theories explain users’ trust in IT artifacts, several new studies have raised doubts about the applicability of current theories in the context of AI agents. At first glance, an AI agent might seem like any other technological artifact. However, a more in-depth assessment exposes some fundamental characteristics that make AI agents different from previous IT artifacts. The aim of this dissertation, therefore, is to identify the AI-specific characteristics and behaviors that hinder and contribute to trust and distrust, thereby shaping users’ behavior in human-AI interaction. Using a custom-developed conversational AI agent, this dissertation extends the human-AI literature by introducing and empirically testing six new constructs, namely, AI indeterminacy, task fulfillment indeterminacy, verbal indeterminacy, AI inheritability, AI trainability, and AI freewill

    Screenlife films: graphical user interfaces as mise en scène, impacts on cinematic conventions, storytelling and mystery fiction techniques

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    Ce mémoire est une description et une analyse de la mise en scène dans trois films screenlife – Unfriended (Leo Gabriadze, 2014), Unfriended: Dark Web (Stephen Susco, 2018) et Searching (Aneesh Chaganty, 2018) – qui est principalement défini par les interfaces utilisateur graphiques (IUG) affichées dans les représentations des enregistrements d'écran d'ordinateur par lesquels ces films sont définis. Le but de cette étude était de découvrir – en utilisant la recherche sur les IUG par Lev Manovich et Anne Friedberg – comment la nature modulaire des médias numériques – vidéo, photo et texte – positionnés à l'intérieur de chaque IUG permet de transposer certaines conventions cinématographiques, techniques de narration et de roman policier sur les IUG. La recherche révèle qu'en raison des IUG (associées au système d'exploitation et à des applications), certaines traditions narratives ont été présentées de manière multiple, simultanée et superposée dans la mise en scène, par opposition à la manière singulière et séquentielle que les films ont généralement représenté le temps et l'espace en montrant un plan à la fois. Le premier chapitre raconte l'histoire du film screenlife et comment il a connu plusieurs itérations en raison de ce qui avait pu être affiché dans les IUG à différentes périodes entre 2002 et 2018, notamment les types d'appels vidéo, de sites Web et de médias sociaux. Le deuxième chapitre propose une mise en scène screenlife qui divise l'espace de l'écran en trois niveaux pour articuler comment les traditions cinématographiques et narratives ont été transposées dans Unfriended, Unfriended: Dark Web et Searching. Le troisième chapitre est une continuation de ce processus, mais avec un accent sur les techniques de roman policier, les indices et les fausses pistes, présents dans chacun de ces trois films screenlife. La description et l'analyse confirment que ces traditions de mystification sont également transposées dans les IUG de manière multiple, simultanée et superposée à partir de la manière singulière et séquentielle dont elles ont été présentées dans les romans policiers et les films policiers traditionnellement tournés.This master’s thesis is a description and analysis of the mise en scène in three screenlife films – Unfriended (Leo Gabriadze, 2014), Unfriended: Dark Web (Stephen Susco, 2018) and Searching (Aneesh Chaganty, 2018) – that is primarily defined by the graphical user interfaces (GUIs) displayed within the representations of computer screen recordings these films (and this format) are defined by. The purpose of this study was to find out – using the research into GUIs by Lev Manovich and Anne Friedberg as a framework to interpret the space within a computer screen – how the modular nature of individual digital media – video, photo and text – positioned within each GUI permit certain cinematic conventions, storytelling and mystery fiction techniques to be transposed onto a computer screen’s interfaces (GUIs). The research reveals that due to the GUIs (associated with the computer’s operating system and its various applications) certain narrative traditions have been presented in a multiple, simultaneous and overlapping way within the mise en scène as opposed to the singular and sequential manner that films have typically represented time and space by showing one shot, one spatio-temporality, within the frame at a time. The first chapter recounts the history of the screenlife film and how it has had several iterations because of what had been possible to display within GUIs at various periods between 2002 and 2018, notably the types of video calls, websites and social media. The second chapter proposes a screenlife mise en scène that divides the screen space into three levels to articulate how cinematic and narrative traditions have been transposed into Unfriended, Unfriended: Dark Web and Searching. The third chapter is a continuation of this process, but with a focus on mystery fiction techniques, clues and red herrings, present in each of these three screenlife films. The description and analysis confirms that these mystification traditions are also transposed into the GUIs in a multiple, simultaneous and overlapping way from the singular and sequential manner that they have been presented in detective novels and traditionally shot mystery genre films

    The International Review | 2011 Fall/Winter

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    Cigarettes meet international law: Will tobacco use go up in smoke? Stopping the recruitment and use of child soldiers No place to call home: The status and rights of stateless people Collective punishment and international law: Punished for the acts of others The United Nations and the Rule of Law: Delivered by UN Secretary-General Ban Ki-moon Does international law effectively protect art, antiquities, and cultural property? Who will prosecute the son of Col. Muammar Qaddafi? Saudi Arabia: Arrested for being a woman driver United States: Copyright protection for fashion designs? Arctic Council: Setting the stage for more cooperation in the Arctic? Do Internet restrictions violate international law? Killing Osama bin Laden: Legal or illegal under international law?https://digitalcommons.nyls.edu/international_review_newsletter/1004/thumbnail.jp
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