Evaluating musical software using conceptual metaphors

An open challenge for interaction designers is to find ways of designing software to enhance the ability of novices to perform tasks that normally require specialized domain expertise. This challenge is particularly demanding in areas such as music analysis, where complex, abstract, domain-specific concepts and notations occur. One promising theoretical foundation for this work involves the identification of conceptual metaphors and image schemas, found by analyzing discourse. This kind of analysis has already been applied, with some success, both to musical concepts and, separately, to user interface design. The present work appears to be the first to combine these hitherto distinct bodies of research, with the aim of devising a general method for improving user interfaces for music. Some areas where this may require extensions to existing method are noted. This paper presents the results of an exploratory evaluation of Harmony Space, a tool for playing, analysing and learning about harmony. The evaluation uses conceptual metaphors and image schemas elicited from the dialogues of experienced musicians discussing the harmonic progressions in a piece of music. Examples of where the user interface supports the conceptual metaphors, and where support could be improved, are discussed. The potential use of audio output to support conceptual metaphors and image schemas is considered

Eliciting Domain Knowledge Using Conceptual Metaphors: A Case Study from Music Interaction

Interaction design for domains that involve complex abstractions can prove challenging. This problem is particularly acute in domains where the intricate nature of domain-specific knowledge can be difficult for even the most experienced expert to conceptualise or articulate. One promising solution to the problem of representing complex domain abstractions involves the use of conceptual metaphors. Previous applications of conceptual metaphors to abstract domains have yielded encouraging results. However, the design of appropriate methods for eliciting conceptual metaphors for the purposes of informing interaction design remains an open question. In this paper, we report on a series of studies carried out to elicit conceptual metaphors from domain experts, using music as a case study, reflecting on the benefits and drawbacks of each approach

Spontaneous Analogy by Piggybacking on a Perceptual System

Most computational models of analogy assume they are given a delineated source domain and often a specified target domain. These systems do not address how analogs can be isolated from large domains and spontaneously retrieved from long-term memory, a process we call spontaneous analogy. We present a system that represents relational structures as feature bags. Using this representation, our system leverages perceptual algorithms to automatically create an ontology of relational structures and to efficiently retrieve analogs for new relational structures from long-term memory. We provide a demonstration of our approach that takes a set of unsegmented stories, constructs an ontology of analogical schemas (corresponding to plot devices), and uses this ontology to efficiently find analogs within new stories, yielding significant time-savings over linear analog retrieval at a small accuracy cost.Comment: Proceedings of the 35th Meeting of the Cognitive Science Society, 201

A lightweight web video model with content and context descriptions for integration with linked data

The rapid increase of video data on the Web has warranted an urgent need for effective representation, management and retrieval of web videos. Recently, many studies have been carried out for ontological representation of videos, either using domain dependent or generic schemas such as MPEG-7, MPEG-4, and COMM. In spite of their extensive coverage and sound theoretical grounding, they are yet to be widely used by users. Two main possible reasons are the complexities involved and a lack of tool support. We propose a lightweight video content model for content-context description and integration. The uniqueness of the model is that it tries to model the emerging social context to describe and interpret the video. Our approach is grounded on exploiting easily extractable evolving contextual metadata and on the availability of existing data on the Web. This enables representational homogeneity and a firm basis for information integration among semantically-enabled data sources. The model uses many existing schemas to describe various ontology classes and shows the scope of interlinking with the Linked Data cloud

Hungarian Gyerekestül versus Gyerekkel (‘with [the] kid’)

The paper analyzes the various uses of the Hungarian -stUl (‘together with’, ‘along with’) sociative (associative) suffix (later in the paper referred to simply as “sociative”), as in the example gyerekestül. As opposed to its comitative-instrumental suffix -vAl (‘with’), the - stUl suffix cannot express instrumentality. The paper aims to demonstrate the difference in use between the comitative-instrumental -vAl and the -stUl suffix in contemporary Hungarian, and to illuminate the historical emergence of the suffix as well as its grammatical status. It is argued on the basis of Antal (1960) and Kiefer (2003) that -stUl cannot be analyzed as an inflectional case suffix (such as the -vAl suffix, or -ed, -ing, or the plural in English), but should rather be categorized as a derivational suffix (such as English dis-, re-, in-, -ance, - able, -ish, -like, etc.). The paper also tries to shed light on the hypothetical cognitive psychological distinction between the comitative and the sociative. It is suggested that the sociative is based on the amalgam image schema which is derived from the LINK schema of the comitative. The ironical reading of the sociative is an implicature in the sense of Grice (1989) and Sperber and Wilson (1987). Psycholinguistic experimentation is proposed to follow up on the mental representation of the sociative

LIGHT AND AFFECTS FROM A COMPARATIVE POINT OF VIEW

Light metaphors occurring in Chinese philosophy and Stoicism are of special interest for the unique ways they channel potentialities of the self. In this paper I apply ideas from cognitive linguistics to examine selected structural features of these metaphors. I also build on these ideas by presenting a framework regarding affects to assist in disclosing what is at stake for differing Chinese and Stoic technologies of the self. The paper adopts a high-level perspective to see these broad philosophical implications, interleaving discussions of Chinese philosophy (mainly views associated with Daoism), Stoicism (bringing into relief important differences from these views), and contemporary research on socially constructed affects. This triadic comparative approach aims to shed new light on some root assumptions built into the projects of self-cultivation that are at the core of Chinese and Stoic worldviews

Disciplining the body? Reflections on the cross disciplinary import of ‘embodied meaning’ into interaction design

The aim of this paper is above all critically to examine and clarify some of the negative implications that the idea of ‘embodied meaning’ has for the emergent field of interaction design research. Originally, the term ‘embodied meaning’ has been brought into HCI research from phenomenology and cognitive semantics in order to better understand how user’s experience of new technological systems relies to an increasing extent on full-body interaction. Embodied approaches to technology design could thus be found in Winograd & Flores (1986), Dourish (2001), Lund (2003), Klemmer, Hartman & Takayama (2006), Hornecker & Buur (2006), Hurtienne & Israel (2007) among others. However, fertile as this cross-disciplinary import may be, design research can generally be criticised for being ‘undisciplined’, because of its tendency merely to take over reductionist ideas of embodied meaning from those neighbouring disciplines without questioning the inherent limitations it thereby subscribe to. In this paper I focus on this reductionism and what it means for interaction design research. I start out by introducing the field of interaction design and two central research questions that it raises. This will serve as a prerequisite for understanding the overall intention of bringing the notion of ‘embodied meaning’ from cognitive semantics into design research. Narrowing my account down to the concepts of ‘image schemas’ and their ‘metaphorical extension’, I then explain in more detail what is reductionistic about the notion of embodied meaning. Having done so, I shed light on the consequences this reductionism might have for design research by examining a recently developed framework for intuitive user interaction along with two case examples. In so doing I sketch an alternative view of embodied meaning for interaction design research. Keywords: Interaction Design, Embodied Meaning, Tangible User Interaction, Design Theory, Cognitive Semiotics</p