The design-by-adaptation approach to universal access: learning from videogame technology

This paper proposes an alternative approach to the design of universally accessible interfaces to that provided by formal design frameworks applied ab initio to the development of new software. This approach, design-byadaptation, involves the transfer of interface technology and/or design principles from one application domain to another, in situations where the recipient domain is similar to the host domain in terms of modelled systems, tasks and users. Using the example of interaction in 3D virtual environments, the paper explores how principles underlying the design of videogame interfaces may be applied to a broad family of visualization and analysis software which handles geographical data (virtual geographic environments, or VGEs). One of the motivations behind the current study is that VGE technology lags some way behind videogame technology in the modelling of 3D environments, and has a less-developed track record in providing the variety of interaction methods needed to undertake varied tasks in 3D virtual worlds by users with varied levels of experience. The current analysis extracted a set of interaction principles from videogames which were used to devise a set of 3D task interfaces that have been implemented in a prototype VGE for formal evaluation

The design-by-adaptation approach to universal access: learning from videogame technology

This paper proposes an alternative approach to the design of universally accessible interfaces to that provided by formal design frameworks applied ab initio to the development of new software. This approach, design-byadaptation, involves the transfer of interface technology and/or design principles from one application domain to another, in situations where the recipient domain is similar to the host domain in terms of modelled systems, tasks and users. Using the example of interaction in 3D virtual environments, the paper explores how principles underlying the design of videogame interfaces may be applied to a broad family of visualization and analysis software which handles geographical data (virtual geographic environments, or VGEs). One of the motivations behind the current study is that VGE technology lags some way behind videogame technology in the modelling of 3D environments, and has a less-developed track record in providing the variety of interaction methods needed to undertake varied tasks in 3D virtual worlds by users with varied levels of experience. The current analysis extracted a set of interaction principles from videogames which were used to devise a set of 3D task interfaces that have been implemented in a prototype VGE for formal evaluation

Multi-user interface for co-located real-time work with digital mock-up: a way to foster collaboration?

Nowadays more and more industrial design activities adopt the strategy of Concurrent Engineering (CE), which changes the way to carry out all the activities along the product’s lifecycle from sequential to parallel. Various experts of different activities produce technical data using domain-specific software. To augment the interoperability among the technical data, a Digital Mock-Up (DMU), or a Building Information Model (BIM) in architectural engineering can be used. Through an appropriate Computer–Human Interface (CHI), each expert has his/her own point-of-view (POV) of a specific representation of DMU’s technical data according to an involved domain. When multiple experts work collaboratively in the same place and at the same time, the number of CHIs is also multiplied by the number of experts. Instead of multiple CHIs, therefore, a unique CHI should be developed to support the multiview and multi-interaction collaborative works. Our contributions in this paper are (a) a concept of a CHI system with multi-view and multi-interaction of DMU for multiple users in collaborative design; (b) a state of the art of multi-view and multi-interaction metaphors; (c) an experiment to evaluate a collaborative application using multi-view CHI. The experimental results indicate that, in multi-view CHI working condition, users are more efficient than in the other two working conditions (multiple CHIs and split view CHI). Moreover, in multi-view CHI working condition, the user, who is helping the other, takes less mutual awareness of where the other collaborator works than the other two working conditions.Bourse de thèse de CSC (China Scholarship Council

Some approaches to representing sound with colour and shape

In recent times much of the practice of musical notation and representation has begun a gradual migration away from the monochrome standard that existed since the emergence of printed Non-Western music in the 16th century, towards the full colour pallet afforded by modern printers and computer screens. This move has expanded the possibilities available for the representation of information in the musical score. Such an expansion is arguably necessitated by the growth of new musical techniques favouring musical phenomena that were previously poorly captured by traditional Western musical notation. As time-critical form of visualisation there is a strong imperative for the musical score to employ symbols that signify sonic events and the method of their execution with maximal efficiency. One important goal in such efficiency is “semantic soundness”: the degree to which graphical representations makes inherent sense to the reader. This paper explores the implications of recent research into cross-modal colour-to-sound and shape-to sound mappings for the application of colour and shape in musical scores. The paper also revisits Simon Emmerson’s Super-Score concept as a means to accommodate multiple synchronised forms of sonic representation (the spectrogram and spectral descriptors for example) together with alternative notational approaches (gestural, action-based and graphical for example) in a single digital document

The Shaping of Form: Exploring Designers’ Use of Aesthetic Knowledge

Research on design and designers has emphasized the tacit nature of the aesthetic knowledge that these professionals draw upon to make decisions about formal properties of objects and spaces, but is less clear about how design teams address the difficulties associated with expressing and sharing this type of knowledge. A ten-month ethnography in a design consultancy revealed a range of multimodal and cross-modal ways in which members of a design team compensate their imperfect capacity of articulating verbally their aesthetic knowledge in order to gradually construct a common knowledge base enabling creative collaboration. In so doing, our study offers two main contributions. It illuminates the interplay between designers’ aesthetic experiences, visceral responses, and intuitive cognitive processes that enable designers to draw upon their aesthetic knowledge to support the collective accomplishment of their task, and provides an interpretation of the design process as a form of ‘creative’ intuition driven by emotional reactions to environmental stimuli and emerging formal solutions